• About the Author
  • Books
  • Vinyl
  • What the critics say about Jeff

Jeff Halperin

Jeff Halperin

Tag Archives: Sun Ra

You Have a Sacred Responsibility to Blow Your Own Mind

14 Friday Nov 2025

Posted by jdhalperin in Uncategorized

≈ Leave a comment

Tags

Jeff Halperin, Parliament Funkadelic, Sun Ra

How do you know that there aren’t artists out there who you’d love more than the artists you currently love the most? This is a very important question people need to take seriously!

People have a sacred responsibility to blow their own minds. Who else will? Why go through life without encountering the best, coolest, most challenging stuff out there? Not what some insufferable dork at a party describes this way, but what you think. What epiphanies and revelations are you leaving on the table?

This question should frighten you into action!

One thing I keep coming back to is: how do I know when my obligations to myself are over? How does a person know when to say, “That’s enough, nothing still out there is worth seeking out!”? I get FOMO from this.

Life is largely mental; we all live inside our own heads 24/7. Literature and music are centuries old. Film is newer but what a vast rich fun world. There’s a lot out there! It feels like looking out at an endless ocean vista, only to remember the real ocean is under the water’s surface.

Obviously personal relationships are the fundamentals of life, not just this art stuff, and travel is another surefire way to blow your mind. But personal relationships are unique and complex, while travel costs time and money. In the streaming era, many great works of art have never been more accessible.

If you don’t make a genuine attempt to explore and wrestle with the deeper ends of this stuff, as far as you’re concerned, it may as well not exist. That’s sad to think of, in a way. But it’s also amazing to think that there’s such a wealth of beautiful priceless culture surrounding you, you could spend your whole life exploring it and not get to everything.

But imagine what life would be like if you had never encountered your favourite artist. Emptier. It’s like being without a best friend. Maybe you can’t really imagine never having heard of Bob Dylan because he’s just so famous, but there are artists out there just as talented and visionary whose name you don’t know. Me too! It’s true for everybody.

In my experience, blowing your mind with art comes in cycles and waves because you keep thinking, this is the best, surely it’s over now, this is as good as it’ll get, but then there’s more! It’s always in flux.

But let’s be practical here too though. Life is busy and expensive and who has time for all this? On the other hand, why even be alive only to miss so much joyful and inspiring human activity, especially when it’s potentially only a click away?

If you’re grinding and tired and saddled with major responsibilities like a demanding job and/or kids, it can be difficult to hear from somebody with spare hours to prattle on about their precious art! I get it.

The subtext of this conversation may sound like, “listen to how much free time I have!” or “look how much deep shit I know, and how cultured I am!” It may seem like the person preaching about this stuff is trying to make an exhibition of their brain or their lofty soul, rather than being driven by pure high-minded motives like love of beauty and a desire to spread it.

I urge people not to think of it this way! It’s better to endure several pompous weenies than risk not paying attention to the one person who gets it, whose tip or insight could change your life. It’s about you not them.

Of course, I have my own personal agenda here too, and I’ve yelled at friends, acquaintances, and strangers on the street to familiarize themselves with different artists I love. Personally, I really do love these writers and musicians, they mean so much to me!

I just want more people to be on that level, where they’re happy and excited and surprised by what’s out there. I can only advocate for the artists who’ve made me feel that way. (Music: Sun Ra Arkestra, Parliament Funkadelic, Miles; Literature: Bolano, Gogol). But really what I’m pushing here is not these specific artists, it’s the idea of people pushing themselves to get the most from culture.

I get why sometimes you just want to turn your brain off after a long day, rather than wrestle with Deep Shit, but to bring it back to the beginning, the obligation is to yourself. Enthusiasts like me might push this or that on you, sometimes obnoxiously and with a crazed glint in our eyes, and god knows algorithms will push their agenda on your under the guise of neutrality or serving you personally, but ultimately this is entirely in your own hands.

When you’re on your deathbed one day hopefully many years from now, talking to yourself in your final moments about the meaning of life and all that, you’ll need to be at peace with your relationships, what you’ve accomplished and left behind, but also what it was all for. You may not mentally rifle through all the highbrow art stuff you investigated in life and say to yourself, “thank god I listened to the Heliocentric Worlds of Sun Ra, Volume 2!” But the artists we love are life companions that help us find meaning and joy, bliss and purpose and inspiration. If you look around now at how depressed, angry, anxious and sad people are, surely we could use more of that. I don’t trust algorithms. You must take it into your own hands and take it seriously, you have a responsibility to yourself.

