BY WAY OF AN INTRODUCTION

by Peter dennett

I am a musician, but I’m another type of musician.

I use music as a medium to talk to people.

I’m not a minister, I’m not a philosopher, I’m not a politician, I’m in another category.

Music is a language, you see, a universal language.

—Sun Ra

SUN RA (1914-93) was a major black musician and bandleader, a groundbreaking innovator of immense and extraordinary vision, ’the cornerstone of experimental jazz’ whose mythology and intergalactic narrative navigated between Ancient Egypt and outerspace.

Sun Ra’s performances with a large ensemble of musicians and dancers incorporated everything from thirties’ big band swing to experimental funk and synthesizer pieces. He was also a master pianist whose published output exceeded 180 albums recorded for many American and European jazz labels and he toured extensively with his various ensembles between 1956 and 1993. He also did cover versions of Walt Disney tunes and recorded a couple of sides for a toy company, as well making films and documentaries about his philosophy and vision.

Sun Ra’s music is associated with his musical navigation toward free jazz and his poetry toward cosmology and Egyptology. Sun Ra worked within the traditional established African American expressive traditions to develop a distinct compositional style and language fusing elements of the blues, ragtime, and spirituals with experimental electronic instruments, rhythm machines and invented instruments to present new musical dimensions. Ra was a ’cosmic guide’ through black musical traditions, a twenty first century ’Tonal Guide to Times Tomorrow.’

Sun Ra is arguably one of the most influential and important of all twentieth century composers. Ra was a sonic explorer in revolutionary new forms of music: Art Forms of Dimensions Tomorrow.’ His extraordinary work and time on this planet have yet to be fully appreciated.

SUN RA

by Amiri baraka

IPASSED THROUGH RA’S ORBIT when the Arkestra first arrived from Chicago into the Loisaida (pre Latino street signs), early sixties. They swept in, with tales and a frantic grapevine of every which observation.

The Weirdness, Outness, Way Outness, Otherness was immediate. Some space metaphysical philosophical surrealistic bop funk. Some blue pyramid home nigger southern different color meaning hip shit. Ra. Sun Ra.

Then they put on weird clothes, space helmets, robes, flowing capes. They did rituals played in rituals, evoked lost civilizations, used strangeness to teach us open feeling as intelligence.

In those cellars and lofts, Sun Ra spun a cosmic metaphor. He was a philosopher musician. He used music as language, and image.

His was an historical music. He began himself before he played with Fletcher Henderson, playing alternate piano in the orchestra when Fletcher conducted. In recent years he even brought Fletcher and Duke Ellington back with a sweetness and contemporary restatement that was thrilling.

Ra was so far out because he had the true self-consciousness of the Afro-American intellectual artist revolutionary. He knew our historic ideology and socio-political consciousness was freedom. It is an aesthetic and social dynamic. We think it is good and beautiful!

Sun Ra’s consistent statement, musically and spoken, is that this is a primitive world. Its practices, beliefs, religions are uneducated, unenlightened, savage, destructive, already in the past.

That’s why Ra left and returned only to say he left. Into the Future. Into Space. He played Interplanetary Music. He described Angels and Demons at Play. From his Heliocentric vision, Ra’s music unfolded; it was always, it seemed, always there. What it was.

African American Review, Vol. 29,1995

SUN RA VISITS PLANET EARTH

by John Sinclair

People say I’m Herman Blount, but I don’t know him. That’s an imaginary person, he never existed. I have a sister and brother named Blount, but their father died 10 years before I arrived on the planet. He’s not my father. If I tried to do anything with the name Sonny Blount, I couldn’t . . . I’m not terrestrial, I’m a celestial being.

—Sun Ra, from John Diliberto’s liner notes to

Sound Sun Pleasure (Evidence ECD-22014)

THE AFRICAN AMERICAN musical genius known as Sun Ra was a delightfully unique individual whose startlingly innovative Arkestra and provocative persona generated considerable myth and controversy during most of the second half of the twentieth century.

The legendary pianist, composer, bandleader, performance artist, musical pioneer and space philosopher was born Herman Blount in 1914 in Birmingham, Alabama, and was known to family and friends as Sonny.

He attended Alabama A&M and played with bands around the South before settling in Chicago after World War II, where he worked at the Club DeLisa as second pianist and arranger with the Fletcher Henderson Orchestra during 1947-49.

