Music
Sun Ra's piano technique touched on many styles: his youthful fascination with boogie woogie, stride piano and blues, a sometimes refined touch reminiscent of Count Basie or Ahmad Jamal, and angular phrases in the style of Thelonious Monk or brutal, percussive attacks like Cecil Taylor. Often overlooked is the range of influences from classical music—Sun Ra cited Chopin, Rachmaninoff, Schoenberg and Shostakovich as his favorite composers for the piano.
As a synthesizer and electric keyboard player, Sun Ra ranks among one of the earliest and most radical pioneers. By the mid-1950s, he used a variety of electric keyboards, and almost immediately, he exploited their potential perhaps more than anyone, sometimes modifying them himself to produce sounds rarely if ever heard before. His live albums from the late 1960s and early 1970s feature some of the noisiest, most bizarre keyboard work ever recorded.
Sun Ra's music can be roughly divided into three phases, but his records and performances were full of surprises and the following categories should be regarded only as approximations.
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Famous quotes containing the word music:
“And this shall be for music when no one else is near,
The fine song for singing, the rare song to hear!
That only I remember, that only you admire,
Of the broad road that stretches and the roadside fire.”
—Robert Louis Stevenson (1850–1894)
“The first condition for making music is not to make a noise.”
—José Bergamín (1895–1983)
“I used to be angry all the time and I’d sit there weaving my anger. Now I’m not angry. I sit there hearing the sounds outside, the sounds in the room, the sounds of the treadles and heddles—a music of my own making.”
—Bhakti Ziek (b. c. 1946)