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Sun Ra Lost Ark Vol 1&2 10inch Vinyl.

AL CHEM – weird fiction.

No Hopper is a rework of the Ras Michael song No Hoppers, from his legendary album, Rastafari Dub, Chem’s version shuffles the pack of electronic percussion with organic, Moondog-like rhythms and hazy atmospheric chords; The Prophet pinpoints Chem’s GPS firmly in Berlin, just as The Red Tower blurs that kick-drum parallel between reggae and house music; Baudelaire sputters digital delay, piling on the pressure, a clatter of surgical implements performing an operation out of Dead Ringers, the patient storming out of the theatre with loosely fitted mechanical body parts; the instrumental No Hopper only serves to highlight the distant gathering storm. Ladder of Perfection rounds off the set with a drone, creaking with bubbling digital mud pools.

ArtYardLP2017 -Limited vinyl pressing 500 numbered 180gram tip-on sleeve.

Sun Ra – Disco 3000 and Media Dreams Milan 1978 Complete Concerts.

During the winter of 1977-78, Sun Ra could be found in Italy, touring with a quartet consisting of himself, John Gilmore, drummer Luqman Ali, and trumpeter Michael Ray. The visit was incredibly prolific – as well as recording two double LPs for the Horo label and piano concert in Venice, the quartet made a number of concert tapes which were eventually used for releases on Ra’s Saturn label. These tapes became the albums Disco 3000 and Media Dreams – two astonishing sets dominated by the revolutionary intergalactic sounds of Sun Ra’s brand new Crumar Mainman synthesizer. Both recordings are here presented in full as 2CD sets. Documenting the full emotional and sonic range of Sun Ra in session, they provide a rare chance to hear Ra and company travel the spaceways in small group format. Recorded in late January 1978, this edition of Disco 3000 is dominated by a full 26-minute take of the title track, a monumental synth excursion propelling the group at warp speed across the friendly galaxies. Put to tape at another January 1978 concert, Media Dreams is an equally unmissable session, with the group’s dazzling creative interchanges set to the screams, squeals and glittering space dust Ra extracts from the Crumar. Space oscillations in complete transmission, tuned to exoplanetary wavelengths

Salah Ragab And The Cairo Jazz Band Present Egyptian Jazz.

These recordings present Salah Ragab and The Cairo Jazz Band’s definitive work, recorded in Heliopolis Egypt between 1968 and 1973. Western Jazz musicians have been fascinated with the world of Islam for many years, for religious – spiritual, musical and sociological reasons. It was therefore inevitable that musicians of the Arabian North African area would play a part in the interaction of these two Musical Cultures. The compositions correspond to the cross over of musical styles at the time of the recording, 6000 miles away across the Mediterranean and Atlantic in New York with releases on Moodsville by Yusef Lateef and RCA by Ahmud Abdul-Malik.


Sun Ra and His Intergalactic Myth Science Solar Arkestra Sleeping Beauty and On Jupiter.

Sun Ra’s Sleeping Beauty and On Jupiter are towering documents of late 1970s Arkestral prowess, the warmth and funkiness have made them favourites with Sun Ra fans. The recordings for the two albums took place at New York’s Variety Recording Studios on three separate dates during 1979 (sessions that also yielded the material for Strange Celestial Road), and both records are highpoints of the Arkestra’s 1970s journey. On Jupiter effortlessly cruises across genre boundaries toward a rarely visited star on the deep disco funk ‘UFO’, while ‘Seductive Fantasy’ and ‘On Jupiter’ are timeless examples of Sun Ra’s inimitable cosmo-swing sensibilities. Sleeping Beauty meanwhile is one of the most profound and compelling sets in the whole Ra discography, and the Variety Studio sound captures the Arkestra with unique clarity and depth. Recorded with an expanded 28-piece band, the album features woozy avant-ballad ‘Springtime Again’, the glittering future funk of ‘Door to the Cosmos’, and finally the stunning meditative, spiritualised groove of ‘Sleeping Beauty’. On Jupiter and Sleeping Beauty: twin stars that shine brightly from deep within the myriad Sun Ra galaxies!

Pat Patrick and The Baritone Saxophone Retinue SOUND ADVICE.

Art Yard Records is proud to present the first ever official reissue of Sun Ra Arkestra member Pat Patrick’s unique baritone sax masterpiece ‘Sound Advice’.
‘Of all the saxophones, it is our opinion that the one with the most distinctive sound, warmth and range that can reach into that of other saxophones, is the baritone sax.’ As composer, bandleader, and full-time member of the Sun Ra Arkestra, Pat Patrick was a visionary musician whose singular contribution to the jazz tradition has not yet been fully recognised. As well holding down the baritone spot in the Arkestra for 35 years, Patrick played flute and alto, composed in both jazz and popular idioms, and was a widely respected musician, playing with Duke Ellington, Eric Dolphy, Thelonious Monk and John Coltrane, with whom he appeared on Africa/Brass. But he is best known for his crucial contributions to key Sun Ra recordings including Angels and Demons at Play, Jazz in Silhouette and Nubians of Plutonia, among dozens of others. But as a bandleader, Patrick only released one LP – the almost mythical Sound Advice, recorded with his Baritone Saxophone Retinue, a unique gathering of baritone saxophone masters including Charles Davis and Rene Mclean. First issued in 1977 on Sun Ra’s legendary Saturn Records imprint, Sound Advice is a deephued exploration of this special instrument, a lost masterpiece of Arkestrally-minded Ellingtonia where higher adepts of the lower cosmic tones are heard in rare conference. Unissued since original release, Art Yard Records is proud to bring this unique jazz masterpiece back into the limelight.