By the turn of the fifties Sonny Blount was writing music for the shows, rehearsing the chorus line, and leading the relief band at the Club DeLisa two nights a week.

He formed his own trio to back up vocalists, instrumentalists and floor-shows in local nightspots, soon landing a regular gig at Budland supporting visiting stars like Sarah Vaughan, Johnny ’Guitar’ Watson, LaVerne Baker, Dakota Staton and comedian George Kirby.

AT THIS POINT THE PIANIST began his long association with Chicago philosopher/businessman Alton Abraham, a pragmatic mystic who would become his mentor, personal manager, booking agent, recording supervisor and business partner for the next quarter century.

With Abraham’s guidance Herman Sonny Blount took the name Le Sun Ra and began to reveal an elaborate, unprecedented cosmic philosophy through his compositions, song titles, poetry, wild costumery, and an innovative, ever-expanding musical ensemble first called the Solar Arkestra.

The Arkestra, billed as playing Music from tomorrow’s world—Magic Music of the spheres, began its spectacular fifty eight year lifespan in 1952 in the form of a six-piece jazz combo organized to showcase Sun Ra’s original compositions, arrangements and multi-media performance concepts.

There are photos of the Herman Blount Octet in Chicago in the mid fifties, identified as Pat Patrick (alto and baritone sax), John Gilmore (tenor sax), Dave Young (trumpet), Julian Priester (trombone), Richard Evans (bass), Bob Barry (drums), Jimmy Herndon (percussion) and Herman Blount (piano, leader).

With Abraham as its booking agent, early editions of the band worked five nights a week at Budland in the Pershing Hotel and played the Sunday dances at Robert’s Show Club on South Parkway.

The Arkestra became a featured attraction at the Compass club on the far north side, alternating with a local comedy troupe that included Mike Nichols, Elaine May and Mort Sahl, and also worked steadily at the Wander Inn on Cottage Grove on the south side.

The band attracted young musicians from DuSable High School who had studied with Capt. Walter Dyett in the tradition of noted DuSable alumni like Nat ’King’ Cole, Redd Foxx, Gene Ammons, Dorothy Donegan, Johnny Griffin and Joseph Jarman.

Visiting musicians were drawn to the provocative music and disciplined camaraderie of the Arkestra, and both Sonny Rollins and John Coltrane played and studied with the band in Chicago during the early- and mid fifties.

Historically, Sun Ra’s compositions and arrangements followed the advances made in the forties by Tadd Dameron and Jimmy Mundy and were contemporaneous with the early experimental writing of Charles Mingus and George Russell.

Instrumentally, the Arkestra was an extension of the popular little big-band format of the late forties and early fifties, utilizing trumpet, trombone, two or three saxophones, piano, bass and drums.

THE ARKESTRA rehearsed at Pat Patrick’s house five days a week at noon, experimenting with the radical instrumental combinations and advanced musical concepts devised by its leader.

Sometimes two basses (one double bass, one electric), two drummers, two baritone saxophones and other odd pairings were effected; often tympani, bells, and other then-exotic percussion instruments were used to add new colors to the band’s distinctive sound.

Other early musical innovations included Sun Ra’s pioneering use of electric piano, Solovox, clavioline, Hammond organ, Farfisa organ and electric bass; rich arco double bass passages; group chanting; a saxophone section which doubled on flute, oboe, bassoon, bass clarinet and percussion instruments; and a massed percussion choir throbbing with African and Afro-Cuban polyrhythms.

Sun Ra’s avant-garde compositions introduced a space key where players were instructed to improvise without regard for conventional tonal centers; modal pieces with no fixed harmonic structure; superimposition of one chord over another; and songs played in multiple keys.

His works wove a musical tapestry of unusual rhythms and colors, swinging like crazy at will or moving entirely out of regular time to project a musical environment evocative of outerspace.

Sun Ra’s use of futuristic keyboards and unusual instrumental voicings goes back to his earliest recordings. He accompanied violinist Stuff Smith in 195354 with an ensemble comprising tenor saxophone, trumpet, two basses, drums, percussion and his own Solovox keyboard.

The ensemble then expanded to include three trumpets, six or seven reeds, two or three drummers, electric and acoustic bassists, an assortment of vocalists and an ever-increasing arsenal of electronic keyboard instruments.

The Arkestra’s stage presentation was equally advanced: its members wore fezzes over green shirts and rust-colored pants, then graduated to futuristic Afro-space costumes featuring colorful sequin-studded robe-like garments and makeshift space helmets equipped with flashing lights like men in a mine shaft.

