In 1961, Sun Ra (born Herman Poole Blount in Birmingham, Alabama, in 1914) moved his core band from Chicago to New York. The first album he recorded there, The Futuristic Sounds reveals a slim eight-piece Arkestra bridging swing and bop and Sonny’s rising imaginative and prescient of freer varieties, offbeat constructions, and extra open, if not but vastly cosmic, areas. His acoustic piano enjoying is pleasant, his rhythm part of bassist Ronnie Boykins, drummer Willie Jones, and conga participant Leah Ananda is firmly grounded, and his horn part—Bernard McKinney (trombone, euphonium), Marshall Allen (alto sax, flute, and modified shakuhachi), John Gilmore (tenor sax, bass clarinet), and Pat Patrick (baritone sax)—exhibits indicators of transferring from Ellingtonian/Don Redman-esque tightness towards extra excited expressiveness. Ricky Murray’s vocal on Victor Young’s “China Gates” and accents and jams on bells, chimes, wooden blocks, and claves set the stage for later growth of Ra’s sonic palette. Packaged with producer Tom Wilson’s unique liner notes, new essays by Ben Young and Irwin Chusid, and Harvey’s trippy cowl artwork, the binaurally recorded music will not be solely accessible as barely edgy mainstream jazz, however on this 180-gram vinyl kind, with analog remastering by Kevin Gray at Cohearent Audio, is introduced with luxurious readability.
The submit Sun Ra: The Futuristic Sounds of Sun Ra appeared first on The Absolute Sound.
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