Soul Searching Sun Rar
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Contents.Biography Early life He was born Herman Blount on May 22, 1914, in, as discovered by his biographer, and published in his 1998 book. He was named after the popular stage magician, who had deeply impressed his mother. He was nicknamed 'Sonny' from his childhood, had an older sister and half-brother, and was doted upon by his mother and grandmother.For decades, very little was known about Sun Ra's early life, and he contributed to its mystique. As a self-invented person, he routinely gave evasive, contradictory or seemingly nonsensical answers to personal questions, and denied his birth name.
He speculated, only half in jest, that he was distantly related to Elijah Poole, later known as, leader of the. His birthday for years remained unknown, as his claims ranged from 1910 to 1918. Only a few years before his death, the date of Sun Ra's birth was still a mystery.
Jim Macnie's notes for Blue Delight (1989) said that Sun Ra was believed to be about 75 years old. But Szwed was able to uncover a wealth of information about his early life and confirmed a birth date of May 22, 1914.As a child, Blount was a skilled pianist. By the age of 11 or 12, he was composing and music.
Birmingham was an important stop for touring musicians and he saw prominent musicians such as, and, and others now forgotten. Sun Ra once said, 'The world let down a lot of good musicians'.In his teenage years, Blount demonstrated prodigious musical talent: many times, according to acquaintances, he went to performances and then produced full transcriptions of the bands' songs from memory. By his mid-teens, Blount was performing semi-professionally as a solo pianist, or as a member of various ad hoc jazz and groups. He attended Birmingham's segregated Industrial High School (now known as ), where he studied under music teacher John T. 'Fess' Whatley, a demanding disciplinarian who was widely respected and whose classes produced many professional musicians.Though deeply religious, his family was not formally associated with any Christian church or sect.
Blount had few or no close friends in high school but was remembered as kind-natured and quiet, an student, and a voracious reader. He took advantage of the Black as one of the few places in Birmingham where African Americans had unlimited access to books. Its collection on and other esoteric concepts made a strong impression on him.By his teens, Blount suffered from. It left him with a nearly constant discomfort that sometimes flared into severe pain.
Szwed suggests that Blount felt shame about it and the condition contributed to his isolation. Early professional career and college In 1934, Blount was offered his first full-time musical job by, his biology teacher from the high school, who had organized a band to pursue a career as a singer. Blount joined a musicians' and toured with Harper's group through the US. When Harper left the group mid-tour to move to New York (she later was a member of the modestly successful singing group the Ginger Snaps), Blount took over leadership of the group, renaming it the Sonny Blount Orchestra. They continued touring for several months before dissolving as unprofitable. Though the first edition of the Sonny Blount Orchestra was not financially successful, they earned positive notice from fans and other musicians.
Blount afterward found steady employment as a musician in Birmingham.Birmingham clubs often featured exotic trappings, such as vivid lighting and murals with tropical or oasis scenes. Some believe these influenced the elements Sun Ra incorporated in his later stage shows.
Playing for the big bands gave black musicians a sense of pride and togetherness, and they were highly regarded in the black community. They were expected to be disciplined and presentable, and in the segregated South, black musicians had wide acceptance in white society. They often played for elite white society audiences (though they were typically forbidden from associating with the audience).In 1936, Whatley's intercession led to Blount's being awarded a scholarship at.
He was a music education major, studying composition, orchestration, and music theory. He dropped out after a year.Trip to Saturn Sun Ra soon left college because, he claimed, he had a visionary experience as a college student that had a major, long-term influence on him. In 1936 or 1937, in the midst of deep religious concentration, Sun Ra claimed that a bright light appeared around him, and, as he later said:“My whole body changed into something else. I could see through myself. And I went up. I wasn't in human form. I landed on a planet that I identified as.
They me and I was down on a stage with them. They wanted to talk with me.
They had one little antenna on each ear. A little antenna over each eye. They talked to me. They told me to stop attending college because there was going to be great trouble in schools.
The world was going into complete chaos. I would speak through music, and the world would listen. That's what they told me.”Sun Ra said that this experience occurred in 1936 or 1937.
According to Szwed, the musician's closest associates cannot date the story any earlier than 1952. (Sun Ra also said that the incident happened when he was living in Chicago, where he did not settle until the late 1940s). Sun Ra discussed the vision, with no substantive variation, to the end of his life. His trip to Saturn allegedly occurred a full decade before entered public consciousness with the 1947 encounter of. It was earlier than other public accounts: about 15 years before wrote about contact with benevolent beings; and almost 20 years before the 1961 case of, who recounted sinister. Szwed says that, 'even if this story is autobiography.
