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Doing the Impossible with Sun Ra

Greetings, black youth of planet Earth. The latest documentary on Sun Ra, Sun Ra: Do the Impossible aired on PBS recently. It is very well done and even includes interviews with members of the Arkestra. The filmmakers also did a great job integrating video clips and recordings from Sun Ra's lifetime with the mainstream narrative. They perhaps decided to play it safe and focus on the more immediately accessible side of Sun Ra's music rather than fully immersing the listener into the frantic free-jazz of some of his work. For a presumably similar reason, the film does not fully explore the complex and questionable framework of Sun Ra's writings in his Chicago period. Even his poetry was charitably described by Ishmael Reed as notes expressing the importance of music in his life. But overall, they succeed in portraying Sun Ra as a visionary who survived the Jim Crow South. His passion for music and his belief in its potential for communicating deeper message will undoubtedly resonate with many viewers. Even the concept of alter destiny is presented persuasively and with a powerful message of self-empowerment.

As the title suggests, the film focuses on the positive sides of Sun Ra's penchant for mythocracy. While there is an ugly downside to Sun Ra's occultism and esoterica (which is partly explored by members of the Arkestra describing it as being cult-like), this documentary portrays it in the context of African Americans and their marginalization. Stripped of their own past and forced to live someone else's myths, Ra's inventive imagination sought to counter this with a new future that looked to space. While one writer who appears in the film claims Sun Ra was a pioneer or a "first," it is actually quite clear that Sun Ra based his stage persona (and real life, since the two were so entwined) on past generations of black bandleaders, the traditions of Western and African American esotericism, Afrocentrism and black autodidacticism. Indeed, his vast library even included at least one work by J.A. Rogers and when the Arkestra visited Egypt, members of the band viewed it as "their" history (the Egyptians who can be seen in the shots of the Arkestra at the Sphinx or Great Pyramid must have been completely baffled!). Sun Ra was certainly the first to encapsulate so many of these elements in a jazz band, however. And since the documentary wisely sidelined most of Sun Ra's prose writings expressing his worldview, viewers are instead treated to an engaging overview of Ra's life and career. Even for those who have read biographies of Ra, there are some interesting aspects in his life we had forgotten about. For instance, the Arkestra's Philadelphia base was purchased for a dollar from Marshall Allen's father. Or that Esquire published a poem by Sun Ra on the eve of the Moon landing. 

Sadly, the 90 minute time slot severely limits how comprehensive these documentaries can be. Despite a pretty good overview of Sun Ra's upbringing and early career in Birmingham and Chicago, the New York years are hastily covered. The film highlights how Sun Ra was not accepted by critics, but one wishes they explored how Ra was a fixture at Slug's Saloon. Nor are jazz musicians from the free jazz period interviewed, even though they could have added a much-needed musician's perspective on how Sun Ra really "fit" in the avant garde New York jazz scene. Likewise, one would have liked more attention on John Gilmore and Marshall Allen as key members of the Arkestra who kept the band's legacy alive. In fact, when we saw the Arkestra live about 7 or 8 years ago, Allen was still leading the band in a performance very faithful to the multimedia aesthetic of Sun Ra. But without shedding light on these figures who kept the band going after Sun Ra's death or their own widely regarded musical talent (Gilmore), another example of how excellent the Arkestra truly was is missed. Obviously, Sun Ra ran the show and the band supported his vision, but truly remarkable musicians who were faithful to his band were what made the Arkestra work. This is clearly expressed in the almost spiritual relationship between Sun Ra and vocalist June Tyson, whose presence in the band is regal.

Our minor nitpicking aside, this is an excellent introduction to the complex life and oeuvre of Sun Ra. The timing does not allow for extra details, even though Ra's life was full of remarkable episodes and anecdotes. For instance, Sun Ra thinking "Nuclear War" could be a pop hit and trying to get major labels interested. Or the story of the white judge who Sun Ra told would never see another black person like him. Hopefully, viewers of the documentary will go on to read Szwed's fantastic Space Is the Place. Sun Ra was a very unique person, but rightfully built his own myth to escape the myth of black inferiority and subjugation. We are almost inspired to revisit his broadsides and the reading lists for the course he taught at UC-Berkeley.

