Cosmic Tones for Mental Therapy is an album by the American Jazz musician Sun Ra and his Myth Science Arkestra recorded in 1963, but not released until 1967 on Sun Ra's own Saturn label. The record was reissued on compact disc by Evidence in 2000.
Originally released in a sleeve with a Sun Ra doodle, the better known cover, designed by Richard Pedreguera, was in place by 1969.[1] Pedreguera also designed the sleeve for The Nubians of Plutonia at around the same time.
Reception and legacy
The album has been discussed within the context of anticipating psychedelia[4][5] or pointing towards the funk of George Clinton;
'Clinton's astral ritual seems as inspired by the Nation of Islam as it is by Sun Ra, and when asked about the Ra in 1979, Clinton said, "This boy was definitely out to lunch - the same place I eat at."[6]
First two tracks recorded at the Choreographer's Workshop, New York (the Arkestra's rehearsal space) in 1963.[1]Adventure-Equation, Moon Dance and Voice of Space were recorded at the Tip Top club, Brooklyn, in the same year, at 10 in the morning whilst Tommy Hunter was playing nights there with Sarah McLawler's trio, since the club provided access to a Hammond B-3 organ gratis.[4] Hunter remembers some neighbourhood kids running in during the recording and shouting, "These guys don't know how to play!".[4]
Le Sony'r Ra, better known as Sun Ra, was an American jazz composer, bandleader, piano and synthesizer player, and poet known for his experimental music, "cosmic" philosophy, prolific output, and theatrical performances. For much of his career, Ra led The Arkestra, an ensemble with an ever-changing name and flexible line-up.
The Heliocentric Worlds of Sun Ra, Volume One is a 1965 album by the jazz musician Sun Ra. The back cover describes it as an "album of compositions and arrangements by Sun Ra played by Sun Ra and his Solar Arkestra".
The Magic City is an album by the American jazz musician Sun Ra and his Solar Arkestra. Recorded in two sessions in 1965, the record was released on Ra's own Saturn label in 1966. The record was reissued by Impulse! in 1973, and on compact disc by Evidence in 1993.
Atlantis is an album by American jazz musician Sun Ra and his Astro-Infinity Arkestra, released in 1969 by El Saturn Records.
Lanquidity is a 1978 studio album by American jazz musician Sun Ra.
Jazz By Sun Ra is the debut album by Sun Ra. The record label for the first pressing says "07-12-56", presumably when it was recorded. The LP originally appeared on Tom Wilson's short-lived Transition Records. In the mid-1960s it was purchased by Delmark Records owner Bob Koester, finally being reissued in 1967.
Super-Sonic Jazz is the second studio album by Sun Ra, recorded in 1956 at RCA Studios, Chicago. Super-Sonic Jazz was the first album to be released on Saturn Records, the label run by Sun Ra and Alton Abraham, and was one of only three albums by Sun Ra to have been available in the 1950s.
Live in Egypt 1 is a recording by the jazz musician Sun Ra and his Astro-Intergalactic-Infinity Arkestra, documenting their first visit to Egypt.
Horizon is a recording by the jazz musician Sun Ra and his Astro-Intergalactic-Infinity Arkestra, forming part of the documentation of their first visit to Egypt.
Space is the Place is an album by Sun Ra and His Intergalactic Solar Arkestra. The music was recorded in early 1972 in San Francisco, California for the film Space Is the Place. However, the music remained unreleased until Evidence Music issued a compact disc in 1993.
Interstellar Low Ways is an album recorded by the American jazz musician Sun Ra and his Myth Science Arkestra, mostly recorded in Chicago, 1960, and released in 1967 on his own El Saturn label. Originally titled Rocket Number Nine, the album had acquired its present name, and the red-on-white sleeve by Claude Dangerfield, by 1969. The album is known particularly for the two songs featuring chants, "Interplanetary Music" and "Rocket Number Nine Take off for the Planet Venus". These would stay in the Arkestra's repertoire for many years.
Rocket Number Nine points toward the music that the Arkestra would be playing on the lower East Side of New York City. The tenor sax solo isn't the work of John Coltrane in 1962, but of John Gilmore in 1960. And not even Ornette Coleman's bassists were playing like Ronnie Boykins at this date.
The Futuristic Sounds of Sun Ra is an album by the American jazz musician Sun Ra and his Arkestra, recorded on October 10, 1961, for the Savoy label and released in 1962.