Sonny was pulling together several strains of his life. He was both prophesizing his future and explaining his past with a single act of personal mythology.' New devotion to music (late 1930s) After leaving college, Blount became known as the most singularly devoted musician in Birmingham. He rarely slept, citing, and as fellow highly productive cat-nappers. He transformed the first floor of his family's home into a conservatory-workshop, where he wrote songs, transcribed recordings, rehearsed with the many musicians who drifted in and out, and discussed Biblical and esoteric concepts with whomever was interested.Blount became a regular at Birmingham's Forbes Piano Company, a white-owned company. Blount visited the Forbes building almost daily to play music, swap ideas with staff and customers, or copy sheet music into his notebooks.
He formed a new band, and like his old teacher Whatley, insisted on rigorous daily rehearsals. The new Sonny Blount Orchestra earned a reputation as an impressive, disciplined band that could play in a wide variety of styles with equal skill.Draft and wartime experiences In October 1942 Blount received a notification that he had been into the. He quickly declared himself a, citing religious objections to war and killing, his financial support of his great-aunt Ida, and his chronic hernia. The local draft board rejected his claim. In an appeal to the national draft board, Blount wrote that the lack of black men on the draft appeal board 'smacks of.' Sonny's refusal to join the military deeply embarrassed his family, and many relatives ostracized him.
He was eventually approved for alternate service at camp in —but he did not appear at the camp as required on December 8, 1942. Shortly after, he was arrested in Alabama.In court, Blount said that alternate service was unacceptable; he debated the judge on points of law and Biblical interpretation. Though sympathetic, the judge ruled that Blount was violating the law and was at risk for being drafted into the U.S. Blount responded that if inducted, he would use military weapons and training to kill the first high-ranking military officer possible. The judge sentenced Blount to jail (pending draft board and CPS rulings), and then said, 'I've never seen a nigger like you before.' Blount replied, 'No, and you never will again.' In January 1943 Blount wrote to the from the jail in.
He said he was facing a from the stress of imprisonment, that he was suicidal, and that he was in constant fear of sexual assault. When his conscientious objector status was reaffirmed in February 1943, he was escorted to Pennsylvania. He did forestry work as assigned during the day and was allowed to play piano at night.
Psychiatrists there described him as 'a personality and sexually perverted,' but also as 'a well-educated colored intellectual.' In March 1943, the draft board reclassified Blount as because of his hernia, and he returned to Birmingham, embittered and angered. He formed a new band and soon was playing professionally.
After his beloved great-aunt Ida died in 1945, Blount felt no reason to stay in Birmingham. He dissolved the band, and moved to Chicago—part of the, southern African Americans who moved north during and after.Chicago years (1945–61) In Chicago Blount quickly found work, notably with blues singer, with whom he made his recording debut on two 1946 singles, Dig This Boogie/ Lightning Struck the Poorhouse, and My Baby's Barrelhouse/ Drinking By Myself. Dig This Boogie was also Blount's first recorded piano solo.
He performed with the locally successful band and played bump-and-grind music for months in.In August 1946, Blount earned a lengthy engagement at the under bandleader and composer. 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. Ra's arrangements initially showed a degree of influence, but the band members resisted the new music, despite Henderson's encouragement.In 1948, Blount performed briefly in a trio with saxophonist and violinist, both preeminent swing-era musicians.
There are no known recordings of this trio, but a home recording of a Blount-Smith duet from 1953 appears on Sound Sun Pleasure, and one of Sun Ra's final recordings was a rare sideman appearance on violinist '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, 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 's Stolen Legacy (which argued that classical 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 1952 Blount was leading the Space Trio with drummer Tommy 'Bugs' Hunter and saxophonist, two of the most accomplished musicians he had known. They performed regularly, and Sun Ra began writing more advanced songs.On October 20, 1952, Blount legally changed his name to Le Sony'r Ra. Sun Ra claimed to have always been uncomfortable with his birth name of Blount.
He considered it a, from a family that was not his. David Martinelli suggested that his change was similar to '. dropping their slave names in the process of attaining a new self-awareness and self-esteem'.Patrick left the group to move to Florida with his new wife.
His friend (tenor sax) joined the group, and (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. Saxophonist and trombonist also recorded with Sun Ra in Chicago, and both went on to careers of their own. The Chicago tenor also did a short stint with the band of the early 1950s.In Chicago, Sun Ra met, 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: though he was a disciplined bandleader, Sun Ra was somewhat introverted and lacked business sense (a trait that haunted his entire career). Abraham was outgoing, well-connected, and practical. Though still a teenager, Abraham eventually became Sun Ra's de facto business manager: he booked performances, suggested musicians for the Arkestra, and introduced several popular songs into the group's repertoire. Ra, Abraham and others formed a sort of 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.