21st Century Romance

Long one of our favorites from The Night of the Purple Moon, Sun Ra's "21st Century Romance" is the confused highpoint of Western civilization. In all seriousness, this comforting piece is pensive and features some nice honking from the horn player (Gilmore?) whose brief solo adds a bit of edge to what is rather tame material by Sun Ra standards. It's one of the better outings from a rather accessible Sun RA LP with no long tracks. 

Sun Ra's Christopher Columbus

Listening to Sun Ra's musical tributes to the legendary Fletcher Henderson is always a delight. You can tell the Arkestra was having a lot of fun with this one.

Sun Ra's Hocus Pocus

We always enjoy hearing Sun Ra's tributes to Fletcher Henderson and all of our past heroes. "Hocus Pocus" was actually one of our early favorites from the legendary Fletcher, so hearing a "modern" take from the inimitable Sun Ra and His Arkestra is a delight.

Sun Ra's Tropical Excursion

A rather lovely Latin piece from Sun Ra. At first we thought it was based on the famous "Island in the Sun" but Sun Ra apparently went somewhere else with this Latin romp. Sun Ra's versatility was no joke as the Arkestra could play Disney tunes, free jazz, swing, exotica, space chants, and funk competently.

Sun Ra's Queer Notions

Sun Ra loved to occasionally pay homage to our heroes. Heroes, in this case, includes important African American bandleaders and musicians in earlier epochs of jazz. Fletcher Henderson, whose "Queer Notions" is a rather strange composition, would have smiled had he heard this lively rendition from Sun Ra in the 1980. Sun Ra's cover is a bit funkier but captures that joyful, celebratory quality in swing that Henderson brought to the fore. Perhaps the contradictions of the song, alluded to by its title, capture the modalities of modern living. 

Outer Space Employment Agency

A hilarious clip from Sun Ra's Space is the Place, a low budget blaxploitation flick filmed in Oakland. It's useful to remember that Sun Ra possessed a sense of humor and didn't mean to be taken seriously at all times. The El is a sound of joy. 

Star Time

"Star Time" is an excellent gem from Sun Ra's Chicago years. It's a quirky big band-styled jazz composition that, quite literally, seems to be shooting toward the stars. One can also easily detect Sun Ra's high regard for the big bands as producing beauty through discipline. Perhaps Pharaoh is not so bad.

Sun Ra Interview

Here is a fascinating interview with Sun Ra. He discusses his worldview, the need for the development of ethnic structures, and the role of music. When you listen to him in this context, Sun Ra sounds like a mildly kooky cross of J.A. Rogers, Booker T. Washington, Elijah Muhammad, and black nationalist truthsayer. 

Sun Ra Documentary

Ah, Sun Ra. Always an interesting and amusing man whose band reflects one of the most interesting aspects of jazz: its spiritual and alternative dimensions. Like many jazz musicians, Sun Ra's music and writings reflect a search for higher meaning and utopia. In its racial dimensions, it also brings to mind a long trajectory in "the music" for utopian visions and redemption, from Treemonisha to the Arkestra. This documentary is a fascinating capsule of that vision. 

Sun Ra Lives

After miraculously receiving a free ticket to see the Arkestra perform, my Thursday evening was enriched by 90 minutes of Sun Ra's Arkestra. Under the leadership of Marshall Allen, who might have been the only old-timer who was part of the early years of the Arkestra, they performed compositions encompassing the entire breadth of the Arkestra's years. A Fletcher Henderson tune here, some Latin jazz there, plus numerous chants, African grooves, and the musicians staging a procession through the audience's seating area comprised an evening of endless swing and rhythm. Like Duke Ellington, Ra's penchant for tonal sound poems brought to mind livid colors and otherworlds, matched by the outlandish garb of the band and the audience's appreciation. Marshall Allen was the main provider of "skronk," directing the rest of the Arkestra and occasionally joining the vocalist in scatting and chants. Unfortunately, the band didn't touch Sun Ra's less accessible free jazz material, nor did they explore one of my favorites from his New York years: "Moon Dance." Nonetheless, the band was successful in adapting old Arkestra standards for a fresh sound, as well as toying with some electronic instruments to explore different sounds and dissonances. Once I track down the name of that complex Latin jazz number the band performed, I will be ecstatic. 

