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See all customer images. Read reviews that mention jungle book john goodman shere khan phil harris king louie haley joel joel osment jim cummings mae whitman year old bare necessities sterling holloway tony jay son loves jungle rhythm return to neverland back to the jungle monsters inc phil collins sequel to the classic.

Showing of reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now.

Please try again later. This film is a mixed desire of animators wanting to continue the legacy of the original movie with new plot of the film.

It seems this sequel has been released in theaters as Leonard Maltin gives it a review in his movie guide.

He calls it pointless and a retread, two stars. The film is somewhat better than two stars, yet it is true that there is too much repetition.

It is disappointing that 2 new songs focusing on Shanti were dropped and are only found in the deleted scenes. The directors and producers wanted to make this Mowgli's film, not Shanti's, but personally I would rather see more of Shanti.

Much of the best part of the film is near the end with the chase scenes in the abandoned temple where There Khan is chasing Mowgli. Here Shanti and Bale distract There Khan by banging on gongs.

No King Louie this time, which was a big disappointment. John Goodman did an excellent Ball. One of the reasons I got this DVD -- in addition to filling a hole in my Disney collection -- was to see Mae Whitman in another another role.

This film was made 5 years before she did the first Tinker Belle movie, so she sounds much younger here. On the whole a rather lightweight film, though the scenes at the temple were quite good.

Not a pointless film, and it is a true sequel, not a retread. One person found this helpful. A rather pointless romp with a lot of retread territory.

The voices don't stand up to the originals, and for a company like Disney whop excels at finding sound-alikes, it's disappointing. I don't hate this movie.

I just don't see a real purpose for it to exist. It does have it's fun moments, but as a huge fan of the first Jungle Book, I can't recommend it to any but young children who just want to see more of Mowgli and Baloo.

I bet a lot of people are wondering, when is Disney going to get tired of making sequels? I don't know for sure, or when they will get tired of making sequels.

While the orginal was out in , this movie was released this year. The movie takes place after Mowgli has left the jungle and moved to a man villiage.

The movie has 2 songs from the first movie, and one of them is I want to be like you peformed by Smashmouth.

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Both men felt like outsiders and shared an interest in esoterica. Abraham's strengths balanced Ra's shortcomings: Abraham was outgoing, well-connected, and practical.

Though still a teenager, Abraham eventually became Sun Ra's de facto business manager: Ra, Abraham and others formed a sort of book club to trade ideas and discuss the offbeat topics that so intrigued them.

This group printed a number of pamphlets and broadsides explaining their conclusions and ideas. In the mids, Sun Ra and Abraham formed an independent record label that was generally known as El Saturn Records.

It had several name variations. Initially focused on 45 rpm singles by Sun Ra and artists related to him, Saturn Records issued two full-length albums during the s: In the late s, Sun Ra and his band began wearing the outlandish, Egyptian-styled or science fiction -themed costumes and headdresses for which they became known.

These costumes had multiple purposes: Sun Ra thought avant garde musicians typically took themselves far too seriously. To save money, Sun Ra and his band members lived communally.

This enabled Sun Ra to request rehearsals spontaneously and at any time, which was already a noted habit of his.

Despite their planned management of money, the costs of New York eventually became too high and motivated the group to move to Philadelphia.

This was a breakthrough to new audiences and recognition. Sun Ra's popularity reached an early peak during this period, as the beat generation and early followers of psychedelia embraced him.

Regularly for the next year and a half and intermittently for another half-decade afterwards , Sun Ra and company performed at Slug's for audiences that eventually came to include music critics and notable jazz musicians.

Opinions of Sun Ra's music were divided and hecklers were not uncommon. High praise, however, came from two of the architects of bebop.

Trumpeter Dizzy Gillespie offered encouragement, once stating, "Keep it up, Sonny, they tried to do the same shit to me," [24] and pianist Thelonious Monk chided someone who said Sun Ra was "too far out" by responding, "Yeah, but it swings.

In , when the New York building they were renting was put up for sale, Sun Ra and the Arkestra relocated to the Germantown section of Philadelphia.

Sun Ra got a house on Morton Street that became the Arkestra's base of operations until his death. Apart from occasional complaints about the noise of rehearsals, they were soon regarded as good neighbors because of their friendliness, drug-free living, and rapport with youngsters.

The saxophonist Danny RayThompson owned and operated the Pharaoh's Den, a convenience store in the neighborhood.

When lightning struck a tree on their street, Sun Ra took it as a good omen. James Jacson fashioned the Cosmic Infinity Drum from the scorched tree trunk.

They commuted via railroad to New York for the Monday night gig at Slug's and for other engagements. Sun Ra became a fixture in Philadelphia, appearing semi-regularly on WXPN radio, giving lectures to community groups, or visiting the city's libraries.