AMONG THE MANY NOTED MUSICIANS who served in the Arkestra during its residency in Chicago (1952-61) were reedmen Marshall Allen, James Spaulding, Charles Davis and James Scales; trumpeters Hobart Dotson, Phil Cohran, George Hudson, Art Hoyle, Dave Young, Lucious Randolph and Walter Strickland; trombonists Julian Priester and Nate Pryor; bassists Ronnie Boykins, Wilburn Green (electric), Vic Sproles and Richard Evans; drummers William Cochran, Jim Herndon, Robert Barry, Edward Skinner and Nimrod Hunt; and vocalists Hatty Randolph and Clyde Williams.

Sun Ra’s musical concepts and extra-musical concerns profoundly influenced an entire generation of Chicago musicians who became active in pianist/ composer Muhal Richard Abrams’ Experimental Orchestra and later in the Association for the Advancement of Creative Musicians (AACM), as well as experimental jazz artists elsewhere like John Coltrane, Sonny Rollins, Pharoah Sanders, Cecil Taylor and Marion Brown.

Organizationally, with long-time partner Alton Abraham, Sun Ra also had a deep and lasting effect on the self-determination movement in jazz. He established his own music publishing company, Enterplanetary Koncepts; his own production company, Infinity Inc.; and his own Saturn Records imprint which issued a series of iconoclastic LPs beginning around 1964.

Recorded in Chicago during the fifties and packaged in crude space-age cover designs, these albums came bearing titles like Sun Ra Visits Planet Earth, We Travel the Spaceways, Super-Sonic Jazz and Secrets of the Sun, boldly presenting the idiosyncratic compositional creations of Sun Ra delivered with exceptional musicianship by the Solar Arkestra.

While he would go on to record for and lease masters to a variety of labels, including Transition, Savoy, ESP-Disk, Delmark, Blue Thumb and ABC/Impulse, Ra continued to issue albums on Saturn Records all his life so that as much of his music as possible could be documented and made available to his small but fanatical public.

In 1961 the Arkestra left Chicago to play at the World’s Fair in Montreal and then traveled down to New York City, where they became stranded after their vehicle broke down.

Some of the members drifted back to Chicago under their own power, but Sun Ra and his core contingent—John Gilmore, Marshall Allen, Pat Patrick, Ronnie Boykins, Clifford Jarvis and James Jacson—settled into a small apartment at 48 East 3rd Street and quickly became a vital part of the city’s burgeoning avant-garde jazz community.

In New York City between 1961-72, the Arkestra veterans were joined by a host of New York-based musicians, including reedmen Ronnie Cummings, Marion Brown, Pharoah Sanders, Eloe Omoe and many others; trumpeters Kwame Hadi, Walter Miller, Clifford Thornton, Manny Smith and Ahktal Ebah; trombonists Ali Hassan, Teddy Nance, Kiane Zawadi (Bernard McKin-ney) and Bernard Pettaway; bassists Alejandro Blake and John Ore; percussionists Tommy Hunter, Lex Humphries, William Brister, Robert Cummings, Roger Blank and C. Scoby Stroman; and the great vocalist June Tyson.

After a fertile decade at the center of creative activity in New York City, the Arkestra moved en masse to Philadelphia, where Marshall Allen’s father had offered the band a large house at 5626 Morton Avenue.

The City of Brotherly Love served as their base for the next twenty years as Sun Ra continued to develop the Arkestra’s musical vocabulary and spectacular presentation style.

BY THIS TIME THE ARKESTRA was universally recognized as the premiere avant-garde big band in jazz. Like Duke Ellington, Sun Ra had developed the Arkestra as a means of realizing his unique compositional concepts and created works built around the musical personalities of its members.

As a bandleader, Ra always demanded a high level of musical and orchestral discipline as a means to unprecedented freedom of expression and achieved these goals through long hours of daily rehearsals.

These musical workouts were augmented by endless lectures on every topic under the sun until, somehow, Ra would manage to nail everything to the cosmic framework of his interplanetary vision.

In Philadelphia Sun Ra expanded the Arkestra’s repertoire to include classical jazz pieces from the twenties and thirties by Jelly Roll Morton, Fletcher Henderson, Don Redman, Coleman Hawkins, Duke Ellington, Jimmy Lunc-eford and others, plus compelling arrangements of pop standards associated with the jazz idiom like Stardust, Deep Purple and Over The Rainbow.

