Best Sun Ra Albums | The Red Pony Review #3

Best Sun Ra Albums: Black Cosmic Jazz

Sun Ra, born Herman Poole Blount in 1914 in Birmingham, Alabama, claimed he was not from Earth but from Saturn, sent to enlighten humankind through music. His philosophy combined elements of what later would be known as Afrofuturism and—yes, really—Egyptian mythology, all of which guided his life, compositions and improvisations, as well as his band’s life.

To be fair, Sun Ra rejected the term ‘philosophy’ for his ideas, instead calling them an ‘equation’. He often spoke of escaping the limitations imposed on Black Americans through the power of music, seeing it as a means of transcending earthly struggles and achieving higher consciousness.

His band, the so-called Arkestra, which functioned as both a musical ensemble and a disciplined spiritual collective, followed his vision of music as a cosmic language. Some might view him as an authoritarian cult leader, but there are no known accounts of him being abusive or even impolite. In fact, many members of his Arkestra loved him and, even after Sun Ra’s death in 1993, the Arkestra is still active and honours his legacy.

Sun Ra's discography is immense, but some albums stand out for their historical impact and sonic innovation. Here’s a chronological journey through some of his most essential works.

Jazz in Silhouette (1959)

Before fully embracing his cosmic persona, Sun Ra was already pushing jazz forward. Jazz in Silhouette is one of the last albums recorded before he and his Arkestra left Chicago for New York. This album presents a refined take on big band and hard bop, infused with Sun Ra’s forward-thinking arrangements and harmonies.

Unlike his later avant-garde explorations, Jazz in Silhouette showcases a blend of swing and blues-based jazz, with intricate horn arrangements and Sun Ra’s signature use of space in his compositions. Tracks like "Saturn" and "Enlightenment" hint at the cosmic themes that would soon define his work, making this a foundational piece in his vast catalog.

The Magic City (1965)

By the mid-1960s, Sun Ra had fully embraced free jazz, and The Magic City is one of his most adventurous recordings. Named after his birthplace, Birmingham, Alabama, the album is structured as a long, sprawling composition, with spontaneous interplay among Arkestra members.

This album marks an important shift in Sun Ra’s approach to composition and improvisation, favoring collective exploration over traditional jazz forms. The title track, an extended free-form piece, serves as a blueprint for Sun Ra’s future excursions into avant-garde jazz. With dense textures, swirling electronic keyboards, and unpredictable rhythms, The Magic City is an essential listen for those seeking the most experimental side of his music.

Atlantis (1969)

A defining album of Sun Ra’s late '60s period, Atlantis is notable for its deep-space sonorities and the introduction of the “Solar Sound Instrument,” an early electronic keyboard that Ra used to shape otherworldly textures. The album is divided between shorter tracks that explore various soundscapes and the title piece, a nearly 22-minute cosmic odyssey.

The music oscillates between lush orchestrations and turbulent improvisations, capturing the mythical grandeur of the lost city of Atlantis. With its blend of jazz instrumentation and electronic experimentation, this album solidified Sun Ra’s reputation as one of the most forward-thinking composers of his time.

For many listeners, this is one of the hardest albums in his discography to get into.

Space Is the Place (1973)

Perhaps Sun Ra’s most well-known album, Space Is the Place is both a manifesto and a sonic journey. Released alongside the 1974 Afrofuturist film of the same name, this album encapsulates Sun Ra’s cosmic philosophy and his belief in music as a vehicle for spiritual liberation.

The title track, an expansive 20-minute composition, combines chant-like vocals, relentless grooves, and explosive horn sections, creating an immersive, interstellar experience. The album blends free jazz with elements of funk and blues, making it one of Sun Ra’s most accessible and influential recordings. Its cultural significance extends beyond jazz, influencing generations of avant-garde and experimental musicians.

Cosmos (1977)

Recorded during a period of extensive European touring, Cosmos presents a fascinating blend of Sun Ra’s electronic experiments and big band orchestrations. The album features heavy use of synthesizers, creating a futuristic soundscape that feels both expansive and intimate.

While it retains Sun Ra’s signature cosmic themes, Cosmos also incorporates elements of traditional jazz, Latin rhythms, and even proto-electronic influences. This album is a testament to Sun Ra’s ability to continually evolve while staying true to his unique vision of music as a cosmic force.

Lanquidity (1978)

With Lanquidity, Sun Ra ventured into the realms of jazz-funk and fusion, producing one of his most groove-oriented albums. Recorded in a single night, the album presents a more polished and atmospheric sound, featuring electric instrumentation and a relaxed, hypnotic feel.

Unlike the raw energy of Space Is the Place, Lanquidity showcases a more controlled and texturally rich side of Sun Ra’s music. Tracks like "Where Pathways Meet" and "Twin Stars of Thence" highlight his ability to integrate funk rhythms with cosmic jazz harmonies, making it a favorite among both jazz and fusion enthusiasts.

Sleeping Beauty (1979)

Following the smooth jazz-funk sound of Lanquidity, Sleeping Beauty continues in a similarly lush and dreamy direction. This album features some of Sun Ra’s most melodic and laid-back compositions, with ethereal vocals and fluid, celestial arrangements.

The title track, a slow-burning cosmic ballad, is a prime example of Sun Ra’s ability to craft deeply emotive and otherworldly music. With its warm production and meditative atmosphere, Sleeping Beauty stands as one of his most enchanting and accessible recordings.

* Red Pony is the pseudonym of Darío Gómez González, a musicologist and founder of the record label Fritanga Records. Darío uses this alias for his solo American Primitive Guitar project and to write on this blog.