Blutopia

Graham Lock's Blutopia: Visions of the Future and Revisions of the Past in the Work of Sun Ra, Duke Ellington, and Anthony Braxton is a thought-provoking and serious work in Jazz Studies. Anytime one can encounter a serious work on jazz that takes the musicians themselves seriously and endeavors to engage with their ideas should be applauded. Lock also manages to impressively integrate an analysis of Sun Ra and Anthony Braxton with Duke Ellington, despite vast differences in style, thought, and age among these titans of jazz. However, Lock raises more questions than he answers in much of the text. 

First, Sun Ra. It's been a number of years since I've read Szwed's Sun Ra book, but much of Lock's analysis felt 'new' or 'fresh' to me. In a literature class over the last several months, Sun Ra came up more than once and we discussed the parallels of his work with Negro spirituals, but because I know very little about spirituals, Lock connecting spirituals and Sun Ra's chants (in addition to the ring shout and the way the Arkestra moved counterclockwise around the audience) was informative. However, I was at times struck by how Lock seems to take Ra's mythology too much at face value, as if there are not several troubling implications from Sun Ra's Astro Black Mythology. I think Lock came closest to grappling with this issue by identifying Ra as someone who chose to identify with Pharaoh over Moses. 

Wilson J. Moses has written about the Pharaoh-Moses dialectic with regards to African American black nationalists and intellectuals, but it seems as if the despotic aspects of Pharaoh are left out of the discussion while the 'authoritarian collectivism' of Moses (and, by extension, Christianity) are rightfully included by Lock's discussion of Ra's opposition to Christianity. As a result, Sun Ra's ideas of the past and future, not to mention the present, are not fully considered since the Moses-Pharaoh conflict is never resolved or rejected (are African Americans stuck with only Moses or Pharaoh? What of Legba?). 

As for Duke Ellington, a composer I have not listened to seriously in probably 5 or 6 years, these two chapters were a breath of fresh air. Ellington's fight for jazz to be taken seriously and the complexity and nuance of African American music to escape essentialist and condescending treatment in the eyes of white America are still relevant, as are his attempts to fight minstrelsy, blackface, and 'Uncle Tom' depictions of black life in popular culture. I think Lock also hit the nail on the head about Duke Ellington's view of black America's history as (mostly) based in the US, and his race pride was inseparable from his patriotism. Such a sentiment is lacking in Sun Ra's revisions of the black past and black present, and Duke Ellington's views are probably the most 'mainstream' when it comes to African American perceptions of their nation. 

Nonetheless, I was a little surprised that Duke Ellington's middle-class background and support for respectability politics was not integrated into the two chapters (Duke believed African Americans must behave in ways that command respect, according to Lock, plus he opposed the confrontational aspects of the Civil Rights Movement). Given the climate around respectability politics among those in African American Studies today, what are the limitations of Duke Ellington's revisions of the past and future? How does his Blutopia fall short? In what ways are Duke Ellington's US-centered black history and future limited by exclusion of Africa? What do we make of the 'world music' aspirations of his later LPs?

Last but certainly the most confusing and perhaps less relevant to Blutopia, Anthony Braxton. I do not entirely buy the argument of Mackey about Legba's limp and jazz swing or syncopation. It seems too fanciful and impossible to 'prove,' plus it may neglect the ways in which Legba's limp may be more a product of dances and music rather than the other way around. I have no evidence for my own assertion either, but I remain skeptical of a Legba interpretation of Braxton's multiformity. Lock is right about Braxton's synesthesia and the heterogeneity of black creativity (not to mention the critiques of jazz critics), but the Legba interpretation and the chapter on Trillium operas was somewhat less successful or convincing. Braxton's 'vibrationism' and spirituality were fascinating, but one must visit his esoteric writings directly to get a more detailed 'feel' for his views. Lock, to his credit, admits this and acknowledges that the chapters on Braxton did not go in depth. 

