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He formed a new band and soon was playing professionally. After his beloved great-aunt Ida died in , Blount felt no reason to stay in Birmingham.
Dig This Boogie was also Blount's first recorded piano solo. He performed with the locally successful Lil Green band and played bump-and-grind music for months in Calumet City strip clubs.
Blount had long admired Henderson, but Henderson's fortunes were fading his band was now made of up middling musicians rather than the stars of earlier years in large part because of his instability, due to Henderson's long term injuries from a car accident.
Henderson hired Blount as pianist and arranger, replacing Marl Young. Ra's arrangements initially showed a degree of bebop influence, but the band members resisted the new music, despite Henderson's encouragement.
In , Blount performed briefly in a trio with saxophonist Coleman Hawkins and violinist Stuff Smith , both preeminent swing-era musicians.
There are no known recordings of this trio, but a home recording of a Blount-Smith duet from appears on Sound Sun Pleasure , and one of Sun Ra's final recordings was a rare sideman appearance on violinist Billy Bang 's Tribute to Stuff Smith.
In addition to enabling professional advancement, what he encountered in Chicago changed Blount's personal outlook.
The city was a center of African-American political activism and fringe movements, with Black Muslims , Black Hebrews , and others proselytizing, debating, and printing leaflets or books.
Blount absorbed it all and was fascinated with the city's many ancient Egyptian-styled buildings and monuments. He read books such as George G.
James 's Stolen Legacy which argued that classical Greek philosophy had its roots in ancient Egypt. Blount concluded that the accomplishments and history of Africans had been systematically suppressed and denied by European cultures.
By Blount was leading the Space Trio with drummer Tommy "Bugs" Hunter and saxophonist Pat Patrick , two of the most accomplished musicians he had known.
They performed regularly, and Sun Ra began writing more advanced songs. Sun Ra claimed  to have always been uncomfortable with his birth name of Blount.
He considered it a slave name , from a family that was not his. Patrick left the group to move to Florida with his new wife.
His friend John Gilmore tenor sax joined the group, and Marshall Allen alto sax soon followed. Patrick was in and out of the group until the end of his life, but Allen and Gilmore were the two most devoted members of the Arkestra.
In fact, Gilmore is often criticized for staying with Sun Ra for over forty years when he demonstrated the talent to have been a strong leader in his own right.
The Chicago tenor Von Freeman also did a short stint with the band of the early s. In Chicago, Sun Ra met Alton Abraham , a precociously intelligent teenager and something of a kindred spirit.
He became the Arkestra's biggest booster and one of Sun Ra's closest friends. Both men felt like outsiders and shared an interest in esoterica.
Abraham's strengths balanced Ra's shortcomings: Abraham was outgoing, well-connected, and practical. Though still a teenager, Abraham eventually became Sun Ra's de facto business manager: Ra, Abraham and others formed a sort of book club to trade ideas and discuss the offbeat topics that so intrigued them.
This group printed a number of pamphlets and broadsides explaining their conclusions and ideas. In the mids, Sun Ra and Abraham formed an independent record label that was generally known as El Saturn Records.
It had several name variations. Initially focused on 45 rpm singles by Sun Ra and artists related to him, Saturn Records issued two full-length albums during the s: In the late s, Sun Ra and his band began wearing the outlandish, Egyptian-styled or science fiction -themed costumes and headdresses for which they became known.
These costumes had multiple purposes: Sun Ra thought avant garde musicians typically took themselves far too seriously. To save money, Sun Ra and his band members lived communally.
This enabled Sun Ra to request rehearsals spontaneously and at any time, which was already a noted habit of his. Despite their planned management of money, the costs of New York eventually became too high and motivated the group to move to Philadelphia.
This was a breakthrough to new audiences and recognition. Sun Ra's popularity reached an early peak during this period, as the beat generation and early followers of psychedelia embraced him.
Regularly for the next year and a half and intermittently for another half-decade afterwards , Sun Ra and company performed at Slug's for audiences that eventually came to include music critics and notable jazz musicians.
