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Until the laws change. 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.
In he said:. I couldn't approach black people with the truth because they like lies. At one time I felt that white people were to blame for everything, but then I found out that they were just puppets and pawns of some greater force, which has been using them Some force is having a good time [manipulating black and white people] and looking, enjoying itself up in a reserved seat, wondering, "I wonder when they're going to wake up.
Sun Ra is considered to be an early pioneer of the Afrofuturist movement due to his music, writings and other works. The influence of Sun Ra can be seen throughout many aspects of black music.
He grounded his practice of Afrofuturism in a musical tradition of performing blackness that remains relevant today. Sun Ra lived out his beliefs of Afrofuturism in his daily life by embodying the movement not only in his music, but also in his clothes and actions.
This embodiment of the narrative allowed him to demonstrate black nationalism as a counternarrative to the present culture. It was in Chicago, as well, in the mid-fifties, that Ra began experimenting with extraterrestriality in his stage show, sometimes playing regular cocktail lounges dressed in space suits and ancient Egyptian regalia.
By placing his band and performances in space and extraterrestrial environments Sun Ra built a world that was his own view of how the African diaspora connected.
Many of Sun Ra's innovations remain important and groundbreaking. Ra was one of the first jazz leaders to use two double basses, to employ the electric bass, to play electronic keyboards, to use extensive percussion and polyrhythms , to explore modal music and to pioneer solo and group freeform improvisations.
In addition, he made his mark in the wider cultural context: Sun Ra had given NRBQ's Terry Adams a copy of the song on 45 and told him, "This is especially for you," which Adams reported inspired him to reform the band after a period of inactivity.
The band still includes Sun Ra's compositions in their performances, and besides "Rocket 9" have released recordings of "We Travel the Spaceways" and "Love in Outer Space.
Adams has joined the Arkestra as their pianist on several tours, most recently during a February tour of cities in the US southeast.
Detroit 's MC5 played a handful of shows with Sun Ra and were influenced by his works immensely. One of their songs from their premiere album Kick Out the Jams featured a track called Starship , which was based on a poem by Ra.
The Sun Ra Repatriation Project was started in with the aim of using interplanetary communication with a view to facilitating Sun Ra's return to planet Earth.
Filmmaker and visual artist Cauleen Smith has heavily researched the life and legacy of Sun Ra. Her exhibition "17" "arises out of [her] research into the legacy of Sun Ra, who was himself a student of numerology and achieved a kind of cultural immortality the number 17 might be said to refer to".
The second component of the project The collection was assembled by Ra's business manager Alton Abraham and is open to the public upon request.
The latest exhibition was entitled Sounds from Tomorrow's World: Sun Ra and the Chicago Years Space Is the Place is a feature-length film that stars Sun Ra and his band as themselves.
The soundtrack, also by Sun Ra, is available on CD. The film follows Sun Ra after he returns to Chicago from many years of space travel with his Arkestra.
In a meeting with "the Overseer" — a devil-like figure stationed in the desert — Sun Ra agrees to play a game of cards to "win" the black community.
Sun Ra's goal is to transport the American black community to a new planet he discovered while on his journey, and that he hopes to use as a home for an entirely black population.
The artist's mission is to "teleport the whole planet through music", but his attempts are often misunderstood by his supposed converts.
A Joyful Noise It interspersed passages of performances and rehearsals with Sun Ra's commentary on various subjects ranging from today's youth to his own place in the cosmos.
Points on a Space Age is a documentary by Ephrahaim Asili. Sun Ra wrote an enormous number of songs and material regarding his spiritual beliefs and music.
A magazine titled Sun Ra Research was published irregularly for many years, providing extensive documentation of Sun Ra's perspectives on many issues.
Another book of over of Sun Ra's poems, Sun Ra: Immeasurable Equation was published by Phaelos Books in November The Wisdom of Sun Ra: From Wikipedia, the free encyclopedia.
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