Overall, however, this is a provocative and insightful reading of three significant jazz artists. Jazz musicians as intellectuals is a growing interest of mine, and Lock has increased my appreciation for artists like Ra, Braxton, and Ellington. Some recent readings of mine on AACM and Art Ensemble of Chicago have tangentially included Braxton, but I think an interesting project would be to focus solely on the differences between Braxton and Art Ensemble of Chicago's approach to "Great Black Music" and revisions of the past and future. Perhaps that will be my next rambling post?

Sometimes I'm Happy

A personal favorite from Sun Ra's Nuclear War. June Tyson was a better singer than we give her credit for. She has this unusual wail-like quality in her singing which makes it perfect for accompaniment from Sun Ra's Arkestra. 

There Are Other Worlds

One of the more typical or representative songs from Sun Ra's Lanquidity, an important album of his oeuvre and an excellent introduction for beginners to the world of Ra. Lanquidity shows Sun Ra expounding upon his jazz and blues past within the disco and funk idiom of the 1970s. One finds the chants, space themes, ethereal touch via special effects and electronic instruments, a hint of the Orient and 'world music' (a trait in Sun Ra's music since the 1950s) and one has the usual potent brew of Sun Ra. Although not the best composition on Lanquidity, it exemplifies the continuity in Sun Ra's work, despite the vastly different material and styles he played in throughout his long career.

Sleeping Beauty

Amazing introspective number from Sun Ra. John Gilmore's inimitable style picks things up while the last four minutes are heavenly. Anyone seeking proof that Sun Ra's later output holds up and isn't just fusion-styled noodling or over the top Sun Ra quirkiness, should listen to songs like "Sleeping Beauty," or the excellent jazz-funk of Lanquidity.

Wednesday Night Prayer Meeting and Space Loneliness

"Wednesday Night Prayer Meeting" is the epitome of that ineffable quality of Afro-American music and experience. The funky, earthiness, blues-inflected wails and gospel tradition, and soul-soothing moments of utter joy and celebration of the Creator keeps this song together. Mingus, a product of the Black Church and the blues, returned to his 'roots' on this album and succeeded. Indeed, I recall reading in a biography of Mingus that on one occasion his 'blackness' was called into question by a dark-skinned musician. Mingus played the most downhome blues the brother had ever heard and nobody could deny that Mingus, part black, part white, and part yellow, could keep it soulful and funky like the best. I ain't into essentializing blackness, but Mingus brought it. 

In addition to Mingus, my Wednesday evening has also brought back memories of early Sun Ra. His pre-synth music is actually among my favorite jazz, particularly the Chicago years. Sure, the music is more conventional and less 'edgy,' but it's far more listenable (no offense to free jazz!) and just as meaningful. Listen to "Springtime in Chicago" and tell me that don't make you nostalgic for Chicago or just a beautiful, simple day? But my jam tonight is "Space Loneliness," a blues expressing solitude with an undercurrent of joy. In fact, the blues is just as much about expressing joy as sorrow or melancholy. 

With the numerous wails of John Gilmore's saxophone (he influenced Coltrane yet got little recognition), the funeral march-like tempo, and bluesy head, "Space Loneliness" feels like a whiff of fresh air in a stale room occupied by a solitary figure. Thus, to me there is perhaps some hinting at possible joy in the debilitating state of depression and loneliness. Indeed, perhaps the 'space' or science fiction part of the title aptly describes the kind of solitude we all experience at one point in our lives, feeling like objects in space without intersecting. 

Sun Ra's Lanquidity

Sun Ra's Lanquidity is jazz-funk, and good stuff! It's nice to hear the Arkestra get down to this space-age funk.