These traditional elements were woven into the fabric of the Arkestra’s seamless five-hour public performances, presented in a stunning array of rhythms and colors featuring Ra’s boldly conceived original works, anthemic space music compositions, wild group improvisations, throbbing multi-rhythmic orgies in percussion, June Tyson’s other-worldly vocal performances, teams of energetic dancers, and compelling expositions of Ra’s space philosophy set to music and chanted verse.

Almost invariably, at some point in the performance, the entire Arkestra would leave the stage to chant and snake-dance (or as they say in New Orleans, second-line) through the audience.

Over the course of its existence the Arkestra operated under several banners—Sun Ra and His Solar Arkestra, Space Arkestra, Solar-Myth Arkestra, Astro-Infinity Arkestra, Intergalactic Discipline Arkestra, Astro Intergalactic Infinity Arkestra—according to the particular musico-philosophical goals Ra had established for each discrete series of performances or recordings to be undertaken.

During the late seventies and throughout the eighties, after Sun Ra had broadened the Arkestra’s musical palette, he would bill the band as the Omniverse Arkestra and, when they starting touring regularly, as the Omniverse Jet-Set Arkestra.

There was nothing like seeing and hearing Sun Ra and his fabulous Arkestra in the full flight of performance. To witness his space philosophy in action as interpreted by the carefully trained Arkestra was sure to provide aesthetic thrills beyond measure.

There was only one Sun Ra, and the world lost one of the most colorful and beloved figures in twentieth century creative music when the celebrated pianist, composer and bandleader left Planet Earth on Sunday, May 30, 1993.

SUN RA: THE CLASSIC RECORDINGS 1955-1970

THE RECORDED OUTPUT of Sun Ra and his Arkestra is almost beyond measure. Beginning in 1953, when Sun Ra and Alton Abraham determined to document the Arkestra’s music through a series of self-financed recording sessions, and continuing almost until the composer’s death in 1993, Sun Ra recorded hundreds of his compositions with the Arkestra and saw to their release with the establishment of his own record company, El Saturn Records.

Sun Ra made his first real breakthrough with the record buying public in 1972 as a result of his triumphant appearance at the Ann Arbor Blues & Jazz Festival (available on the CD Life Is Splendid) and the release of his brilliant Space Is The Place suite on the pop music label Blue Thumb Records (now available on CD as MCA/Impulse IMPD-249).

Soon Impulse Records had rushed into print an entire series of albums licensed from Ra and Alton Abraham, and the Arkestra went on to enjoy a long and amazingly productive recording career with scores of LPs and CDs issued by a dazzling variety of record labels all over the world.

While his recordings from 1972-92 enjoyed an ever-widening currency among adventurous listeners, the vast majority of Sun Ra’s early works were available only on the tiny El Saturn label operated by Alton Abraham from P.O. Box 7124, Chicago 6, Illinois.

Indeed, except for the occasional outside session—for Transition Records in 1957, Savoy in 1961, and ESP-Disk in 1965-66—El Saturn Records would be the principal outlet for the music of Sun Ra and the Arkestra for its first twenty years.

Packaged with bizarre hand-drawn cover art and often adorned with Sun Ra’s poems and mystical writings, the El Saturn LPs presented the musical creations and visionary philosophy of the great composer and bandleader and were passed almost from hand to hand among the Arkestra’s family, friends and followers who were fortunate enough to get their hands on a maddenly elusive copy.

LISTENING TO THE EL SATURN RECORDINGS (now available on a remarkable Evidence Records series of fifteen CDs of music recorded by Ra and Abraham between 1955 and 1970) provides the opportunity to trace the development of Sun Ra’s incredible musical genius and its manifestation through performance by his exquisitely disciplined ensemble.

From its origins in Chicago to its emergence in New York City ten years later as a completely unique jazz orchestra dedicated to exploring the new frontiers in music mapped out by its leader, the Arkestra can be heard negotiating its difficult course through Ra’s constantly expanding musical universe and making hours and hours of delightful, challenging music in the process.

With the assistance of Alton Abraham, Sun Ra began making rough recordings of his Arkestra as early as 1953. These first efforts, backing violinist Stuff Smith on a Sun Ra arrangement of Deep Purple, can be heard on Sound Sun Pleasure (Evidence ECD 22014).

A set of five standard tunes arranged by Ra (also on the Sound Sun Pleasure CD) was recorded in 1955 by an ensemble which