by carl wilson

It's After the End of the World


In honour of the Sun Ra Arkestra's appearance tomorrow night (with the Coleman Lemieux dance company) launching the Music Gallery's X-Avant Festival, here's a piece I wrote three years ago, last time the Marshall Allen-led big band came through town playing the compositions of their late friend & mentor.

It feels so different to re-read it at this moment, when the top of the news is Colin Powell knuckling Barack Obama's prospects further into the spaceways, rather than a swirling sky-fist slamming down on the people of New Orleans. Tomorrow's show at the Palais Royale should be a grand cosmic-slop celebration.

(FYI I'm going to be on a "Space is the Place" panel at 3 pm on Saturday (Oct 25) at the Music Gallery, talkin' Sun Ra & Stockhausen with Aiyun Huang, Arnd Jurgensen and Alan Stanbridge.)

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Sun Ra's stream of consciousness still flowing into the future

Carl Wilson
14 October 2005
The Globe and Mail

The reality of the "off-the-grid," shunted-aside mass of the African-American underclass rarely breaks through to popular attention. It happened during the Los Angeles riots of 1992, and again after the New Orleans hurricane disaster this fall. Each time, the reaction is as if the media's so-called observers had stumbled on a previously undiscovered planet of want in the western cosmos.

Turn that image on its head, to picture a new world of freedom and plenty for those same people, and you glimpse a strain of astro-Afro-utopianism that runs through 20th-century black movements, such as Garveyism, Rastafarianism, the militantly mystic Nation of Islam, and the music of Herman (Sonny) Blount: legal name at his death in 1993, Le Sony'r Ra; and more familiar on this astral plane as Sun Ra.

[... continues ...]

Blount "arrived" on Earth circa 1914, in segregated Birmingham, Ala. -- en route, he maintained, from Saturn. Over his 79 years, dozens of musicians passed through his Sun Ra Arkestra in Chicago, New York, Philadelphia and, for six months in 1961, Montreal. They recorded more than 100 albums and untold numbers of singles, with titles such as Heliocentric Worlds, Cosmic Tones for Mental Therapy and Space Is the Place (also the name of a recent biography, and a documentary available on DVD).

The Arkestra also garbed itself in colourful robes and ram-horned headgear that seemed to come out of a Hollywood Cleopatra epic. It snaked through audiences chanting: "It's after the end of the world, don't you know that yet?" It played unheard-of chord changes, skronked and squealed, and sang "Rocket No. 9 taking off for the planet Venus, Venus, Venus."

As a result, Sun Ra is often patronized as some sort of jazz Dr. Seuss by pot-smoking college kids intent on getting off on the far-out. Yet, the "myth science" taught by the former big-band and strip-club pianist went deeper for his musicians. They were the descendents of Africans who'd been brought into bondage by ship; maybe another ship -- a rocket, at least of the mind -- could get them out.

"You want a better world, play better music," says Marshall Allen, the 81-year-old alto saxophonist who now leads the Arkestra, which will hold court for four nights at the Lula Lounge in Toronto this week, still wearing its space gear and chanting its mantras.

The Arkestra sails on, Allen says, at Sun Ra's dying request: It was the last tune he called. And Allen composes new repertoire, despite the band's vast back catalogue, because "you have to stay with the vibrations of the day -- it goes around and it's constantly changing."

While Ra was alive, with his constant cosmic jive patter, even appreciative critics generally considered him an isolated sideshow. The story looks different in retrospect. Besides sketching the contours of free jazz a decade ahead of time, Sun Ra and his groups pioneered modal improvisation and the use of electric pianos and synthesizers. Even when they didn't have electronic instruments, Allen says, "you had to take those saxophones and make them sound like it."

The Arkestra adopted African and "world" elements to jazz before anyone else did, and Ra was an autodidact in Egyptology and other esoterica long before it became fashionable Afrocentrism. As Amiri Baraka wrote after his death: "It was Sun Ra and the Myth Science Arkestra that marched across 125th Street with us . . . announcing the 60s cultural revolution and sparking a Black Arts Movement."

Sun Ra's tenor sax player, the late John Gilmore, was an acknowledged influence on John Coltrane. Pharoah Sanders is a former Arkestra member. Sun Ra's mark is as visible on the Association for the Advancement of Creative Musicians (including the likes of Anthony Braxton and the Art Ensemble of Chicago) as on the 1970s funk-rock "Mothership" piloted by George Clinton with Parliament-Funkadelic and, by extension, on all jazz-fusion music.

It was no lark to be an Arkestra member. Sun Ra's rehearsals were marathon conditioning sessions that could last days, recalls Allen, who joined in 1958. "You got paid to come to rehearsal -- you might not get paid to play the gig." The edict was that a musician could not play what he knew -- he had to play what he didn't know. Allen puts it in a Socratic aphorism: "Once you don't know nothin', then you can do somethin'."

But the prohibitions went further. Musicians were required to abjure alcohol, drugs and the company of women. From the 1960s on, they were enjoined to live in the group's communal Philadelphia row house. Call it monastic or call it a cult. Sun Ra, who was jailed during the Second World War for his conscientious objection, sometimes described the Arkestra as a non-violent army.

Biographers dispute whether Ra was a traumatized person retreating into fantasy, or a sly satirist fully in command of his metaphors. I suspect it was both, at once escape and assault, just as he was at once an innovator and a traditionalist. Under Allen's more earthbound direction, there's stronger emphasis on the Duke Ellington and Fletcher Henderson swing standards Sun Ra always loved, plus the "simple melodies" Allen prefers to write, albeit with the Arkestra's "unique attack."

In his 1995 Sun Ra elegy, Baraka called Allen himself "a giant . . . There is no alto saxophonist I know today, or generally, hipper than Marshall." He added: "That this is not common knowledge is depressing."

The living Arkestra's position remains scandalously insecure today, despite wider recognition of its late leader's significance. The economics are punishing when you have to maintain a large band (such as the 14 players Allen hopes to bring to Toronto) as well as the legacy that resides in the communal Philly house where Allen still lives.

"You've got to suffer non-payment of rent in order to buy you an instrument or something you need to play," he says. "The music is for the future -- Sun Ra was saying that then. It was a good thought, that it'd come back around. But what about now?"

The old recordings have been reissued on CD and probably sell better than a lot of jazz does, but Sun Ra's management neglected to ensure any royalties would flow to the band. It's the perennial story of black journeymen abandoned by the music business. New Orleans floods, Sun Ra's roof leaks; the black Atlantis has yet to surface. But Allen will never yield.

"It's the size of your spirit. You can have all the material things, but then you've got to lift your spirit up to the height of the money you've got all stacked up there." He chuckles. "It's a balance thing in this world."

And if this one refuses to provide, you hold that vision of other worlds that will. It's a balance thing, but not, so far, a just one.

Read More | General | Posted by zoilus on Monday, October 20 at 2:22 PM | Linking Posts | Comments (0)




Zoilus by Carl Wilson