Clifford Jordan's Blowin' In From Chicago

Clifford Jordan is joined by John Gilmore of Sun Ra's Arkestra, Art Blakey, Horace Silver, and Curly Russell on bass. As suggested by the title, Jordan is bringing his Chicago jazz background to the New York scene in the late 1950s, when this album was released. It's fascinating to hear the amazing John Gilmore on tenor, who was an important influence on John Coltrane and avant-garde jazz, play in this rather accessible and conventional hard bop release. Furthermore, Horace Silver and Art Blakey were among the finest hard bop jazz artists in the 1950s. Interestingly, both Jordan and Gilmore studied music at DuSable High on the Southside, where many famous Chicago jazz artists were educated (as well as future mayor of Chicago, Harold Washington). So if you want to hear some great hard bop jazz with two of Chicago's finest saxophonists, check out this album. Below are my thoughts and comments on each track. Some of the links are to mog.com, the only site where I could find the entire album online, but one may have to register an account to listen. Unfortunately, I could not locate the bonus track added to the CD issue, so I have only commented on the 6 original tracks, which truly are a fantastic jam session with some of the finest musicians in the game. Listening to this album proves that Blakey was an essential ingredient in any great hard bop jam session, or in hard bop generally. His presence on seminal albums such as Somethin' Else demonstrates this, as well as how the albums were geared toward black urban culture and slang.

That review can be found here.

1. "Status Quo" (John Neely) - 5:36
Beautiful, short drum solo by Art Blakey that goes Latin, a beautiful head, and great soloing from John Gilmore. Blakey really keeps this piece together for the jam session, providing strong rhythms and some spontaneity. Silver's piano solo also provides a nice break between Jordan's sax solo and Gilmore's solo, even though the album is focused on a jam session between these two masters of the tenor saxophone. I swear that I hear Horace Silver quoting another famous jazz song in his brief solo by Duke Ellington, but I cannot recall which. Anyway, I think John Gilmore won this duel. His solo almost sounds like future John Coltrane.

2. "Bo-Till" - 5:56
Features a great Latin beat from my man, Art Blakey. The head is cute, too, but Art Blakey really steals the show. After the brief Latin-infused intro, Blakey swings hard while Jordan's solo, bluesy and funky, keeps things from settling into boredom. Silver's proceeding piano solo also has it's cutesy charm, but not enough to maintain my interest. Gilmore's next solo picks up the song, but ends too quickly before the song reverts to the Latin-inflected theme. Overall, not a great track, except for Blakey's lovable short solo in the conclusion.

3. "Blue Lights" (Gigi Gryce) - 6:38
A fun blues, Jordan excels here. Coming from the Chicago jazz tradition, it's inevitable to not become adept at the blues form, which Jordan does well in his angular, bebop-based improvisation. Silver does nice accompaniment and Blakey knows when to mix it up a little himself to add some spice with different rolls and rhythms. Silver, as someone whose entire style is still in debt to the blues, plays an interesting solo which takes multiple directions, but emphasizes the groove. Gilmores' solo is also good, too, with him responding to himself with different notes and Blakey's fine rhythmic presence. Though hardly as far out or avant-garde as his later work, Gilmore's contribution is welcomed. Curly Russell's bass solo even works here, though too short. Same for Blakey's as well, which ends too soon before the band restates the short bluesy theme.

4. "Billie's Bounce" (Charlie Parker) - 9:34
This certainly lives up to the "bounce" suggested in the title, with Blakey beginning alone at a loud, uptempo pace. The bluesy theme then picks up while Blakey rocks the drumset. Another fun, bluesy romp where Jordan's solo is also likable and pleasant with excellent accompaniment, especially from Blakey's thunderous drums that will have you tapping your feet. Who said jazz ain't dance music? This is classic, good times hard bop everyone in the family can enjoy. None of the solos are difficult to follow or deviate from the blues, especially Horace Silver's piano and the saxophonists. The later exchanges between Blakey and the saxophonists is another highlight, in addition to Blakey's funky solo.