Some of these were collected by critic and Anthony Elms as The Wisdom of Sun Ra: Sun Ra's Polemical Broadsheets and Streetcorner Leaflets (2006).In the mid-1950s, Sun Ra and Abraham formed an that was generally known as. (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 1950s: (1957) and (1959). Producer was the first to release a Sun Ra album, through his independent label Transition Records in 1957, entitled. During this era, Sun Ra recorded the first of dozens of singles as a band-for-hire backing a range of and singers; several dozen of these were reissued in a two-CD set, The Singles, by Evidence Records.In the late 1950s, Sun Ra and his band began wearing the outlandish, Egyptian-styled or -themed costumes and for which they became known.
These costumes had multiple purposes: they expressed Sun Ra's fascination with ancient Egypt and the, they provided a distinctive uniform for the Arkestra, they provided a new identity for the band onstage, and comic relief. (Sun Ra thought avant garde musicians typically took themselves far too seriously.)New York years (1961–68) Sun Ra and the Arkestra moved to in the fall of 1961. 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. It was during this time in New York that Sun Ra recorded the albumIn March 1966 the Arkestra secured a regular Monday night gig at.
This was a breakthrough to new audiences and recognition. Sun Ra's popularity reached an early peak during this period, as the and early followers of 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 offered encouragement, once stating, 'Keep it up, Sonny, they tried to do the same shit to me,' and pianist chided someone who said Sun Ra was 'too far out' by responding, 'Yeah, but it swings.' Also in 1966, Sun Ra, with members of the Arkestra and Al Kooper's Blues Project, recorded the album 'Batman and Robin' under the pseudonym, 'The Sensational Guitars of Dan and Dale.' The album consisted primarily of instrumental variations on the Batman theme and public domain classical music, with an uncredited female vocalist singing the 'Robin Theme.'
Despite their planned management of money, the costs of New York eventually became too high and motivated the group to move to Philadelphia.Philadelphia years (1968) In 1968, when the New York building they were renting was put up for sale, Sun Ra and the Arkestra relocated to the section of. 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 radio, giving lectures to community groups, or visiting the city's libraries. In the mid-1970s, the Arkestra sometimes played free Saturday afternoon concerts in a Germantown park near their home. At their mid-1970s 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.California and world tours (1968–93) In late 1968 Sun Ra and the Arkestra made their first tour of the US West Coast. Reactions were mixed. Accustomed to long-form psychedelia like the were often bewildered by the Arkestra. By this time, the performance included 20–30 musicians, dancers, singers, fire-eaters, and elaborate lighting.
John Burks of wrote a positive review of a concert. Sun Ra was featured on the April 19, 1969 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 1970, 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,' preferring to take cash before performing or delivering records.In early 1971, Sun Ra was appointed as artist-in-residence at, teaching a course called The Black Man In the Cosmos.
Few students enrolled, but his classes were often full of curious people from the surrounding community. 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. Reading lists included the works of and, the, 's, and assorted volumes concerning, folklore, and other topics.In 1971, Sun Ra traveled throughout Egypt with the Arkestra at the invitation of the drummer.
He returned to Egypt in 1983 and 1984, when he recorded with Ragab. Recordings made in Egypt were released as Live in Egypt, Nidhamu, Sun Ra Meets Salah Ragab, Egypt Strut and Horizon.In 1972, San Francisco public TV station producer John Coney, producer, and screenwriter Joshua Smith worked with Sun Ra to produce an 85-minute feature film, entitled, with Sun Ra's Arkestra and an ensemble of actors assembled by the production team. It was filmed in. A 1975 show concert by the Arkestra in Cleveland featured an early lineup of as the opening act. On May 20, 1978, Sun Ra and the Arkestra appeared on the TV show.In New York City in the fall of 1979, Sun Ra and the Arkestra played as the 'house band' at the 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.
Debbie Harry, 's and Nico (from 's Factory days), and, and other pop and avant-garde musicians were regulars. 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. In those days, 'Space Is The Place' was the space at Squat.The Arkestra continued their touring and recording through the 1980s and into the 1990s.Death Sun Ra had a in 1990, but kept composing, performing, and leading the Arkestra. Late in his career, he opened a few concerts for the New York–based rock group.
When too ill to perform and tour, Sun Ra appointed Gilmore to lead the Arkestra. (Gilmore was frail from; after his death, Allen took over leadership of the Arkestra.)In late 1992, 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. He died in the hospital on May 30, 1993, and was buried at the.
The footstone reads 'Herman Sonny Blount aka Le Sony'r Ra'. The Arkestra. The Sun Ra Arkestra performing in London in 2010.Following Sun Ra's death, the Arkestra was led by tenor saxophonist John Gilmore. Following Gilmore's death in 1995, the group has performed under the direction of alto saxophonist Marshall Allen.
A 1999 album led by Allen, Song for the Sun, featured. In the summer of 2004 the Arkestra became the first American jazz band to perform in, in southern Siberia, where they played five sets at the Ustuu-Huree Festival.As of July 2019, the Arkestra continues to tour and perform.
