Sun Ra Music

"Sound Sun Pleasure" is a good, fairly conventional set of 6 tracks, mostly other writers' material, well-recorded and played by an Arkestra that has a very tight and very beautiful reed section at work, trafficking primarily in low tones (provided in part by Pat Patrick's baritone sax). Female vocalist Hatte Randolph sings on the majority of tracks. The session is not unlike the similarly lush and conventional "Holiday For Soul Dance".

The CD is augmented with some of Ra's earliest recordings, previously released as Side 1 of a Saturn LP entitled "Deep Purple". These 7 tracks are less even and less impressive, but nice to have.

The 1974 release is the soundtrack for a movie with the same title which merged elements of sci-fi, mythology and politics in the Sun Ra production.

The music is incredible, with numerous tracks becoming mainstays of the Sun Ra live sets. With the universe being the backdrop, Sun Ra and His Intergalactic Solar Arkestra take free jazz to astonishing heights and develop an intriguing sonic trail.

The creative powers are awesome and the genius of Sun Ra shines brightly with the use of a vast artistic canvas that includes music and cinema.

Space is the Place was the soundtrack to a low budget film that Sun Ra helped write, star and produced. The movie may be forgettable but the music will live on. Some of Sun Ra's best music can be found on this disc. Filled with celestial jams and galactic funk, Sun Ra's from outer space!
There's not one bad track on this one. You can see why George Clinton made a second career by copying off of the master of space jazz. If you like real jazz or psychedelic music this is a must!

Highly recommended music.

This is a stupid review but I'm a stupid kid. The above statement is false. My dog is not only alive but infact is a female. This CD is reccomended. It's just as weird as Trout Mask Replica if not more surprisingly so but on the other hand hasn't made me vomit yet like Trout Maks Replica did... It's After The End of the World! Now you know.

If you have seen the Arkestra live, you will know that these songs represent songs that he performed quite a bit live. It just seems that this doesn't represent quite the strength that these tunes usually represent. It's still good, and not a bad one to pick up if you are new to Sun Ra, but you might start with Sun Song and Sound Sun Pleasure.

...don't you know? this album cries for an ode to RA! Space is the place, don't you know? get with it people, get lost with this album, or just leave this planet. You're obviously bored with planet earth if haven't heard this yet.

The early-1970s was a tumultuous time in American politics and the world landscape. Sun Ra weaves the political controversies with sci-fi and mythology for this 82 minute film that had a very limited run when initially released in 1974. There is a universal message in Sun Ra's production, with the music - released in a soundtrack - making for an outstanding package.

Though available in often shoddy bootlegs, this DVD is a fitting tribute to the cinematic vision of an artistic genius.

The film is mysterious and colorful and I think thats its biggest strength. But you don't get a good handle on Sun Ra's own space philosophy other than "black people must free themselves". Overlong with good performances, but not enough musical performances. It finishes with the classic 70s ambiguous ending. In truth, not a very good music film or blaxploitation film or weirdo-art film. It has genius moments you would find in all three, but only remains infamous due to it being a weird mix of the great ingrediants.

Appropriately named a blaxploitation film, Space is the Place does more harm than good in promoting "blackness", in spite of its attempts to weave in sophisticated technological and mythic themes. It is an arduous task finding positive representations and ideas amidst the white noise of drugs, bitches, pimps, and, well, noise. Ironically, part of the process is not understanding, as finally clarified in Sun Ra's concert approaching the end of the film.

The good versus evil, religious, and Egyptian themes are relatively transparent, and the exclusive application to blacks (though strangely only to American blacks), is a reaction to the same monopolization on the part of whites. There is a mythical garden, an Eden-like place, an ark in the form of a space ship, and immortality in space/heaven, all reserved for blacks. Rather than promoting equality and peaceful coexistence, the message is one of segregation and near mutual annihilation. This could be because the divide between blacks and whites seems wide and hopelessly irreparable, or because blacks themselves are unable to rise up out of their oppressed state without outside or divine assistance. In all these cases thus far, the militant pro-black attitude actually agrees a great deal with white racism, promoting segregation and stating that blacks bear a great responsibility for their own plight, and cannot get their acts together.