Secular Spirituality and Music

31 Monday Mar 2025

Posted by jdhalperin in Uncategorized

≈ Leave a comment

Tags

music is my religion, Norm Macdonald, religion, secular, Sun Ra, The Recognitions, William Gaddis

To some people “secular spirituality” is an oxymoron. To them, spirituality involves the divine by definition. How can anything be said to be “spiritual” if God has no part in it?

But then to secular people like myself, none of the gods posed by various religions exist. There’s no “guy in the sky,” and any spiritual urge anybody has or ever had is by definition secular, even if it’s explicitly about God or gods.

It’s hard to talk about this important subject because it feels like just describing my spiritual views insults other people’s core religious beliefs. Maybe it seems sacrilegious. To be fair, I can see how this is so. In India, “hurting religious sentiments” is a crime enshrined in the penal code, so the phrase carries more weight than just “hurting people’s feelings,” even if it means the exact same thing. What I’m saying may sound provocative or inflammatory, but I really don’t mean it to!

I don’t know how else to describe my views aside from calmly and peacefully laying forth what I think. Not everybody is calm and measured when it comes to the topic of god or religion.

The New Atheists—writers like Christopher Hitchens and Richard Dawkins—loved to attack religion and pull the rug out from under the feet of believers. I don’t. Not exactly. Part of me thinks the New Atheists were understandably combative because they got tired of the custom of sitting back and laying off beliefs they thought were pure junk, buncombe that evil charlatans use to exploit vulnerable people and gain control in and over society.   

I’m a little torn in how to write about this topic gently, bearing in mind that, in practice, religion is both a violent international horror and the source of people’s fundamental views that give them precious comfort and strength in daily life.

I’ve started writing on a defensive note in a way people speaking about their religious views would never do for atheists. Even if they were a considerate person, would a religious person ever suppose that describing their belief in God would offend the sensibilities of atheists? In a religious world like ours, atheists defer to believers, never the reverse.  

Yet I do think it’s worth stating my intentions and reasoning explicitly about my lack of belief, even if it means making an overture that would never be reciprocated. It’s a very strange, sad, and helpless feeling to look at the world and know that many of the forces separating people are fictions only existing entirely in their own heads. On a smaller more local level, it’s also upsetting to know that even in a so-called secular society, religious people are often assumed to be on a higher spiritual plane and even morally superior too.

An atheist’s lack of belief in God is taken as a negative or a void; people assume that because we don’t believe in organized religion or the gods they’re founded on that we have no spiritual beliefs of any kind or even any system of morals!

To understand how a secular person feels culturally in a world that is only technically or legally secular but in practice isn’t, just imagine an atheist claiming they’re entitled to a paid-day off work to celebrate something spiritual. It’d seem like a student not just flagrantly skipping school, but asking their teacher for money to see a movie while they play hooky.

Of course, to an atheist, all religious belief is rooted in secularism, the world without god or gods is the one we all live in. From where I’m sitting, everybody’s religious beliefs are essentially secular since there very much is no god, God, or Gods for you, me, or anyone else. It’s all just us here! Religious and secular people all live equally under this reality, except secular people aren’t in denial about it.

Spirituality and Music

There’s a phrase which some people use lightly or half-jokingly that to me really resonates lately. “Music is my religion.” I’ve always loved music, both listening and playing it. But I’ve got to thinking lately about the role of my religion, music, in other conventional religions.

Frankly, I’m not sure any religion would have survived without music. Music is the essential component that popularized religion and made people really believe in God.

If you want to convince people to believe in God, you can’t just speak to them. You need to preach, and that takes rhythm, singing. Prayers are sung. Even better, get a choir to sing harmonies in a giant room designed to have unbelievable acoustics. Get Bach to compose organ music. What they’re hearing then, that is God. Even if Bach would often write at the end of his compositions, Soli Deo Gloria–to the glory of God alone.

Religious people couldn’t just state that they didn’t like the blues; it was the devil’s music. The drum has always had a prominent role in religious ceremonies in too many places to name. “Music is my religion” may sound like something written on a graphic t-shirt the wearer doesn’t believe in too seriously, but it’s no accident that music played an enormous role in the origins of many religions. Maybe music isn’t just my religion, but yours, too.

I just finished reading a novel by William Gaddis called The Recognitions, an extended meditation on art and religion, creative originality and imitation, and [spoiler alert] at the very end, Stanley finally gets to play the music he’s been composing, but it includes the “devil’s interval,” and when he pulls out all the organ’s stops, the bass is so overwhelming that it collapses the dilapidated church he’s inside and he dies.

God speaks the world into existence. It’s sound that creates. In Ancient Greece and Rome, the bards play and the muses sing the epic mythologies. Scientists describe the universe’s origins as a “big bang.” Sound is essential at the very start of things. That’s why it’s still so fundamental today.