5. "Evil Eye" - 5:14
A funky blues, "Evil Eye" doesn't really connote an evil eye, though it does sound a little ominous as a minor blues. Jordan's searching, soulful solo really does encapsulate one of the highlights of blues in jazz music, however. In addition to fine saxes, Silver's funky piano brings an additional element of blues into the piece, by playing funky lines. This, when combined with Jordan and Gilmore's call and response, a central feature of African-American music, one cannot help but love this piece more than "Blue Lights." Though not well-known, compositions like this best represent the zenith of hard bop's funkier side in the 1950s as well as providing a musical landscape of urban black America.

6. "Everywhere" (Horace Silver) - 5:45
Silver's composition is a catchy number that swings, like every track on the album. The initial saxophone solo is quite lovely with its sudden shifts and honking sounds. Then we are treated to Silver's "cute" solo and Blakey's polyrhythmic improvisation. Of course one cannot overlook Curly Russell's constant bass picking. Blakey's solo, though short here, displays his mastery of Latin and African styles, hitting different to get different tones.

The Best of Sun Ra

Djoser, 3rd dynasy pharaoh of obvious "black" ancestry based on phenotype displayed here.

Here is a long list of my favorite Sun Ra songs, the great Arkestra's bandleaders whose Afro-futurist ideology and aesthetics embraced black Egypt and articulated best the belief in the following: "Fuck the ghetto. Look to space."

"Enlightenment" http://www.youtube.com/watch?v=6BBzO-vferY

"Between Two Worlds" http://www.youtube.com/watch?v=elBUVj_XWT0

"Saturn" http://www.youtube.com/watch?v=5_PswgsM3gE&feature=related

"Plutonian Nights" http://www.youtube.com/watch?v=TLFh8St9Vwc&feature=related

"Nubia" http://www.youtube.com/watch?v=W1_30n0qvOw&feature=related

"Watusa" http://www.youtube.com/watch?v=Lt3ZMC8OAj4&feature=related

"That's How I Feel" http://www.youtube.com/watch?v=LQmc6_w2bTE&feature=related

"Nuclear War" http://www.youtube.com/watch?v=e6qbSHKzcmI&feature=related

"Tapestry From An Asteroid" http://www.youtube.com/watch?v=AntrELq19X0&feature=related

"Love in Outer Space" http://www.youtube.com/watch?v=DLGGeCxl7oM&feature=related

"El Is a Sound of Joy" http://www.youtube.com/watch?v=Qa6ti03p5qg

"Africa" http://www.youtube.com/watch?v=YwtIJjLxid8&feature=related

"Music from the World Tomorrow" http://www.youtube.com/watch?v=1oIYovibeQs

"Angels and Demons at Play" http://www.youtube.com/watch?v=1GFDKmy7SgA

"Urnack" http://www.youtube.com/watch?v=-gCIFImi52g

"Call for All Demons" http://www.youtube.com/watch?v=tyYKpawB4-E

"The Lady With the Golden Stockings" http://www.youtube.com/watch?v=xKIjq4Jeh3Y

"Star Time" http://www.youtube.com/watch?v=o0rTJZ3Wfh0

"Aiethiopia" http://www.youtube.com/watch?v=t-RDzm6cU24

"And Otherness" http://www.youtube.com/watch?v=ZmgFdPksIvc

"Adventure-Equation" http://www.youtube.com/watch?v=zwPD-Fi-y6A

"Moon Dance" http://www.youtube.com/watch?v=i5Lkp7Go-po

"Voice of Space" http://www.youtube.com/watch?v=FwKmEsTmX2o

"Ankh" http://www.youtube.com/watch?v=0Sx24RoVExA

"The Outer Heavens" http://www.youtube.com/watch?v=LFbyODbnRzs

"Lights on a Satellite" http://www.youtube.com/watch?v=I3wpzv7ddF4&feature=relmfu