This negative presentation of disenfranchised groups continues in the hyper-sexualization of black women (and white women), seen in the whores, stories of abused women, told by their men and pimps, nurses, and numerous silent women riding in cars. Another notable phenomenon is the use of exploiting women to elevate one's status, especially if the woman is white. This implies not only that the assignment of female is even more subjugating than blackness, and that white women are a greater prize than black ones: the overseer's choice woman is white, and he first shows sexual interest in the white nurse, who happens to bring her black friend. Lines like "...do what your daddy says, and everything will be fine--it's better than shooting up on the stoop, isn't it?" both deprive women of the ability to make choices, and imply their predisposition to drugs and catering to their carnal instincts; this resembles the antiquated, racist, white perceptions of blacks, this time transferred to women. The line spoken by the pimp, who defends the fact that he beat his woman to the point of hospitalization, says "bitches need it". Somehow this man receives salvation in the end, but why, we never know.

The alternating predatory or impotent black male persists throughout Space is the Place. The best example of this is in the devil-like Overseer, and his pathetic (half-white?) assistant. It could be, however, that the impotent part of him comes from that inner whiteness in his personality, since the two NASA men are unable to perform in the same brothel on the same day.

The concert is the moment where Sun Ra explains his philosophy. Throughout the film, he establishes music as a balancing, mathematical, sophisticated force that can power anything from spaceships to an entire race. It can cause chaos, revolution, and salvation, so the fact that Sun Ra uses his unusual form of jazz to spread his message is expected. He asks, at the end of the film, for blind trust, for understanding that blacks are "the pattern and spirit of man", he asks them to not be afraid and to embrace their ignorance as their salvation. It is an ambiguous ending resulting in the salvation of whores, teenage hoodlums who save Sun Ra from the NASA men, a pimp who abuses women, and the black half of Jimmy Fey, helper of the Overseer.

If nothing else, this film may be good for a laugh as some charmingly dated things can be, but whether in its own context of the time or now, it is offensive to the mind and ear. Best seen with a group of drunk friends, I would imagine.

this film is pretty nice but not nearly as great as the documentary A Joyful Noise. I highly recommend purchasing A Joyful Noise first because it provides a deeper look into Sun Ra.

I picked up this curious period piece of psychedelic, indie-fueled moviemaking some time ago. Sorry now I waited so long to view it. It's a delightful combination of '70's pop culture, science fiction fantasy, Sun Ra musical storytelling through his Inter-Galactical Outer Space Archestra, and black pride allegory that manages to be quite on point.

Initially, I was too fascinated by the imagery and music to think much about any message. In retrospect, Sun Ra is a spiritual being from a space colony playing chess with an earthly demonic pimpmaster for big stakes: the souls of exploited people, black (mostly) and white. The pimpmaster also plays the system, selling his black brothers and sisters to addiction and prostitution for his own pleasure, trapping them in an oppressive, seemingly inescapable existence. A third main character is the media commentator--Jimmy Fay--who seems to be a shill for the pimpmaster and his worldly culture but eventually comes around (perhaps more John the Baptist than Jesus Christ) to sharing the enlightened message of Sun Ra, joining those who are delivered from bondage. All ends happily in a Sun Ra space colony of resurrected, reborn black/white humanity.

Even if you don't buy the Biblical allegory, it's still a cool trip, with a bit of harmless nudity and violence for good measure (just like Cecil De Mille).

The early-1970s was a tumultuous time in American politics and the world landscape. Sun Ra weaves the political controversies with sci-fi and mythology for this 82 minute film that had a very limited run when initially released in 1974. There is a universal message in Sun Ra's production, with the music - released in a soundtrack - making for an outstanding package.

Though available in often shoddy bootlegs, this DVD is a fitting tribute to the cinematic vision of an artistic genius.

The film is mysterious and colorful and I think thats its biggest strength. But you don't get a good handle on Sun Ra's own space philosophy other than "black people must free themselves". Overlong with good performances, but not enough musical performances. It finishes with the classic 70s ambiguous ending. In truth, not a very good music film or blaxploitation film or weirdo-art film. It has genius moments you would find in all three, but only remains infamous due to it being a weird mix of the great ingrediants.

Appropriately named a blaxploitation film, Space is the Place does more harm than good in promoting "blackness", in spite of its attempts to weave in sophisticated technological and mythic themes. It is an arduous task finding positive representations and ideas amidst the white noise of drugs, bitches, pimps, and, well, noise. Ironically, part of the process is not understanding, as finally clarified in Sun Ra's concert approaching the end of the film.