It’s no accident that today music is still the main driver of many rituals that make people feel a heightened sense of togetherness. Concerts, raves, and religious ceremonies all encourage elation, euphoria. When people hear music in a room together, they feel so elevated that they’re all but compelled to move their bodies in accordance with the sounds, otherwise known as “dancing.” The trembling in your soul is from notes, soundwaves displacing the otherwise still air, not a literal god. But to me it all amounts to the same thing. Music is god.

I’ve been listening intensely to Sun Ra lately and wonder if he’d hate this essay and pity me! When asked about his early influences in music, whereas most musicians might say “Jimi Hendrix” or maybe “Duke Ellington,” Sun Ra responded, “the planets, the creator, mythical gods, real ones, people, flowers. Everything in nature…musicians get their inspiration from environmental things, and all musicians are inspiration to me, no matter what style they play in.”

This is a very beautiful answer! I never know how literally to take Sun Ra. He was an extremely mysterious, profound man. But I can’t help feel like his eccentric spirituality and my seemingly cold secular one overlap considerably, even if on the surface they’re at odds. I’m sure every Sun Ra fan who feels his music also feels like they have a shared philosophy. Who knows.

In any case, as religious fundamentalism is on the rise in North America, people talk about godlessness as if secular people are missing some vital part. I can’t speak for other secular people in general, but as far as I’m concerned, everybody has an instinct and urge for something higher.

Religious people may imagine the godless spiritual world to be empty and nonsensical. Really, again, our secular spiritual world is the exact same as theirs—everything religious people believe in religiously is believed in a godless world, the only world there is and ever will be.

The romantic poet and early atheist Percy Bysshe Shelley writes very well about the sublime, the overwhelming response people feel when they behold something in nature too grand to process or even see at once, like a mountain chain, specifically Mont Blanc. There’s God in that nature, that shiver that is felt but can’t be communicated.

There’s nothing new here exactly about the attitudes I’m describing, but I wish non-believers weren’t so badly misunderstood and even despised, or at least distrusted.

It’s a hard conversation to have because it touches on a very live wire. I don’t mean to attack what people think of as their sacred beliefs! I resent that attitude some atheists have where they seem to derive joy or meaning from mocking religious belief. The beloved comedian and noted Tolstoy reader Norm Macdonald despised this attitude too, and even if I get why atheists are tired of being disrespected, that isn’t the right approach either.

The world can be a bleak and hard place, and belief helps people get by. Atheists aren’t necessarily more rational or intelligent people, even if we tell ourselves that we are. Lots of religious people are way smarter than I am! But my beliefs about spirituality and music are my own, I think they’re correct and I believe in them, and they make me happy to think about.  

Forcing Music and Novels on People Is My Love Language

27 Monday Jan 2025

Posted by jdhalperin in Uncategorized

≈ Leave a comment

Tags

Art, Grateful Dead, Jeff Halperin, Sun Ra

I have a recurring tendency to force art I love on people who didn’t ask for it and don’t love it…yet. Imagine from my perspective, having an epiphany about something, deriving from it joy and awe, love and genuine wonder. How could you hoard it and keep it to yourself?

The only answer I can find to this question is: I couldn’t, so I don’t.

In a world of soaring prices, the art I love doesn’t cost very much. You can probably access all the music I love on the streaming platform you pay for already. Novels you can get from a library or buy cheaply second-hand. People today commonly recommend way more expensive forms of entertainment without reservations. Even though what I enjoy is more accessible, I face resistance.

Some of the novels I like are large and maybe dense. They take time to read, not money, and time isn’t free. People are burned out from their jobs or raising families or just trying to feel OK in 2025. When they imagine reading the novels I hand them, they imagine the hours it’ll take to read them. My schedule is probably lighter than theirs, so it’s easier for me to conceive of time more broadly and abstract–not as hours it takes to read, but time as in lifetime. I can’t imagine going through life without encountering this or that novel or music.

We’re both right! Nobody’s wrong here. They can’t imagine juggling parenting and their professional lives with the time it takes to listen to avant garde jazz albums by Sun Ra or read a 900-page novel. People have precious little spare time, so why wrestle with art that seems strange or doesn’t suck them in right away?

I get it! When I try to push my longer, more challenging beloveds on my people, my secular proselytizing, I often sense people looking for the politest way to refuse. Sometimes when people say no to a critically-regarded work, they jokingly say something like, “I’m too dumb for it!” No! I don’t think they really mean it, but anybody can consume any art. Creating it is a different story! But consuming? It’s a question of patience and desire, not raw intelligence. Liking highbrow art is not a marker of intelligence, it’s just a question of character and personal temperament.