In the mids, the Arkestra sometimes played free Saturday afternoon concerts in a Germantown park near their home.

At their mids shows in Philadelphia nightclubs, someone stood at the back of the room, selling stacks of unmarked LPs in plain white sleeves, pressed from recordings of the band's live performances.

Hippies accustomed to long-form psychedelia like the Grateful Dead were often bewildered by the Arkestra. Sun Ra was featured on the April 19, cover of Rolling Stone magazine, which introduced his inscrutable gaze to millions.

During this tour, Damon Choice, then an art student at San Jose, joined the Arkestra and became its vibraphonist. Starting with concerts in France, Germany, and the United Kingdom in , the Arkestra began to tour internationally.

They played to audiences who had known his music only through records. Sun Ra continued playing in Europe to nearly the end of his life.

The saxophonist Danny Thompson became a de facto tour and business manager during this era, specializing in what he called "no bullshit C. One half-hour of each class was devoted to a lecture complete with handouts and homework assignments , the other half-hour to an Arkestra performance or Sun Ra keyboard solo.

He returned to Egypt in and , when he recorded with Ragab. It was filmed in Oakland and San Francisco. A show concert by the Arkestra in Cleveland featured an early lineup of Devo as the opening act.

In New York City in the fall of , Sun Ra and the Arkestra played as the "house band" at the Squat Theatre on 23rd Street, which was notorious as the performance venue of the avant-garde Hungarian theater troupe.

Janos, their manager, transformed the theater into a nightclub while most of the troupe was away that season performing in Europe.

Sun Ra was disciplined and drank only club soda at the gigs, but did not impose his strict code on his musicians. They respected his discipline and authority.

Soft-spoken and charismatic, Sun Ra turned Squat Theater into a universe of big band "space" jazz backed by a floor show of sexy Jupiterettes.

He directed while playing three synthesizers at the same time. Sun Ra had a stroke in , but kept composing, performing, and leading the Arkestra. Late in his career, he opened a few concerts for the New York—based rock group Sonic Youth.

When too ill to perform and tour, Sun Ra appointed Gilmore to lead the Arkestra. Gilmore was frail from emphysema ; after his death, Allen took over leadership of the Arkestra.

In late , Sun Ra returned to his birth city of Birmingham to live with his older sister, Mary Jenkins, who along with various Blount cousins became his caretaker.

In January, he was admitted to Princeton Baptist Medical Center, suffering from congestive heart failure, respiratory failure, strokes, circulatory problems, and other serious maladies.

Following Gilmore's death in , the group has performed under the direction of alto saxophonist Marshall Allen. In the summer of the Arkestra became the first American jazz band to perform in Tuva , in southern Siberia, where they played five sets at the Ustuu-Huree Festival.

As of July , the Arkestra continues to tour and perform. In September they played for 7 days in a row at the ZXZW festival, each day emphasizing different aspects of the musical legacy of Sun Ra.

In , they performed at Philadelphia's Institute of Contemporary Art in conjunction with an exhibition that explored the intersection of the Arkestra's performing legacy and the practice of contemporary art.

Sun Ra's piano technique touched on many styles: 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 mids, 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 s and early s 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.

The first period occurred in the s when Sun Ra's music evolved from big band swing into the outer-space-themed "cosmic jazz" for which he was best known.

Music critics and jazz historians say some of his best work was recorded during this period and it is also some of his most accessible music.

Sun Ra's music in this era was often tightly arranged and sometimes reminiscent of Duke Ellington 's, Count Basie's, or other important swing music ensembles.

However, there was a strong influence from post-swing styles like bebop , hard bop , and modal jazz , and touches of the exotic and hints of the experimentalism that dominated his later music.

Ronnie Boykins , Sun Ra's bassist, has been described as "the pivot around which much of Sun Ra's music revolved for eight years. After the move to New York, Sun Ra and company plunged headlong into the experimentalism that they had only hinted at in Chicago.

The music was often extremely loud and the Arkestra grew to include multiple drummers and percussionists.

In recordings of this era, Ra began to use new technologies—such as extensive use of tape delay—to assemble spatial sound pieces that were far removed from earlier compositions such as Saturn.

Recordings and live performances often featured passages for unusual instrumental combinations, and passages of collective playing that incorporated free improvisation.

It is often difficult to tell where compositions end and improvisations begin. In this era, Sun Ra began conducting using hand and body gestures.

This system inspired cornetist Butch Morris , who later developed his own more highly refined way to conduct improvisers.

Though often associated with avant-garde jazz, Sun Ra did not believe his work could be classified as "free music": If you want to call it that, spell it p-h-r-e , because ph is a definite article and re is the name of the sun.