Opinions of Sun Ra's music were divided and hecklers were not uncommon. High praise, however, came from two of the architects of bebop. Trumpeter Dizzy Gillespie offered encouragement, once stating, "Keep it up, Sonny, they tried to do the same shit to me,"  and pianist Thelonious Monk chided someone who said Sun Ra was "too far out" by responding, "Yeah, but it swings.
In , when the New York building they were renting was put up for sale, Sun Ra and the Arkestra relocated to the Germantown section of Philadelphia.
Sun Ra got a house on Morton Street that became the Arkestra's base of operations until his death. Apart from occasional complaints about the noise of rehearsals, they were soon regarded as good neighbors because of their friendliness, drug-free living, and rapport with youngsters.
The saxophonist Danny RayThompson owned and operated the Pharaoh's Den, a convenience store in the neighborhood. When lightning struck a tree on their street, Sun Ra took it as a good omen.
James Jacson fashioned the Cosmic Infinity Drum from the scorched tree trunk. They commuted via railroad to New York for the Monday night gig at Slug's and for other engagements.
Sun Ra became a fixture in Philadelphia, appearing semi-regularly on WXPN radio, giving lectures to community groups, or visiting the city's libraries.
In the mids, the Arkestra sometimes played free Saturday afternoon concerts in a Germantown park near their home. At their mids shows in Philadelphia nightclubs, someone stood at the back of the room, selling stacks of unmarked LPs in plain white sleeves, pressed from recordings of the band's live performances.
Hippies accustomed to long-form psychedelia like the Grateful Dead were often bewildered by the Arkestra.
Sun Ra was featured on the April 19, cover of Rolling Stone magazine, which introduced his inscrutable gaze to millions.
During this tour, Damon Choice, then an art student at San Jose, joined the Arkestra and became its vibraphonist.
Starting with concerts in France, Germany, and the United Kingdom in , the Arkestra began to tour internationally.
They played to audiences who had known his music only through records. Sun Ra continued playing in Europe to nearly the end of his life.
The saxophonist Danny Thompson became a de facto tour and business manager during this era, specializing in what he called "no bullshit C.
One half-hour of each class was devoted to a lecture complete with handouts and homework assignments , the other half-hour to an Arkestra performance or Sun Ra keyboard solo.
He returned to Egypt in and , when he recorded with Ragab. It was filmed in Oakland and San Francisco.
A show concert by the Arkestra in Cleveland featured an early lineup of Devo as the opening act. In New York City in the fall of , Sun Ra and the Arkestra played as the "house band" at the Squat Theatre on 23rd Street, which was notorious as the performance venue of the avant-garde Hungarian theater troupe.
Janos, their manager, transformed the theater into a nightclub while most of the troupe was away that season performing in Europe.
Sun Ra was disciplined and drank only club soda at the gigs, but did not impose his strict code on his musicians.
They respected his discipline and authority. Soft-spoken and charismatic, Sun Ra turned Squat Theater into a universe of big band "space" jazz backed by a floor show of sexy Jupiterettes.
He directed while playing three synthesizers at the same time. Sun Ra had a stroke in , but kept composing, performing, and leading the Arkestra.
Late in his career, he opened a few concerts for the New York—based rock group Sonic Youth. When too ill to perform and tour, Sun Ra appointed Gilmore to lead the Arkestra.
Gilmore was frail from emphysema ; after his death, Allen took over leadership of the Arkestra. In late , Sun Ra returned to his birth city of Birmingham to live with his older sister, Mary Jenkins, who along with various Blount cousins became his caretaker.
In January, he was admitted to Princeton Baptist Medical Center, suffering from congestive heart failure, respiratory failure, strokes, circulatory problems, and other serious maladies.
Following Gilmore's death in , the group has performed under the direction of alto saxophonist Marshall Allen. In the summer of the Arkestra became the first American jazz band to perform in Tuva , in southern Siberia, where they played five sets at the Ustuu-Huree Festival.