The way I’d frame the question people should ask themselves is: what responsibility do you have towards yourself to ensure you go through life and find really, really cool art? Are you doing right by yourself? Pushing yourself enough? People need to take this seriously! Don’t shortchange yourself! There are all kinds of BFFs in art you’ll never meet unless you look hard enough.

The algorithm is not your true friend and you shouldn’t outsource art discovery to Big Tech. Fine, if the algorithm serves up good music or whatever, don’t reject it. Enjoy! But it’s only a tool. You owe it to yourself to sample stuff that many serious people love a lot, or dig into some weird dank shit you never imagined yourself ever liking and come out on the other side, changed. Even if you don’t love it, the journey will be a trip. Maybe you will love it later, in time. It’s growth either way. You learn what you don’t like.

“Let people like what they like” is circular because people don’t know until they’ve tried it and really wrestled with it a bit. You might dislike it at first then warm up to it after understanding it better. Hate can become like, like may become love. Dense art is seldom understood right away and yields more and more each time you encounter it.

Reading Great Books is very obviously a good thing to do in life, but it’s also very obviously something people scoff and roll their eyes at. When someone is looking for a good read, what are you gonna do, recommend Proust’s In Search of Lost Time? In a way, no. But in a way, yes!

Art today is often a diversion, something to help people chill and wind down. I don’t say this sneeringly. Art is on different levels and people need to relax. I love chilling. That’s what I’m built for. People struggle to find the mental bandwidth to concentrate.

The trappings of highbrow art are also a barrier—people’s ideas about, say, Kafka are usually very different than what his writing is like. Many Canon novels are funny, including Franz’s! But people brace themselves for “heavy” art and enter a solemn, dusty headspace before opening the first page, misaligning their mood and the works’.

Recommending art that art critics or dirty hippies love draws suspicion because people don’t think of themselves as art critics or dirty hippies, and this conscious self-perception stops them from actually encountering some art.

On a logical level, you’d think everybody would prefer their art to be as “good” as possible, that we’re all on the same page, but that’s seldom how it happens. My view is people should try things in life, they may as well be good things, and having an adventurous spirit about finding it can only be good.

Personally, I can measure my life in terms of the musical phases I’ve been in. This art really means a lot to me! I’d be in my bedroom as a teenager, alone, listening to the Grateful Dead or Django Reinhardt or Robert Johnson or Lenny Breau or Charlie Parker, astonished and ecstatic. Of course I have to tell people about this stuff! I’ve never loved music more than I do now, at 40. Literature, too.

So yes I’ll tell you about what I’m into because I don’t know how not to be like that. I don’t mean to pester, just share my life and my loves. I can’t tell you what art to love, but you owe it to yourself to go into the deep end and don’t come back until you’ve caught something serious, cool and probably unexpected. When you have, you’ll know.

What I Love in Sun Ra’s Music

14 Tuesday Jan 2025

Posted by jdhalperin in Uncategorized

≈ Leave a comment

Tags

Jeff Halperin, Marhsall Allen, Sun Ra, Sun Ra Arkestra, To Nature's God

Most people don’t love jazz but those who do probably have a similar progression. On the spectrum of “in” and “out,” people start in and gradually get further “out.” At first, you need splashy cymbals and a tight walking bass to give a sense of coherence, pulse, and beat to the sound. Gradually, you need to rely on these things less and less. Put another way, after you get used to what you’re hearing you’re eager for what’s next, how things stretch from there.

Musicians go through this same progression. John Coltrane is a great example. He played big band jazz, then looser but highly constructed, structured stuff with Monk, then played with Miles and his own quartet in ways that would have seemed very loose and free-form compared to his big band era, but restricted compared to later albums like Ascension. Maybe the simplest way to think about it is that after both musicians and listeners hear the same thing for a while, they get bored and need a change. There’s only so many ways to solo within the changes before something else needs to change.

If I’ve talked to you in the last year or two, you know I am currently very, very in love with the Sun Ra Arkestra. Why? What is its appeal? I’d like to describe it in musical terms but spiritual ones too because that group cannot be explained fully via notes.

I’ve said that the Arkestra represents for me the height of discipline and freedom. This sounds like a cliche so let’s look at this to see precisely what I mean. When the Arkestra wants to be tight, nobody is tighter. With the snap of a finger they can reel off Fletcher Henderson’s big band charts so accurate they include the mistakes musicians made during a live performance. The Arkestra was a huge group, a fixed core with a revolving door of musicians stopping in for days, weeks, months at a time to play with the band, but it was tight.