"Infinity of the Universe" http://www.youtube.com/watch?v=Ul1miF-tKWw

"Kosmos in Blue" http://www.youtube.com/watch?v=rZ3p9x8EWos

"Bassism" http://www.youtube.com/watch?v=oeAD-y6KFAU

"Of Sounds and Something Else" http://www.youtube.com/watch?v=bB12aJ5c0ds

"The Beginning" http://www.youtube.com/watch?v=5JPH8QenT04

"The Night of the Purple Moon" http://www.youtube.com/watch?v=PNERB9DIvDM

"Space Jazz Reverie" http://www.youtube.com/watch?v=-BsITnmqViI

"I Loves You, Porgy"http://www.youtube.com/watch?v=bSrKHkTJKRU

"Rocket Number Nine Take Off for the Planet Venus"
http://www.youtube.com/watch?v=nuNpmyZ6za0&feature=relmfu

"Velvet" http://www.youtube.com/watch?v=PMVlZdkuk5M

"Ancient Aiethiopia" http://www.youtube.com/watch?v=TyUjgYuYR0c

"Hours After" http://www.youtube.com/watch?v=DEE6FTYe8UM

"Images" http://www.youtube.com/watch?v=GLMTH5eTQMg

"Blues at Midnight" http://www.youtube.com/watch?v=PEp4MoW3YgE

"Lanquidity" http://www.youtube.com/watch?v=rf-OxkoTNp4

"Where Pathways Meet" http://www.youtube.com/watch?v=L5vRHbQoTlc

"Twin Stars of Thence" http://www.youtube.com/watch?v=4rUix7ZFTTQ&feature=related

"The Shadow World" http://www.youtube.com/watch?v=Eyv_CRdHPZo

"Outer Spaceways Incorporated" http://www.youtube.com/watch?v=buPctKFyDn4

"Intergalactic Motion" http://www.youtube.com/watch?v=AOP0Zpv8XdM

"Song of the Sparer" http://www.youtube.com/watch?v=Yjnp9D2yjok

"Spontaneous Simplicity" http://www.youtube.com/watch?v=ZPZ41mNhQ3I

"Two Tones" http://www.youtube.com/watch?v=YOQ3gdr4LeA

"Paradise" http://www.youtube.com/watch?v=nwZIB4BxnWQ

"Reflections In Blue" http://www.youtube.com/watch?v=gQJZDv-B7wE

"Dreams Come True" http://www.youtube.com/watch?v=1T5SCO3LrwY

"Space Is the Place" http://www.youtube.com/watch?v=THJopYdjr5w
http://www.youtube.com/watch?v=-oBLDbboG7I
http://www.youtube.com/watch?v=DJWng3c3jRM&feature=related

"Celestial Road" http://www.youtube.com/watch?v=2cty4Qor8v0&feature=related

"Say" http://www.youtube.com/watch?v=9iflqkdv9bE&feature=related

"Discipline 27-II" http://www.youtube.com/watch?v=abF_pXUbRQs&feature=related

"Springtime in Chicago" http://www.youtube.com/watch?v=ua9-clROpcI&feature=related

"Kingdom Of Not" http://www.youtube.com/watch?v=dpcyrlR7bhM

"Pan Afro" http://www.youtube.com/watch?v=I1LM9DGyefU&feature=related

"We Travel the Spaceways" http://www.youtube.com/watch?v=oLn1JVsISh0

"Space Loneliness" http://www.youtube.com/watch?v=jJBueHNsZe8

"Eve" http://www.youtube.com/watch?v=VZkIh3RWbNY

"Exotic Two" http://www.youtube.com/watch?v=g_o3lWdw-zs

"On the Blue Side" http://www.youtube.com/watch?v=xjCQq5YNI0w

"Sun-Earth Rock" http://www.youtube.com/watch?v=6_yQPKYDvlE

"The All of Everything" http://www.youtube.com/watch?v=OcMDoPYqWmU

"Impromptu Festival" http://www.youtube.com/watch?v=v_ZIK9mZH5s

"Blue Soul" http://www.youtube.com/watch?v=rzCaxIJNwTg

"Dance of the Living Image" http://www.youtube.com/watch?v=2O8OE3m2tCg

"Drop Me Off in Harlem" http://www.youtube.com/watch?v=EuhYVt5ZJ8A

"India" http://www.youtube.com/watch?v=Wrvwge0-nOM