As of July , the Arkestra continues to tour and perform. In September they played for 7 days in a row at the ZXZW festival, each day emphasizing different aspects of the musical legacy of Sun Ra.
In , they performed at Philadelphia's Institute of Contemporary Art in conjunction with an exhibition that explored the intersection of the Arkestra's performing legacy and the practice of contemporary art.
Sun Ra's piano technique touched on many styles: Often overlooked is the range of influences from classical music — Sun Ra cited Chopin , Rachmaninoff , Schoenberg and Shostakovich as his favorite composers for the piano.
As a synthesizer and electric keyboard player, Sun Ra ranks among one of the earliest and most radical pioneers.
By the mids, he used a variety of electric keyboards, and almost immediately, he exploited their potential perhaps more than anyone, sometimes modifying them himself to produce sounds rarely if ever heard before.
His live albums from the late s and early s feature some of the noisiest, most bizarre keyboard work ever recorded.
Sun Ra's music can be roughly divided into three phases, but his records and performances were full of surprises and the following categories should be regarded only as approximations.
The first period occurred in the s when Sun Ra's music evolved from big band swing into the outer-space-themed "cosmic jazz" for which he was best known.
Music critics and jazz historians say some of his best work was recorded during this period and it is also some of his most accessible music.
Sun Ra's music in this era was often tightly arranged and sometimes reminiscent of Duke Ellington 's, Count Basie's, or other important swing music ensembles.
However, there was a strong influence from post-swing styles like bebop , hard bop , and modal jazz , and touches of the exotic and hints of the experimentalism that dominated his later music.
Ronnie Boykins , Sun Ra's bassist, has been described as "the pivot around which much of Sun Ra's music revolved for eight years.
After the move to New York, Sun Ra and company plunged headlong into the experimentalism that they had only hinted at in Chicago.
The music was often extremely loud and the Arkestra grew to include multiple drummers and percussionists. In recordings of this era, Ra began to use new technologies—such as extensive use of tape delay—to assemble spatial sound pieces that were far removed from earlier compositions such as Saturn.
Recordings and live performances often featured passages for unusual instrumental combinations, and passages of collective playing that incorporated free improvisation.
It is often difficult to tell where compositions end and improvisations begin. In this era, Sun Ra began conducting using hand and body gestures.
This system inspired cornetist Butch Morris , who later developed his own more highly refined way to conduct improvisers. Though often associated with avant-garde jazz, Sun Ra did not believe his work could be classified as "free music": If you want to call it that, spell it p-h-r-e , because ph is a definite article and re is the name of the sun.
So I play phre music — music of the sun. Seeking to broaden his compositional possibilities, Sun Ra insisted all band members double on various percussion instruments — predating world music by drawing on various ethnic musical forms — and most saxophonists became multireedists , adding instruments such as flutes, oboes, or clarinets to their arsenals.
In this era, Sun Ra was among the first of any musicians to make extensive and pioneering use of synthesizers and other various electronic keyboards ; he was given a prototype Minimoog by its inventor, Robert Moog.
According to the Bob Moog Foundation: Ra immediately added the instrument to his repertoire of keyboards, later acquired a second, and featured the Minimoog prominently on many of his recordings of the early s.
During their third period, beginning in the s, Sun Ra and the Arkestra settled down into a relatively conventional sound, often incorporating swing standards, although their records and concerts were still highly eclectic and energetic, and typically included at least one lengthy, semi-improvised percussion jam.
Sun Ra was explicitly asserting a continuity with the ignored jazz tradition: In the s Sun Ra took a liking to the films of Walt Disney.
He incorporated smatterings of Disney musical numbers into many of his performances from then on. In the late s the Arkestra performed a concert at Walt Disney World.
The Arkestra's version of " Pink Elephants on Parade " is available on Stay Awake , a tribute album of Disney tunes played by various artists and produced by Hal Willner.