At the same time, their structure required a certain type of looseness and individual freedom to be what it was. When Arkestra mainstay Marshall Allen first played for Sun Ra, Ra asked him to just play, to test his spirit. There was no music in front of him and he wasn’t playing any song. Anyone who has ever heard one of Allen’s remarkable alto solos knows this spirit. You can’t transcibe what he plays. It’s grunts and high-pitched squeeks and squaks that seem impossible to produce from an alto saxophone, even though overblowing a horn was a technique Coltrane used too, which he heard from 50s RnB players. Allen’s playing took me a while to appreciate, and seeing him play makes it make a lot more sense than just hearing it would have. I wasn’t sure it was even “music,” but part of Ra’s freedom is being in the realm of sound, not notes deriving from a scale.

Sun Ra’s music doesn’t just span the entire musical spectrum; it expands it, making me realize just how varied, rich, wonderful music can be. He’s like the Shakespeare of music, encompassing every mood and character with unmatched technique.

When I listen now to the groups who were my favourite a few years ago–70s Miles fusion and Parliament Funkadelic–they seem almost limited, staid, and small. I still love them dearly! It’s not their fault, everyone seems small compared to the Arkestra. They’re a force that goes deeper and started what everyone else is doing.

Miles got rid of the European-tailored suits because his girlfriend, a beautiful model and killer musician (whose music I also love) Betty Davis told him it wasn’t hip. P Funk bought a lot of their stage wardrobe on Toronto’s Yonge Street, but only after Ra spent years talking about space and looking otherworldly on stage with homemade wardrobes that looked absolutely beautiful.

Ra had multiple dancers at his shows, half-hour long percussion solos, an impossible range of horns and percussion instruments and synths and other keyboard instruments. It’s like his engine never stopped or slowed. His music in the 50s is different than the 80s and 90s, but no less inspired. You can listen or even watch his band play and ask yourself, “what is that instrument?”

His freedom is multi-dimensional. There’s the space concept, the wardrobe, and motion on stage, the way his musicians will walk off stage and break the barrier between audience and musician, or even walk off stage at the end of the show, still playing their instruments. His freedom is also embodied by his just off kilter harmonies, the instrumentation, the time signatures and the shifts, the way instruments can shift ahead and behind the beat, sometimes within the same songs. The chanty songs have a type of tight drawl yet also a kind of upbeat or off-beat quality at the same time that I just love. To Nature’s God comes to mind, a beautiful song praising elements of nature.

It sounds sometimes like all the musicians are playing a different song all at once, but that’s just because they’re playing melodically at the same time, rather than a few people doing chords or vamping to support one soloist at a time. If chords are frozen arpeggios and arpeggios are melted chords, then their solos imply a world of chords or tone. They live within the in-between worlds. It’s kind of a game, to playfully mask or hide the structure, or whatever the key is that opens up the song’s hidden core, and delight in finding it, or feeling it. You don’t need to think about all this music, sometimes it just makes you feel instinctively very good! It can really swing and have a strong sense of melody. But other times it can be extremely dark, dissonant, and you wonder just what this cacophony even is. I’m shocking myself lately by liking this latter mode more than I ever thought I would.

Many of the Arkestra’s musicians lived together, a communal existence that let them rehearse and play 24 hours a day. It kept them out of trouble and simplified meals. Despite being leaders in American jazz who got a wonderful reception in European cities, they never made a ton of money. They needed cash. Yet they were incredibly prolific, putting out over 200 albums, some on Ra’s own record label, Saturn Records.

When publishing a new Saturn album, Ra would hand each band member a few copies, and together they’d do crafts around the kitchen table, drawing on the covers in markers and taping photocopied type-written notes about what songs were on each recording. It was incredibly DIY and resourceful! For laminate, they’d use transparent shower curtains. These hand-decorated, one-of-a-kind records were sold at concerts for cheap and are now some of the most prized collectibles in the world of vinyl. A VG copy of Lanquidity goes for $1,500 cdn. Discipline 27-II went for $1,200 at a store near me.

I’d love to own such a collector’s item not for the monetary value (I’d never, never sell it), but to know that exact album passed through the band’s hands. It’s impossible to imagine a group of artists more commited to their vision. These guys lived the life day in and day out for years. The band started in the 1950s and, while Ra left the planet in 1993, the Arkestra still plays today under the leadership of 100-year-old Marshall Allen.

The spirituality and vision underpinning the music comes from Ra’s imagination and his readings into mythology, the occult, history, numerology, and lots else. For all the out-there strange ideas, it’s also filled with humour, playfulness, and it’s extremely sweet. Ra might have insisted he was from the angel race from Saturn and not a human being, but his music is extremely concerned with people, or maybe as he’d put it, Earthlings. It’s Black music, 100%, but it’s for everyone, too. I read somewhere it’s like Count Basie meets Thelonious Monk and this feels true, but maybe inadequate.

