Re: SR museum?
Re: SR museum?
The PAST is PASSED, gone by dig it? Why recapture it? And museums spread falsehoods, i.e. Christ. Recall the eradication of civi= lizations and people in the name of Christianity. Recall the manipulation= of words to serve the purpose of the Vatican. Recall the lies disseminate= d today over perverted priests who suck young children for their perverted= purposes. Dig, somebody did make up the Christian religion. What is called the Chris= tian religion based on words of writers who NEVER even heard the "Christ"= speak. The words have been convoluted, permutated, dissipated over centuries. And dig what if the "god" all Christians worshipped turned out to be a wom= an, of color also perhaps. and she is mad. Lots of white Christian folks will have their undies in a wad, eh? I believe in what Mr Knoel is saying. Stop sucking from others works and= create your own works. Mr. Ra said many words, they should be used to hel= po us move forward, not go backwards.=20
-----Original Message----- From: Gary Lawrence Murphy garym@teledyn.com To: SATURN@NIC.SURFNET.NL Sent: Sat, Mar 27, 2010 12:58 pm Subject: Re: SR museum?
yes, teh Vatican has a museum of the Christ. A friend of mine was curator or a while, it contains a great deal of documents and holy relics, again, sed to show the future generations that they didn't "just make this story p." This does not prevent local churches from doing research work or preading the faith through action, it only exists because they had all thi= s tuff and a great many nay-sayers. And it has proven to be useful on occasion, where points of order and atters of popular opinion clash with the doctrine as delivered, scholars re able to go back, pick through the bones and, for example, discover that he early martyrs did indeed include two saints who were a gay married ouple, or that Galileo was not under house arrest for his science, but urely for reasons of political expedience. It may be an obsession with a aper-trail, but earth civilization came by that obsession honestly, throug= h illenia of challenges to "prove it" If, on the other hand, Sonny did not wish to cling to traditional ransmissions and only sought for the world to "Create Create Create" then hy did he twice tell the Toronto audiences "They tried to fool you, now I ave to school you" and proceed to recommend to us recordings, the rchived voices of departed people like Duke Ellington ("That's Jazz") and illie Holiday ("That's Jazz") and yet of other creatives he proclaimed, But that ain't jazz" -- is this not an appeal to a foundation of archive= d iterature? is this not a clear denial of post-modern relativism that woul= d ay all 'creations' are equal? yes there are a million notes between B and , but are all of them useful? If so, then why would the arkestra rehearsa= l apes contain the same passage played over and over and over again to get hem 'right'? If we did not have the archival collections, how would I, wa= y ut here on the fringes, know this? we can deny history. but history will not deny us. On Sat, Mar 27, 2010 at 7:29 AM, Knoel Scott knoelscott@yahoo.com wrote:
Is there a museum of the Christ? Sun Ras legacy resounds in the creativity of the Arkestra, AACM, World Saxophone Qt; In answ<er to your question? Yes Sunny would delight in his legacy being scattered to the four winds ;;;;;;;;;;;;;;;winds such as the Orchestra in the Republic of Tuva (siberia) which basded its concept on the Sun Ra Arkestra, to that crazy japanesese Big band, to the poetry of Imamu Amir= i Baraka Its time you people dug in your souls and spririts and created some beaut= y instead o=C3=A7f just sucking the life blood out of the Creative Artsts= then chewing on their bones in Museums; CREATE CREATE CREATE CREATE CREATE CREATE CREATE CREATE CREATE CREATE
that is the greatest legacy Sun Ra could have.........The rest, you would= nt get i;e; understand anyway
This is the viewpoint of Knoel Scott, prodigal son of Sun Ra
From: Margaret Davis Grimes musicmargaret@earthlink.net To: SATURN@NIC.SURFNET.NL Sent: Fri, March 26, 2010 5:12:53 PM Subject: Re: SR museum?
Hi, Doctor. I assume Maestro Marshall Allen would choose the project manager and the place, and I don't know where the necessary funding would come from, though I shouldn't think it would cost much if the collection could be housed in an already established place. But this idea did not originate with me, it was discussed on this list several years ago, and= I thought the Sun Ra Museum was already being developed at that time. I'll see what I can find out about it.
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On Friday, March 26, 2010 at 6:44 AM, Dr. Anton J. Kuchelmeister wrote:
Appreciating the opinions and arguments by the several contributors, so far. Still missing many others?
However, not to concentrate right now, or only, on the question of a potential most suitable location, I think what much more important is are the other aspects raised, may I repeat them:
Such a project will need a visionary, energetic, empowered and empowering project manager to run the project through planning, implementation and operation.
Where would the necessary funding come from?
This would impact strongly further steps...
