The Futuristic Sounds of Sun Ra
| The Futuristic Sounds of Sun Ra | ||||
|---|---|---|---|---|
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| Studio album by Sun Ra and his Arkestra | ||||
| Released | 1961 | |||
| Recorded | October 10, 1961 Newark, New Jersey | |||
| Genre | Jazz | |||
| Length | 41.51 | |||
| Label | Savoy Records | |||
| Producer | Tom Wilson | |||
| Sun Ra and his Arkestra chronology | ||||
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| Allmusic (LP) |   |
| The Rolling Stone Jazz Record Guide | |
The Futuristic Sounds of Sun Ra is an album by the American jazz musician Sun Ra and his Arkestra, recorded October 10, 1961 for the Savoy label.
The album was produced by Tom Wilson, who would later become famous for producing albums by the Velvet Underground, Frank Zappa and Bob Dylan.
The first record to be recorded by a pared-down Arkestra after Sun Ra and the core of his group left Chicago and relocated to New York City. According to Sun Ra's biographer John Szwed:
'The idea was just to play a few gigs, maybe some studio work, and then go back to Chicago and work at the Pershing [club] again. But as soon as they crossed the George Washington Bridge they collided with a taxi and bent one of the wheels of [bassist] Ronnie Boykins's father's car. With no money to have it fixed they were stranded again. [Sun Ra] went to a phone booth and called Ed Bland and Tom Wilson to tell them they were in town, and the band moved into a couple of hotel rooms over the Peppermint Lounge on 45th Street. But after a few days of waiting, Strickland and Mitchell got anxious, called home for money, and left. The five who remained then moved to a room on 81st Street between West End Avenue and Riverside Drive, and after a few days found a cheaper place farther downtown in the seventies.
'Though the band had no luck finding places to play, Tom Wilson came up with a recording session for them with Savoy Records. On October 10 they crossed the river to the Medallion Studio in Newark with a few musicians they added for the date... and they produced a record which could have easily represented their repertoire during an evening at a club there..... Despite a heavy title and a cover painting of a conga drum swirling like a tornado through a valley of piano keys against an orange sky, the record was plagued from the start. Tom Wilson's liner notes were filled with inaccuracies: Distribution was almost as poor as it was with the Saturn records, and there was no reviews for twenty-three years, when it was reissued in 1984 as We Are In The Future.'
The album is often considered one of the most accessible records in Ra's vast catalogue;
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Wikipedia