I’m totally floored by the Arkestra’s talent, vision, their raw force, their commitment, their range. It’s exquisite art on many dimensions that’s inspiring and very calming. There are initial barriers to accessing some of their music that once overcome will change the way you appreciate music forever and even your life.

I’ve been obsessed with music from a young age but, in a way, feel like I’m hearing music now for the first time. I hope this isn’t my final musical epiphany in my life and don’t see how it won’t be, yet this band has shown me that musical possibilities are as endless and vast as the cosmos themselves. I feel like I could write more words about each particular album of theirs I love, even each song–it’s extremely difficult to write concretely about such an ever-shifting musical behemoth. Suffice it to say, for me, the Sun Ra Arkestra is more like a miracle than just music.

New Technology in Music and AI

13 Monday Jan 2025

Posted by jdhalperin in Uncategorized

≈ Leave a comment

Tags

AI in music, Jerry Garcia, Music, new-music, news, P-Funk, reviews, rock, Sun Ra

The tech world has a way of promoting what business wants in ways they make sound like you want it. For years it’s felt like everyone pushes you to download their app in what I suspect is a move to get your data, which is then leveraged for marketing or other commercial purposes. Everybody kind of knows this, the suspicion is old. Yet the world carries on as if apps exist for the customers’ sake, to improve their experience, not the company’s. Same with AI.

It feels very much now like people deeply invested in AI need mass buy-in to cash out, and a technology with no real usefulness is being promoted by people who know it’s obviously garbage. I know people have found a range of useful applications, like help in coding or planning an itinerary, but the gap between AI’s alleged usefulness and its hype is so enormous, I’m comfortable saying it’s useless.

Nowhere is it more useless than in making music. One comment from an interview doing the rounds on twitter made my stomach sick, and I’m far from alone. Mikey Shulman an executive from suno AI, said this about making music:

“It’s not really enjoyable to make music now… it takes a lot of time, it takes a lot of practice, you have to get really good at an instrument or really good at a piece of production software. I think the majority of people don’t enjoy the majority of time they spend making music.”

What is said here that isn’t true about everything? There isn’t a discipline on Earth that doesn’t take time to get good if you want to do it well.

Anybody who has really wanted to play an instrument can’t take their hands off it. It’s not a slog! It’s anything but! It’s not work! Maybe I’m wrong, but I can feel this CEO and others dying to insert in this conversation the idea that limiting music to musicians, or people playing instruments, is elitist, that anybody should be able to play music.

But the thing is, anyone can play music! A decent guitar costs a small fraction of one month’s rent. At some point, making music involves doing something, and so long as you can do that, you can make it.

I’ve thought a lot about how music incorporates new technology, and how there’s always a pushback from old fogeys who resist modern change. Am I doing that? I don’t think so, but here’s what I mean…

When the piano first came out, people thought it was a form of cheating because the player only has to hit a colour-coded button (white for natural notes, black for sharps/flats) to pluck the string. With piano, the keys activate a hammer which strikes the strings, there’s no contact between the strings and the fingers.

When hip hop started sampling music, people wrongly thought that was just plagiarism. Let’s be clear about something every knows: rock stole blues, or grew out of it, or whatever you want to call it. There’s nothing new about taking older forms of music into your own; sampling just made it more direct. From an artistic standpoint, there’s no difference between copying someone’s guitar riffs and stitching a bar of their music into your song. These only differ on a technical level. The copying is automatic instead of manual. There’s an old joke about jazz I like that goes like this:

“Maaan, that sax player is just stealing Charlie Parker riffs.”

*Sax player walks over, hands him the horn*

“You try it.”

If anything, sampling is more honest because it’s more direct and there’s no cover-up or masking going on. People thought Led Zeppelin or whoever wrote those Robert Johnson songs, but De La Soul never claimed to have invented P-Funk, even if many people didn’t recognize, say, the Knee Deep sample on Me Myself and I.

My favourite musicians eagerly incorporated new technology right away. Jerry Garcia had an ultra-sophisticated custom guitar with crazy built-in mods in the 80s and 90s, Tiger. Sun Ra jumped at the chance to play any new keyboard instrument (rocksichord, wurlitzer, clavinet, minimoog, farfisa, the list goes on…) and like many he used odd ball recording techniques on albums in places.

Music is about making sounds, not labouring on the rudiments and working on an instrument until you advance and pass a test and get sanctioned to play. You don’t need to log 10,000 hours to play punk or even rock. So I can’t help think that this AI music movement is designed to produce lots of place-holder “content” music so companies can use it in videos or ads or whatever without paying for the rights. They’re not promoting AI in music for musical reasons, just self-interested commercial reasons.