The good versus evil, religious, and Egyptian themes are relatively transparent, and the exclusive application to blacks (though strangely only to American blacks), is a reaction to the same monopolization on the part of whites. There is a mythical garden, an Eden-like place, an ark in the form of a space ship, and immortality in space/heaven, all reserved for blacks. Rather than promoting equality and peaceful coexistence, the message is one of segregation and near mutual annihilation. This could be because the divide between blacks and whites seems wide and hopelessly irreparable, or because blacks themselves are unable to rise up out of their oppressed state without outside or divine assistance. In all these cases thus far, the militant pro-black attitude actually agrees a great deal with white racism, promoting segregation and stating that blacks bear a great responsibility for their own plight, and cannot get their acts together.

This negative presentation of disenfranchised groups continues in the hyper-sexualization of black women (and white women), seen in the whores, stories of abused women, told by their men and pimps, nurses, and numerous silent women riding in cars. Another notable phenomenon is the use of exploiting women to elevate one's status, especially if the woman is white. This implies not only that the assignment of female is even more subjugating than blackness, and that white women are a greater prize than black ones: the overseer's choice woman is white, and he first shows sexual interest in the white nurse, who happens to bring her black friend. Lines like "...do what your daddy says, and everything will be fine--it's better than shooting up on the stoop, isn't it?" both deprive women of the ability to make choices, and imply their predisposition to drugs and catering to their carnal instincts; this resembles the antiquated, racist, white perceptions of blacks, this time transferred to women. The line spoken by the pimp, who defends the fact that he beat his woman to the point of hospitalization, says "bitches need it". Somehow this man receives salvation in the end, but why, we never know.

The alternating predatory or impotent black male persists throughout Space is the Place. The best example of this is in the devil-like Overseer, and his pathetic (half-white?) assistant. It could be, however, that the impotent part of him comes from that inner whiteness in his personality, since the two NASA men are unable to perform in the same brothel on the same day.

The concert is the moment where Sun Ra explains his philosophy. Throughout the film, he establishes music as a balancing, mathematical, sophisticated force that can power anything from spaceships to an entire race. It can cause chaos, revolution, and salvation, so the fact that Sun Ra uses his unusual form of jazz to spread his message is expected. He asks, at the end of the film, for blind trust, for understanding that blacks are "the pattern and spirit of man", he asks them to not be afraid and to embrace their ignorance as their salvation. It is an ambiguous ending resulting in the salvation of whores, teenage hoodlums who save Sun Ra from the NASA men, a pimp who abuses women, and the black half of Jimmy Fey, helper of the Overseer.

If nothing else, this film may be good for a laugh as some charmingly dated things can be, but whether in its own context of the time or now, it is offensive to the mind and ear. Best seen with a group of drunk friends, I would imagine.

this film is pretty nice but not nearly as great as the documentary A Joyful Noise. I highly recommend purchasing A Joyful Noise first because it provides a deeper look into Sun Ra.

I picked up this curious period piece of psychedelic, indie-fueled moviemaking some time ago. Sorry now I waited so long to view it. It's a delightful combination of '70's pop culture, science fiction fantasy, Sun Ra musical storytelling through his Inter-Galactical Outer Space Archestra, and black pride allegory that manages to be quite on point.

Initially, I was too fascinated by the imagery and music to think much about any message. In retrospect, Sun Ra is a spiritual being from a space colony playing chess with an earthly demonic pimpmaster for big stakes: the souls of exploited people, black (mostly) and white. The pimpmaster also plays the system, selling his black brothers and sisters to addiction and prostitution for his own pleasure, trapping them in an oppressive, seemingly inescapable existence. A third main character is the media commentator--Jimmy Fay--who seems to be a shill for the pimpmaster and his worldly culture but eventually comes around (perhaps more John the Baptist than Jesus Christ) to sharing the enlightened message of Sun Ra, joining those who are delivered from bondage. All ends happily in a Sun Ra space colony of resurrected, reborn black/white humanity.

Even if you don't buy the Biblical allegory, it's still a cool trip, with a bit of harmless nudity and violence for good measure (just like Cecil De Mille).

This is a CD release of the album "Space is the Place," originally on Blue Thumb. It is neither the soundtrack to the film of the same name, nor a spinoff. It predates the film by a couple of years. It is an essential Sun Ra release from the 1970s.

This is a spin off of some sorts. The soundtrack to the Film (of the same name) is a really good release. This album is good but the soundtrack is one of the best of his CD's. RELESE SUB UNDERGROUND ON CD with something else SATURN.