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On Thu, 25 Mar 2010 04:05:06 +0100, Margaret Davis Grimes wrote:
When will Sun Ra ever get his Museum? There are scores and collections= and archives at the Library of Congress, at Berklee, in Alabama and Philadelphia, in Europe and Japan, here, there, and yonder... When will= the Sun Ra Museum come true? Or would he have liked the idea of having his legacy scattered to the four winds? What do you all think or know about this?
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http://tinyurl.com/yfn4hdz
"Chicago Jazz Music Examiner"
The Chicago link between Sun Ra and the Governor of Massachusetts
By Neil Tesser (ressetn@aol.com)
March 24, 2010
Sun Ra: What's his link to the Massachusetts Governor? Later today, the Governor of Massachusetts will officially present a collection of memorabilia - hundreds of musical scores, photos, recordings, and other items - to the Berklee College of Music's Africana Studies Archive. They= 're making a full day of it, too, with performances by students and faculty= at Berklee (the leading jazz school in America), along with speeches by the Governor, school officials, and the celebrated poet and activist Amiri Baraka.
What follows is a simple little tale of how that collection of memorabili= a made its way to Boston via New York, Chicago -- and the planet Saturn.
It starts, however, in East Moline, 150 miles east west of Chicago - the birthplace of Laurdine Kenneth Patrick in 1929. Along the way to becomin= g a jazz saxophonist, Laurdine (quite understandably) acquired the more manageable nickname "Pat." And that's the name you find on all of the ea= rly recordings by the cosmo-musical explorer Sun Ra.
In fact, as award-winning author John Szwed points out in his much admire= d biography of Sun Ra, Patrick played an extremely important role in the career of the young bandleader, back when Ra was the Chicago pianist stil= l known as Herman "Sonny" Blount. This was before he created his personal philosophy, a mystic hodgepodge hybridized from science fiction and Egypt= ian mythology, which became one of Sun Ra's trademarks -- along with the visionary, rollicking music that accompanied it.
Patrick, who specialized in baritone sax but also excelled at alto (and occasionally played electric bass), had moved to Chicago primarily to stu= dy at DuSable High School with the legendary bandleader Walter Dyett. Even then, Dyett enjoyed a reputation for developing disciplined and motivated musicians. And Patrick stands out among the most impressive DuSable alum= ni, who have included saxophone great Von Freeman, bass icon Wilbur Ware, and the peerless vocalist Dinah Washington).
In 1952, Patrick joined Blount / Ra in a new trio on Chicago's south side= ; it would eventually blossom into one of the most unusual and influential orchestras in jazz, the Sun Ra Arkestra (as it was most often called). = The band was known as much for their metallic capes and headgear -- trust me, Gene Simmons had nothing on these guys -- as for their innovative, other-worldly music. Over the decades, Patrick would come and go, a testament to the high regard in which Sun Ra held him: other key members= of the Arkestra lived communally under the watchful eye of the leader (in pa= rt so that "Sunny" could ensure their abstinence from vices of all kinds).
In 1963, the versatile Patrick hired on as musical director of Mongo Santamaria's Latin-jazz group - the one that had the giant hit "Watermelo= n Man." Everyone knows that tune. Not so many recall another Santamaria= hit called "Yeh! Yeh!" Patrick wrote that one; eventually it gained lyrics= and climbed the pop charts, thanks to British rock-&-roller Georgie Fame's hi= t recording of 1965.
Patrick also recorded with John Coltrane and performed in Duke Ellington'= s band. He worked with Thelonious Monk and Clark Terry and co-founded a gr= oup called Baritone Retinue. All along the way, he was collecting musical experiences - and memorabilia. And he often returned to Sun Ra, as he di= d for the 1970 performance in Berlin documented below.
By then, his son Deval Patrick - born in 1956, but estranged from his father for years - had turned 14. Having moved with his mother to Massachusetts, he graduated from the prestigious Milton Academy in 1974. Then he went to Harvard. Then Harvard Law, in 1979. Fifteen years later= , he was named Assistant Attorney General for Civil Rights under President Clinton. And in 2006, Deval Patrick became the first African-American Governor of the Commonwealth of Massachusetts.
It is in that capacity that he dedicates to Berklee the collection of his father's memorabilia and writings. He also does this in the capacity of= a respectful son: Pat Patrick died in 1991, but not before he and Deval cou= ld reconcile. Although the father did not approve of his son's entry into mainstream politics, they nonetheless found common ground in the music.
On Tuesday, the Governor told the Boston Herald: "What's satisfying is having his material appreciated. Frankly, even for my sisters and me, we weren't quite sure what we were sitting on . . . It seemed to have value because my father had paid attention to accumulating and preserving it during his life. So it's great to have the folks at Berklee, who seem so excited about this material, take custody of it and share it with student= s."
Today, the son of a man who played with the Sun of Saturn honors his fath= er with a trove of history - and at least a bit of stardust, emanating from= his Chicago roots.
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