I can’t help but notice that the people pushing AI in music aren’t musicians, but executives and investors. Maybe Brian Eno can find a cool way to make music using AI and I’m not really saying AI is totally useless, but even if you ignore all the absurd amounts of energy and water AI consumes, I am an enormous skeptic that AI will make music sound better and bet it will only make life for real musicians even harder, not easier.

Sun Ra: The Dawn of My New Musical Life

06 Tuesday Feb 2024

Posted by jdhalperin in Uncategorized

≈ Leave a comment

Tags

Grasshopper Records, Jeff Halperin, Lanquidity, Sun Ra, Sun Ra Arkestra, Swiims

It’s very hard to write about such a vast, deep musician because where exactly do you begin? Sun Ra insisted he was from the planet Saturn, and all musical evidence suggests this is true. I’ll start with my own personal introduction to his music, since for years I was intimidated by it.

I had heard Sun Ra was some of the wildest music out there and that his catalogue was immense. What to listen to first? For years I didn’t know, so I didn’t listen to any of it. I stumbled on a used record in 2022, a reissue of Jazz in Silhouette for $15, and knew I had to buy it because few records are that cheap, let alone a Sun Ra. It was a surprisingly “in” album, but gorgeous, melodies and big band swing galore. I didn’t go beyond it.

On June 27, 2023, while minding my own business one day I came upon a tweet saying the Sun Ra Arkestra was doing a free workshop in Regent Park. Holy! To be honest, I had been feeling quite down and depressed and leaving the apartment was hard, but I live on Dundas and the show was on Dundas, just a streetcar ride away. If such a killer free show was happening down the street and I didn’t bother to see it, what exactly was I doing?

I didn’t know what a “free workshop” constituted exactly, but it turned out that the band basically played a free concert. There were some kids and adult musicians, a community band, on stage too, albeit not really plugged in or mic’d up. The Arkestra’s music was unbelievable. I went with a buddy and we still laugh about what I told him before the show started. I did say I was no expert on the band, but I knew that they were considered absolutely top tier musicians, comparable to Coltrane, Ellington, all the legendary household names, and the group formed in 1958. “Which one is Sun Ra?” Cian asked. “Hmmm, that one?” I said, pointing to the oldest-looking gentleman. Well, Sun Ra died in 1993. That’s how uninitiated I was then. (Cian plays bass for a band called Swiims, and they’re really cool too, though quite different than the Arkestra!)

The “workshop” consisted of the band, only half of them wearing their elaborate stage costumes, playing some of their well-known tunes (new to me then), talking to the audience between songs about the history of the band and jazz itself, very interwoven things, and encouraging the audience to listen and play music. My mouth hung open. It still hasn’t closed. I couldn’t believe this was happening in my city and to me. I really still can’t! The band was still playing when they walked off the stage over an hour later, mid-song.

Then, in the atrium we all feasted together. Band members and audience were welcome to eat samosas and some other delicious food together, all free. What world was I living in? Toronto is outrageously expensive and so are concerts, so I was truly astonished by the whole thing.

I spoke briefly to Dave Hotep, the band’s guitarist, who said he heard there was a municipal election and that the right person won. Suddenly I was living in a world where Olivia Chow was mayor, the Sun Ra Arkestra plays free shows in my city, and you could just casually eat free samosas and talk to jazz legends.

It did a lot for my mood. It’s hard to be depressed when your mind is blown and your soul is soaring.

The next night I lined up early for their concert at Great Hall because I didn’t have a ticket but absolutely had to see them. This was no ticketmaster/live nation scam, with prices in the hundreds or thousands of dollars. This was $50, cash. The lack of any online reselling scams was so refreshing, in keeping with everything the band does. No gimmicks, no bullshit. Just music.

Outside in the line, the legendary Arkestra member Knoel Scott asked me if I knew where to get a bottle and we (I made some friends in line; Ra is higher conscious music and the whole audience felt palpably friendly, happy and cool) told him where the nearest LCBO was. I was dead sober, excited as hell, and the two-plus hours of music that night changed my life. I was astonished and buzzing and still can’t believe how good it was. I really can’t. I’ve seen Phil and Bobby, Phish, Santana, Dr John…countless killer musicians. I doubt I’ll ever hear or see better music than I heard that night unless I see the Arkestra again.

After the show I went on Twitter to find other fans and pictures from the night and ended up going back and forth a bit with Ra trombonist Dave Davis for a while. My buddy Grasshopper was at the show and ended up hanging with one of the band members until 5am at his place, looking at Sun Ra records.