Sun Ra and his Mythic Science Arkestra The Paris Tapes: Live At Le Théâtre Du Châtelet 1971

Listening to the opening of Sun Ra ‘Live in Paris’ 1971 calls to mind a quote from the Musicians Psalm.

[Psalm 151]

‘Praise Him with the Cymbals, the High sounding cymbals.’

As all events within the African Diaspora commence with the proclamation of the Drum, this analogy is an excellent example of the use of symbolism; orchestrated by Sun Ra. The praise of the Most High reflecting Sun Ra’s ever constant homage to the Creator. The Oration of the Drums speaks to the origins of what playwright Amiri Baraka (Leroi Jones) referred to as Great Black Music; Drum legend Lex Humphries with Danny Thompson on bongos, John Gilmore on timbales herald the entrance of Sun Ra, on Farfisa organ. The short violent bursts of sound echoing the crack of the whip, the shots through the woods by slave trackers bounty hunters and terrorists in white robes (sometimes blue uniforms) which savaged the communities of African Americans throughout the 19th and most of the 20th Century. This concert took place just three years after the assassination of Dr. Martin Luther King when thought of a Black American President was nonexistent, at the furthest reaches of improbability despite congresswoman Shirley Chisolm’s 1972 bid which was considered merely symbolic. Today. The shots ricocheting from within … with black on black crime, unemployment and lack of education the … manifestation of a socio-physiology full of trauma, self hate and apathy … fuelled by a multi-media platform of disrespect, caricature and humiliation. Each step forward mired in the mud of intolerance. Look at how Google allowed themselves to be used to globally disrespect the first African American First Lady; what message was sent to the African American community and the world at large? THIS is the backdrop of the Music of Sun Ra; the struggle continues into the 21st Century. The clarion call of Sun Ra as relevant today as it was Fifty years ago; this is what gave birth to Sun Ra’s statement SPACE IS THE PLACE both literal and allegorical: thoughts, ideas, equations and constructions outside the petty bigotry, cruelty and inhumanity of MAN.

‘What do you do, when you know, that you know, that you know that your Wrong; you’ve got to Face the music … you’ve got to listen to the Cosmo sound.’

[ Sun Ra, 1988 ]

Sun Ra And His Arkestra Live in Cairo, Dark Myth Equation Visitation / Horizon / Nidhamu
SUN RA MEETS SUN RA Facets of a visitation: Egypt December 1971 Extract from Omniverse – Sun Ra by Hartmut Geerken

in 1971 cairo was a sweltering metropolis, the largest conglomeration of people on the african continent. in early december, 1971, i was driving through the pyramid street & its hubbub of taxis, donkeys, camels, water vendors & brown bean vendors, felaches, faces, city people, foreigners, people with carts & on bicycles, but most of them pedestrians – I was driving through a maze of sounds when i suddenly spotted a black hitchhiker indicating that he wanted to be taken along in the direction of the pyramids. that was unusual, because the nubians & sudanese usually don’t hitchhike. so I stopped & it turned out that he was american, just as i had suspected from the way he dressed. he opened the righthand door in back & got in & we talked about all sorts of things, probably about the december weather in egypt & the chaos in the street. & then he casually introduced himself & said, by the way, i’m john … john gilmore. i turned to the right to look at him & continued to do so for longer than i should have, considering the traffic in front of us. i had never met gilmore but i knew his name from recordings & could conjure up the sound of his horn in my mind. in other words, it took quite some time for me to tell him that my name was hartmut geerken (for him, of course, a nobody), but when i added that i owned all the sun ra recordings with his, gilmore’s, wonderful solos, he paused. he hadn’t expected that in the huge metropolis of cairo he would get into a stranger’s car & be told that the driver knew him! so I guess we were both pretty amazed & for me at least it was an epiphany, i had been a fan of sun ra’s music for over 10 years. john wanted to get out at the menahouse, a hotel at the foot of the pyramids & i got out, too, because he told me that the arkestra had arrived just a few days earlier.

i think december 7, 1971, was a wednesday. it will enter the annals of jazz as a historical date, as it was the first time sun ra was in egypt, arriving in the country of his spiritual origins with 21 musicians & dancers. it was to be expected that sun ra would visit egypt, but it was hard to believe that he would be discovered in the menahouse.

it felt strange facing at a man whose music i had listened to for years. he was sitting on a chair in the menahouse hotel entrance hall, wearing a silver helmet & a floor-length, striped synthetic robe & a tunic covered with hieroglyphs. the chair became a throne. around his neck were chains & an amulette. to his left a chrome spiral cymbal, to his right a large brass star shaped like the sun & resembling a monstrance. musicians in bright robes & exotic turbans scattered all over the hotel hall, alone or in groups. the hotel guests were in awe. they tried not to stare & then they stared anyway. an african chief & his tribe? a theater group about to rehearse a play? a magician? someone shooting a historical film? sun ra wanted to demonstrate that he was different from the other hotel guests & that he didn’t feel like he belonged to this class of people. He kept aloof – in his clothing, his gestures & when he talked. no one knew sun ra here in egypt. there was only one egyptian who knew who sun ra was, salah ragab, with whom i had listened to sun ra’s music for years. & then there were maybe two or three other foreigners who knew what it meant to have sun ra & the arkestra in egypt in person.