Bad and Beautiful is an album by the American jazz musician Sun Ra and his Arkestra. Recorded in 1961 in New York City at the Choreographers' Workshop, 414 W. 51st St., the album was the second to be recorded in New York by the Arkestra after leaving Chicago, but would remain unreleased until 1972. The album is considered to represent an important transition between the big band approach of the Chicago recordings, and the more 'outside' approach of Ra's smaller bands recorded later in the decade:
'Aside from "Exotic Two," the tunes are split between standards and blues originals, but there are indications of the direction the Arkestra would take throughout the '60s. "Search Light Blues" has some interesting percussion accents finding their way into the arrangement, and "Exotic Two" alludes more clearly to the percussion-heavy sound that dominated many of the '60s recordings. Sun Ra plays piano exclusively on this recording, and Gilmore gets lots of room to shine. A significant transitional LP, this is probably the last "inside" record the Arkestra would record as they forged new sonic paths into the mid-'60s.' Sean Westergaard, All Music Guide link
Art Forms of Dimensions Tomorrow is an album by the American jazz musician Sun Ra and his Solar Arkestra. Often considered the first of Ra's 'outside' recordings, the album was the first to make extensive use of a discovery by the Arkestra's drummer and engineer Tommy Hunter:
'Art Forms of Dimensions Tomorrow.... contained "Cluster of Galaxies" and "Solar Drums", two rhythm section exercises with the sound treated with such strange reverberations that they threatened to obliterate the instruments' identity and turn the music into low-budget musique concrète. While testing the tape recorder when the musicians were tuning up one day, Hunter had discovered that if he recorded with the earphones on, he could run a cable from the output jack back into the input on the recorder and produce massive reverberation:
"I wasn't sure what Sun Ra would think of it... I thought he might be mad - but he loved it. It blew his mind! By working the volume of the output on the playback I could control the effect, make it fast or slow, drop it out, or whatever." [Tommy Hunter]
'By the 1950s commercial recording companies had developed a classical style of recording which assured that the recording process itself would be invisible... but Sun Ra began to regularly violate this convention on the Saturn releases by recording live at strange sites, by using feedback, distortion, high delay or reverb, unusual microphone placement, abrupt fades or edits, and any number of other effects or noises which called attention to the recording process. On some recordings you could hear a phone ringing, or someone walking near the microphone. It was a rough style of production, an antistyle, a self-reflexive approach which anticipates both free jazz recording conventions and punk production to come.' John F Szwed
Secrets of the Sun is an album by the American Jazz musician Sun Ra and his Solar Arkestra. The album is considered one of the more accessible recordings from his 'Solar' period. Originally released on Ra's own Saturn label in 1965, the record was unavailable for many years before being reissued on compact disc by Atavistic in 2008.
'Marking a transition in its development between the advanced swing of the early Chicago-era recordings and the increased free-form experimentation of its New York tenure, this album also reveals the first recorded versions of two Ra standards, "Friendly Galaxy" and "Love in Outer Space." Accessible, yet segueing into vanguard territory, this album highlights a fertile period in the Arkestra's history. Looser and more aggressive than its Chicago recordings, these pieces find the Arkestra pushing at the limits of harmony and tonality.' Troy Collins
For the song by Harold Arden and Ted Koehler, see When the Sun Comes Out
When Angels Speak of Love is a music album by the American Jazz musician Sun Ra and his Myth Science Arkestra. Originally released in 1966 on Sun Ra's own Saturn label, the record would have only been available by mail order or sold at Arkestra concerts, and is one of the rarest of all Saturn releases. The record was reissued on compact disc by Evidence in 2000.
Other Planes of There is an album by the American Jazz musician Sun Ra and his Solar Arkestra. Recorded in 1964, the album had been released by 1966 on Sun Ra's own Saturn label. The record was reissued on compact disc by Evidence in 1992.
'Granted, the selection is certainly not as abrasive and demanding as later efforts, although there is strident involvement from everyone within the dense arrangement. The brass and reed sections provide emphasis behind an off-kilter and loping waltz backdrop. All the more impressive is how well the material has held up over the decades. Even to seasoned ears, the music is pungent and uninhibited, making Other Planes of There a highly recommended collection.' Lindsay Planer
Strange Strings is an album by the American Jazz musician Sun Ra and his Astro Infinity Arkestra. Recorded in 1966, the album was released in 1967 on Sun Ra's own Saturn label. The record was reissued on compact disc by Atavistic in 2007.
Monorails and Satellites, Volumes I & II are two albums of solo piano compositions by the American Jazz musician Sun Ra. Both recorded in 1966, Volume 1 was released in 1968 under the title "Monorails And Satellites" and Volume II was released in 1974 under the title "Monorails & Satellites", both on Sun Ra's own Saturn label. The first volume was reissued on compact disc by Evidence in 1992. Both volumes, along with nine previously unreleased tracks from the same sessions, were reissued in 2019 on the Cosmic Myth Records label as Monorails and Satellites: Works For Solo Piano Vols. 1, 2, 3. The album showcases Ra's skills as a pianist, which are often compared to Cecil Taylor's;
'Monorails and Satellites, a 1966 solo piano recording, showcases Ra's unique style, which bridges the bluesy architecture of Jelly Roll Morton with the angularity of Monk and Cecil Taylor's ascent beyond traditional structure.'
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