In September 2008 they played for 7 days in a row at the festival, each day emphasizing different aspects of the musical legacy of Sun Ra. In 2009, they performed at Philadelphia's in conjunction with an exhibition that explored the intersection of the Arkestra's performing legacy and the practice of contemporary art. In 2011 they ventured to Australia for the first time, for the 2011 and MONA (Museum of Old and New Art) in Tasmania. More recently in 2017, the Arkestra performed at the 31st in Lowell Massachusetts. In 2019 it was announced that the Arkestra would perform at 's for three nights on July 14, 15, and 16. Music Sun Ra's piano technique touched on many styles: his youthful fascination with, and, a sometimes refined touch reminiscent of or, and angular phrases in the style of or brutal, percussive attacks like. Often overlooked is the range of influences from – Sun Ra cited, and 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 mid-1950s, 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 1960s and early 1970s 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.Chicago phase The first period occurred in the 1950s when Sun Ra's music evolved from 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 's, Count Basie's, or other important swing music ensembles.
However, there was a strong influence from post-swing styles like, and, and touches of the exotic and hints of the experimentalism that dominated his later music. Notable Sun Ra albums from the 1950s include, and., Sun Ra's bassist, has been described as 'the pivot around which much of Sun Ra's music revolved for eight years.' This is especially pronounced on the key recordings from 1965 (, and ) where the intertwining lines of Boykins' bass and Ra's electronic keyboards provide cohesion.
New York phase 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. 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, 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': 'I have to make sure that every note, every nuance, is correct. 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 by drawing on various ethnic musical forms – and most saxophonists became, 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 and other various; he was given a prototype by its inventor,. According to the: 'Sun Ra first met Robert Moog after journalist and Sun Ra acquaintance arranged for a visit to Moog’s factory in in the Fall of 1969.it was during this visit that Moog loaned Sun Ra a prototype Minimoog (Model B), several months before the commercial instrument (Model D) was introduced in March 1970.
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 1970s.' Notable titles from this period include, When Sun Comes Out, Secrets of the Sun and Other Planes of There.Philadelphia phase During their third period, beginning in the 1970s, 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: 'They tried to fool you, now I got to school you, about jazz, all about jazz' he rapped, framing the inclusion of pieces. In the 1970s Sun Ra took a liking to the films of. He incorporated smatterings of Disney musical numbers into many of his performances from then on.
In the late 1980s the Arkestra performed a concert at. The Arkestra's version of ' is available on Stay Awake, a tribute album of Disney tunes played by various artists and produced. A number of Sun Ra's 1970s 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 1970s era. In 1978–80 performances, Sun Ra added a large electronic creation, the Outerspace Visual Communicator, which produced images rather than sounds; this was performed at a keyboard by its inventor, Bill Sebastian.
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During concerts, the OVC usually was positioned at center stage behind the Arkestra while Sebastian sat on stage with the musicians.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, 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.The following is a partial list of musical collaborators, and the eras when they played with Sun Ra or the Arkestra.
Main article: Filmography (1974) 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. Sun Ra and his Arkestra were the subject of a few documentary films, including 's (1980).
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. More recently, ' Sun Ra – Brother from Another Planet (2005) incorporated some of Mugge's material, and includes some additional interviews. Points on a Space Age (2009) is a documentary by Ephrahaim Asili. 'It's a 60-minute doc along the lines of the talking-head-intercut-with performance clips style.' Bibliography 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.
Sun Ra's collected poetry and prose is available as a book, published May 2005, entitled. Another book of over 260 of Sun Ra's poems, Sun Ra: Collected Works Vol. 1: Immeasurable Equation was published by Phaelos Books in November 2005. The Wisdom of Sun Ra: Sun Ra's Polemical Broadsheets and Streetcorner Leaflets, was published in book form in 2005, by WhiteWalls. A collection of Sun Ra's poetry, This Planet Is Doomed, was published by in 2011.Notes. Retrieved 6 December 2016.
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Retrieved 2013-05-20. Szwed (1999): according to author Norman Mailer writing in 1956, quoted on page 154: 'a friend took me to hear a jazz musician named Sun Ra who played 'space music'.' According to Sun Ra himself, also in 1956, quoted on page 384: 'When I say space music, I'm dealing with the void, because that is of space too. So I leave the word space open, like space is supposed to be.'
On page 247, in an interview, Sun Ra stated 'sometimes when I'm playing for a band, playing space music. I'm using ordinary instruments, but actually I'm using them in a manner. Transforming certain ideas over into a language which the world can understand.' . Szwed, John F.
Space Is the Place: The Lives and Times of Sun Ra New York: Pantheon, 1997.; p. Xvii.
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Soul Searching Sun Rar Online
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Soul Searching Sun Rar Player
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