It’s been months, but I pretty much just listen to Sun Ra now. I just counted and have 13 of their albums on vinyl. The band has probably 250, I don’t think anybody’s sure exactly. Pressings from the 70s or older on Sun Ra’s own Saturn label are among the rarest albums you can find, costing over $1,000 Cdn usually. Some have original one-of-a-kind art work band members devised to help sell the albums because it was their own record label and I don’t think they made official covers, never mind having a corporate behemoth helping with marketing. They painted the covers themselves, sometimes. I’ve seen an original copy of Horizons and Lanquidity, the latter being probably my favourite.

I have two box sets of music from 1978 and 1984 reissued, respectively, in 2011 and 2014, splurges I absolutely love. One I bought from Grasshopper Records, with my now father-in-law the weekend before my wedding. Grasshopper recommended his friend to DJ my wedding, and they gave me a friend discount, and I was more than happy to use some of that to buy a serious Ra record. When I heard they were playing a free workshop, I told Grasshopper, but sadly he got caught in traffic and showed up just for samosas.

I have a few original Ra records that were surprisingly inexpensive, I guess because they’re the least rare albums, not from the Saturn label. $30-40 range. Nothing crazy. Some of the band’s music is too out there for me still, but I consider this something I probably need to work through or advance towards. If anything, the shortcoming is mine, not theirs! The Arkestra can swing with the absolute best of them. They play every type of jazz and blues, fit any mood. It feels like it’s in their bones. The history of the band aligns with the ear test–you hear them and know they go way, way back. They’re not playing jazz, they are jazz. Sun Ra wrote charts for Fletcher Henderson, a big band jazz legend who died in 1952. Marshall Allen, the band’s current musical director, is 100 years old. He wasn’t there in Toronto, but still plays on special occasions in Brooklyn, his home, including I understand his 100th birthday party.  

When generations of elite musicians devote their entire lives to music, not just their careers but their spiritual lives too, the result is the Sun Ra Arkestra. My understanding is all or most of the band lived in the same house, a row house in their Philadelphia period, and would play daily for upwards of 10-15 hours. Imagine…you play a 3-hour concert, but that’s only 20% of the music you played that day. Now imagine that dedication and hours logged over decades. That’s how good the Sun Ra Arkestra is. To me they embody the polarities between ultimate freedom and ultimate discipline. They know all the jazz there is on Earth, and lots of Saturn music, too.

Next time I write about them, I’ll focus on an album because it’s crazy to write this much and barely talk about their actual music, one of my favourite things in life, currently.

One final note. In 1999, I saw a show by a group called the Cosmic Krewe at the Comfort Zone because I heard their band leader, a trumpet player named Michael Ray, jam live with Phish on a tape from ’94. I knew then that Ray also played with Kool and the Gang, but had no idea until 2023 he was also a member of the Sun Ra Arkestra since 1979. I listened to the bootleg Comfort Zone Krewe show I went to a lot. There were melodies I’ve been humming for over 20 years, not knowing how to find these songs. How do you google a melody, exactly? So I was shocked yet somehow unsurprised when it turned out these Cosmic Krewe songs were in fact Sun Ra Arkestra songs. Enlightenment I had heard on Jazz in Silhouette, but Live in Nickelsdorf has another tune I knew since 1999. It blew my mind.

I’m only half-joking when I say that despite playing guitar for 30 years, I really didn’t know anything about music until June 27, 2023, the first time I heard and saw the Sun Ra Arkestra. (Half-joking because that’s also what I said in 2021, when I got deep into Parliament Funkadelic, but that’s another post.) I’m still buzzing from those concerts and I doubt I’ll ever stop. Music really is a life-long journey, and I’ve been very grateful, humbled, and appreciative to find musicians so out there and this deep.

Twitter

Follow @JDhalperin
Tweet

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 1,020 other subscribers

Essential sites

  • Grateful Dead Chords/Tabs
  • Neil Young Chords/Tabs

My Writing

  • Huffington Post
  • Maclean's
  • Music Writing
  • The Star
  • the Walrus Laughs
  • Toronto Review of Books
  • Toronto Standard
  • World Is One News

Topics

  • Comedy (18)
  • Literature (13)
  • Politics (25)
  • Sports (16)
  • Statements (35)
  • Uncategorized (37)

Create a free website or blog at WordPress.com.

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Subscribe Subscribed
    • Jeff Halperin
    • Join 50 other subscribers
    • Already have a WordPress.com account? Log in now.
    • Jeff Halperin
    • Subscribe Subscribed
    • Sign up
    • Log in
    • Report this content
    • View site in Reader
    • Manage subscriptions
    • Collapse this bar
 

Loading Comments...