So I play phre music — music of the sun. Seeking to broaden his compositional possibilities, Sun Ra insisted all band members double on various percussion instruments — predating world music by drawing on various ethnic musical forms — and most saxophonists became multireedists , adding instruments such as flutes, oboes, or clarinets to their arsenals.

In this era, Sun Ra was among the first of any musicians to make extensive and pioneering use of synthesizers and other various electronic keyboards ; he was given a prototype Minimoog by its inventor, Robert Moog.

According to the Bob Moog Foundation: Ra immediately added the instrument to his repertoire of keyboards, later acquired a second, and featured the Minimoog prominently on many of his recordings of the early s.

During their third period, beginning in the s, Sun Ra and the Arkestra settled down into a relatively conventional sound, often incorporating swing standards, although their records and concerts were still highly eclectic and energetic, and typically included at least one lengthy, semi-improvised percussion jam.

Sun Ra was explicitly asserting a continuity with the ignored jazz tradition: In the s Sun Ra took a liking to the films of Walt Disney.

He incorporated smatterings of Disney musical numbers into many of his performances from then on.

In the late s the Arkestra performed a concert at Walt Disney World. The Arkestra's version of " Pink Elephants on Parade " is available on Stay Awake , a tribute album of Disney tunes played by various artists and produced by Hal Willner.

A number of Sun Ra's s concerts are available on CD, but none have received a wide release in comparison to his earlier music.

The album Atlantis can be considered the landmark that led into his s era. During concerts, the OVC usually was positioned at center stage behind the Arkestra while Sebastian sat on stage with the musicians.

Dozens of musicians—perhaps hundreds—passed through Sun Ra's bands over the years. Some stayed with him for decades, while others played on only a few recordings or performances.

Sun Ra was personally responsible for the vast majority of the constant changes in the Arkestra's lineup. According to contrabassist Jiunie Booth , a member of the Arkestra, Sun Ra did not confront any musician whose performance he was unsatisfied with.

Instead, he would simply gather the entire Arkestra minus the offending musician, and skip town—leaving the fired musician stranded.

After repeated instances of U. State Department was compelled to tell Sun Ra to bring any fired musicians stateside rather than leave them stranded.

The following is a partial list of musical collaborators, and the eras when they played with Sun Ra or the Arkestra:. The OVC was a giant machine, played with hands and feet, that allowed artists to create and finger-paint with light similar to how musicians create and explore sound with their instruments.

The name of the instrument arose from Bill Sebastian's collaboration with Sun Ra. Sun Ra incorporated the OVC into the Arkestra from and experimented with Bill on video applications from to

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The original "Jungle Book" was a classic. The story was, as in many Walt Disney animated movies, very simple. There was probably not that much story depth there to create an equally good sequel.

The original was made over 50 years ago, with this sequel made in It is cute, the music is along the lines of the first one of course with a version of the famed "Bear Necessities" song.

The story itself brings back all the faves, along with some new characters. Overall, you can tell this is a straight to DVD movie, as the plot doesn't move very fast and the voice acting isn't super believable.

John Goodman may not be Phil Harris, but he's darn close. Goodman makes a very convincing Baloo Bear. This film was made 34 years after the first Jungle Book which makes it more surprising in it's continuity.

The actor Jim Cummings can perfectly reproduce the voice of character actor Sterling Holloway, who voiced Kaa in the Jungle Book film.

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The Jungle Book 2 is not the highest quality of movie, but it's not terrible as far as Disney sequels go. It's a fun movie to pop in every now and then and it's a good addition to the collection if you have one.

Other than that, don't expect anything groundbreaking, and don't expect anything up to par with its classic original. See all reviews. Pages with related products.

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Amazon Renewed Refurbished products with a warranty. It is often difficult to tell where compositions end and improvisations begin.

In this era, Sun Ra began conducting using hand and body gestures. This system inspired cornetist Butch Morris , who later developed his own more highly refined way to conduct improvisers.

Though often associated with avant-garde jazz, Sun Ra did not believe his work could be classified as "free music": If you want to call it that, spell it p-h-r-e , because ph is a definite article and re is the name of the sun.

So I play phre music — music of the sun. Seeking to broaden his compositional possibilities, Sun Ra insisted all band members double on various percussion instruments — predating world music by drawing on various ethnic musical forms — and most saxophonists became multireedists , adding instruments such as flutes, oboes, or clarinets to their arsenals.

In this era, Sun Ra was among the first of any musicians to make extensive and pioneering use of synthesizers and other various electronic keyboards ; he was given a prototype Minimoog by its inventor, Robert Moog.

