Sun Ra: The Futuristic Sounds Of Sun Ra - 60th Anniversary Edition

Produced by Tom Wilson, the same man who also helmed recordings by the Mothers of Invention, Bob Dylan and the Velvet Underground, The Futuristic Sounds Of Sun Ra may belie its title when described as one of the most accessible titles in his lengthy discography. Nonetheless, like its concert companion piece, At Inter-Media Arts, April 1991 (Modern Harmonic, 2016), the relatively concise approach overseen by its famous studio supervisor can reasonably function as the gateway into that vast universe of this most avant-garde artist's work.

Certainly the eleven tracks, totaling around forty-two minutes, invite close listening. And with the cuts running for roughly two ("What's That") to seven minutes ("The Beginning"), there is little to no fear of becoming lost in the density of sound on a cut such as those or the opening "Bassism." On the contrary, the generally steady beat maintained by bassist Ronnie Boykins and drummer Willie Jones, accentuated with Leah Ananda's percussion, is sure to hold the attention; the well-balanced mix readily allows the listener to simultaneously process and appreciate the varied melodic lines of, among others, Bernard McKinney on trombone and euphonium.

Of course, the sound quality figures in such an equation and, as is the case here, the optimum stereo span, combined with the clarity of the sonics themselves, will add to the sensory-heavy experience. Originally engineered by Paul Cady, and remastered for this release by Kevin Gray, the consistency of the audio, in fact, reaffirms the continuity of the album (in part also due to its recording in a single 1961 day). Futuristic Sounds is very much a whole greater than the sum of its parts, even as the sometimes quick transitions occur from Marshall Allen's saxophone to flute during "Where Is Tomorrow."

Such are the multiple instances of intuitive musicians with complementary talents finishing each other's thoughts without any intrusion of ego in any direction, or any fear of silence intermingling with the instruments. Not surprisingly, given Sun Ra's openness to serendipity, the space commencing "The Beginning" only sets out in greater relief the layering of the arrangement as the cut evolves. The quiet also acts as a balance to the vocal of Ricky Murray on "China Gates." Singing might otherwise be an intrusion upon the instrumentals but, in this case, the tactile presence of the voice only adds to the variety of reverberations (headphones are not absolutely necessary in that regard). One of the more extended tracks here, "New Day," might benefit from going longer in its drone-like motion but it simply whets the appetite for more, in this case, the succeeding tracks as well as repeated and complete hearings.

Winding down as it does with the tranquil lull of "Tapestry From An Asteroid,"—a slightly-more conventional up-tempo corollary of which literally concludes the record in the form of "Space Jazz Reverie"— this 60th Anniversary Edition of Sun Ra's first recording with his band, The Arkestra, in New York after relocating from Chicago is an exercise in versatility on a number of fronts, especially as the homestretch continues with the expectant upbeat likes of "Jet Flight." With more mesmerizing tones following in the track sequencing on "Looking Outward," the Alabama native-born Herman Poole Blount here refuses to do anything to undermine the impact of the unexpected on what would be his sole outing for the Savoy Records label .

It is that idiosyncratic spirit he maintained over the course of his prolific career, an impressive history here annotated by the esteemed producer's original liner notes plus essays by jazz historian Ben Young and author, journalist & radio personality Irwin Chusid. Their contributions to this package are erudite exercises in scholarship which suit their subject.