A number of Sun Ra's s concerts are available on CD, but none have received a wide release in comparison to his earlier music.
The album Atlantis can be considered the landmark that led into his s era. During concerts, the OVC usually was positioned at center stage behind the Arkestra while Sebastian sat on stage with the musicians.
Dozens of musicians—perhaps hundreds—passed through Sun Ra's bands over the years. Some stayed with him for decades, while others played on only a few recordings or performances.
Sun Ra was personally responsible for the vast majority of the constant changes in the Arkestra's lineup. According to contrabassist Jiunie Booth , a member of the Arkestra, Sun Ra did not confront any musician whose performance he was unsatisfied with.
Instead, he would simply gather the entire Arkestra minus the offending musician, and skip town—leaving the fired musician stranded.
After repeated instances of U. State Department was compelled to tell Sun Ra to bring any fired musicians stateside rather than leave them stranded.
The following is a partial list of musical collaborators, and the eras when they played with Sun Ra or the Arkestra:. The OVC was a giant machine, played with hands and feet, that allowed artists to create and finger-paint with light similar to how musicians create and explore sound with their instruments.
The name of the instrument arose from Bill Sebastian's collaboration with Sun Ra. Sun Ra incorporated the OVC into the Arkestra from and experimented with Bill on video applications from to John Bishop, of Video Magazine, stated of the OVC that "the emotional energy of the visuals equals and at times surpasses that of the music.
The images are not slaves to the sounds but function the way a dancer does; interpreting, harmonizing, and enlarging the space created by the music.
Sun Ra's world view was often described as a philosophy, but he rejected this term, describing his own manner as an "equation" and saying that while philosophy was based on theories and abstract reasoning, his method was based on logic and pragmatism.
Many of the Arkestra cite Sun Ra's teachings as pivotal and for inspiring such long-term devotion to the music that they knew would never make them much money.
His equation was rarely if ever explained as a whole; instead, it was related in bits and pieces over many years, leading some to doubt that he had a coherent message.
However, Martinelli argues that, when considered as a whole, one can discern a unified world view that draws upon many sources, but is also unique to Sun Ra, writing:.
Sun Ra presents a unified conception, incorporating music, myth, and performance into his multi-leveled equations.
Every aspect of the Sun Ra experience, from business practices like Saturn Records to published collections of poetry to his year career in music, is a manifestation of his equations.
Sun Ra seeks to elevate humanity beyond their current earthbound state, tied to outmoded conceptions of life and death when the potential future of immortality awaits them.
As Hall has put it, "In this era of 'practical' things men ridicule even the existence of God. They scoff at goodness while they ponder with befuddled minds the phantasmagoria of materiality.
They have forgotten the path which leads beyond the stars. He drew on sources as diverse as the Kabbalah , Rosicrucianism , channeling , numerology , Freemasonry , Ancient Egyptian Mysticism , and black nationalism.
Sun Ra's system had distinct Gnostic leanings,  arguing that the god of most monotheistic religions was not the creator god, not the ultimate god, but a lesser, evil being.
Sun Ra was wary of the Bible, knowing that it had been used to justify slavery. He often re-arranged and re-worded Biblical passages and re-worked many other words, names, or phrases in an attempt to uncover "hidden" meanings.
The most obvious evidence of this system was Ra's practice of renaming many of the musicians who played with him. And a lot of times it was humorous, and a lot of times it was ridiculous, and a lot of times it was right on the money.
Some of Sun Ra's songs with words featured lyrics that although simple, were inspirational and philosophical.
The most famous example was "Space Is the Place! You did something wrong. Make another mistake, and do something right! According to Szwed,  Sun Ra's view of his relationship to black people and black cultures "changed drastically" over time.
Initially, Sun Ra identified closely with broader struggles for black power, black political influence, and black identity, and saw his own music as a key element in educating and liberating blacks.
But by the heyday of Black Power radicalism in the s, Sun Ra was expressing disillusionment with these aims. He denied feeling closely connected to any race.
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