Space Is The Place opens with its title track, a twenty-minute freeform freak-jazz-psychedelic-soul-funk meltdown, a thundering acid-bop meltdown full of squirming melodies, dramatically repurposed instruments, head-splittingly chaotic vocals, solos that seem to spin off in multiple directions at once, and layers of percussion that'll make you dance and have a seizure at the same time. It sounds primitive and futuristic and progressive and playful and high-minded and juvenile and logical and psychotic all at once, and it's a masterpiece. And that's just the first song on the album.

Flip the record over, and you've got four more gems. "Images" is the sound of post-bop teetering on the edge of free jazz. Led by Sun Ra's oceanic piano, the song swerves from a gorgeous theme into regions of near atonality before spiraling back into beauty again, with the kind of high-minded grace reserved for geniuses. "Discipline" is a rolling, apocalyptic drone, and "Sea Of Sounds" is sheer scorched earth freeform noise. "Rocket Number Nine" is willfully cheesy, utterly irresistible space-age jazz pop.

Classic freak jazz. Get it.

Not being a great conoisseur of Sun Ra's work, I still feel confident enough to say that, in spite of psychodelic "spices" that might seem trendy, in spite of "etno" components, this CD shows deep and profound jazz feeling on the part of the band leader and his musicians.

And even if youre not a true jazz fan you still might enoy this eccentric music.

pointblank:

unless you've been considered a little bit 'odd' or 'eccentric' by those closes to you, you proly have no business buying this cd...

i mean, there are some jazz artists that some folks jus dont get (monk, mingus, shepp, mr. ra) and they proly never will...

but if you ARE one of them 'nutnuts' (as my mama might say)
who like a lil more adventure in their musical preferences, then by all means...

...knock yourself out with this!

contents:
20% cry of my people...
18.7% i have a dream...
12.8% mingus...
a whole days dose of vitamin c...
.05% the sub-sahara...
negative X over C divided by the space/time continuum...
the gulp of light rays being swallowed by a blackhole...
22.3% daaaaayum, that's good...
and a miscellaneous ammount of midnight...

...uh...

nevermind...

najee is over in the next aisle.

Sun Ra has a prolific catalog of live and studio releases, but this CD captures a different angle of the creative genius; at home and working on a variety of material.

The 37 songs are taken from recordings Sun Ra made for personal use during 1954-1960 and are heavily based upon a piano-vocal format. Though these are oftentimes very rough and not mixed for public issue, it presents a special insight in Sun Ra building upon ideas and concepts.

The CD is essential for fans who are striving to have a complete library of Sun Ra releases or for those who are intrigued at hearing the shaping of music by an incredible artist.

These are a collection of home recordings of Sun Ra working with a few different vocal groups. All of the material are rehearsal tapes and if any were deemed suitable to be released there was no record company found to willing to release them. But their release now give us an intimate look at what was happening in Sun Ra's living room in the mid Fifties.

Even though the songs are mostly show tune standards and doo wop type fair Sun Ra's presence is unmistakeable. The vocal arrangements are far more adventurous than what would be the norm in the day. And the piano work is clearly Sun Ra's. Sun Ra came from a swing and jump blues tradition and it is very interesting to hear his inteprtation of it. The roots of the music are in place but it still has that haunting and displaced quality of Sun Ra's best work.

This is not something that can be heard anywhere else. One star taken for the poor recording quality and the sometimes unpolished performances just so I am not misrepresenting this release to a potential buyer. But the inside look at Sun Ra's work given by these home recordings is a worthwhile treasure.

Continuing on the path established by their last Sun Ra "Unheard Music" CD release, Ativistic drop a revelation on Sun Ra fans with the release of "Spaceship Lullaby."

Comprised of 37, mostly unknown and unheard, tracks from vocal-based groups Sun Ra worked with in the early days of the Arkestra, the music on this CD comes entirely from home-made rehearsal tapes.

The quality is extremely rough in spots, but considering the origin and rarity of the tapes, there's little to complain about. The Arkestra appears on a few cuts, but most takes are piano and vocal based. The selections are mostly covers of standards and pop tunes of the day, but there are several Sun Ra originals in the mix that are a revelation, and add yet a few more missing pieces back to the infinite Sun Ra myth.

This release is suggested for hard-core, have it all, Sun Ra fans, and definately not for new "travelers of the spaceways."