According to the Bob Moog Foundation: Ra immediately added the instrument to his repertoire of keyboards, later acquired a second, and featured the Minimoog prominently on many of his recordings of the early s.

During their third period, beginning in the s, Sun Ra and the Arkestra settled down into a relatively conventional sound, often incorporating swing standards, although their records and concerts were still highly eclectic and energetic, and typically included at least one lengthy, semi-improvised percussion jam.

Sun Ra was explicitly asserting a continuity with the ignored jazz tradition: In the s Sun Ra took a liking to the films of Walt Disney. He incorporated smatterings of Disney musical numbers into many of his performances from then on.

In the late s the Arkestra performed a concert at Walt Disney World. The Arkestra's version of " Pink Elephants on Parade " is available on Stay Awake , a tribute album of Disney tunes played by various artists and produced by Hal Willner.

A number of Sun Ra's s concerts are available on CD, but none have received a wide release in comparison to his earlier music.

The album Atlantis can be considered the landmark that led into his s era. During concerts, the OVC usually was positioned at center stage behind the Arkestra while Sebastian sat on stage with the musicians.

Dozens of musicians—perhaps hundreds—passed through Sun Ra's bands over the years. Some stayed with him for decades, while others played on only a few recordings or performances.

Sun Ra was personally responsible for the vast majority of the constant changes in the Arkestra's lineup. According to contrabassist Jiunie Booth , a member of the Arkestra, Sun Ra did not confront any musician whose performance he was unsatisfied with.

Instead, he would simply gather the entire Arkestra minus the offending musician, and skip town—leaving the fired musician stranded.

After repeated instances of U. State Department was compelled to tell Sun Ra to bring any fired musicians stateside rather than leave them stranded.

The following is a partial list of musical collaborators, and the eras when they played with Sun Ra or the Arkestra:.

The OVC was a giant machine, played with hands and feet, that allowed artists to create and finger-paint with light similar to how musicians create and explore sound with their instruments.

The name of the instrument arose from Bill Sebastian's collaboration with Sun Ra. Sun Ra incorporated the OVC into the Arkestra from and experimented with Bill on video applications from to John Bishop, of Video Magazine, stated of the OVC that "the emotional energy of the visuals equals and at times surpasses that of the music.

The images are not slaves to the sounds but function the way a dancer does; interpreting, harmonizing, and enlarging the space created by the music.

Sun Ra's world view was often described as a philosophy, but he rejected this term, describing his own manner as an "equation" and saying that while philosophy was based on theories and abstract reasoning, his method was based on logic and pragmatism.

Many of the Arkestra cite Sun Ra's teachings as pivotal and for inspiring such long-term devotion to the music that they knew would never make them much money.

His equation was rarely if ever explained as a whole; instead, it was related in bits and pieces over many years, leading some to doubt that he had a coherent message.

However, Martinelli argues that, when considered as a whole, one can discern a unified world view that draws upon many sources, but is also unique to Sun Ra, writing:.

Sun Ra presents a unified conception, incorporating music, myth, and performance into his multi-leveled equations. Every aspect of the Sun Ra experience, from business practices like Saturn Records to published collections of poetry to his year career in music, is a manifestation of his equations.

Sun Ra seeks to elevate humanity beyond their current earthbound state, tied to outmoded conceptions of life and death when the potential future of immortality awaits them.

As Hall has put it, "In this era of 'practical' things men ridicule even the existence of God. They scoff at goodness while they ponder with befuddled minds the phantasmagoria of materiality.

They have forgotten the path which leads beyond the stars. He drew on sources as diverse as the Kabbalah , Rosicrucianism , channeling , numerology , Freemasonry , Ancient Egyptian Mysticism , and black nationalism.

Sun Ra's system had distinct Gnostic leanings, [46] arguing that the god of most monotheistic religions was not the creator god, not the ultimate god, but a lesser, evil being.

Sun Ra was wary of the Bible, knowing that it had been used to justify slavery. He often re-arranged and re-worded Biblical passages and re-worked many other words, names, or phrases in an attempt to uncover "hidden" meanings.

The most obvious evidence of this system was Ra's practice of renaming many of the musicians who played with him.

And a lot of times it was humorous, and a lot of times it was ridiculous, and a lot of times it was right on the money.

Some of Sun Ra's songs with words featured lyrics that although simple, were inspirational and philosophical. The most famous example was "Space Is the Place!

You did something wrong. Make another mistake, and do something right! According to Szwed, [50] Sun Ra's view of his relationship to black people and black cultures "changed drastically" over time.

Initially, Sun Ra identified closely with broader struggles for black power, black political influence, and black identity, and saw his own music as a key element in educating and liberating blacks.

But by the heyday of Black Power radicalism in the s, Sun Ra was expressing disillusionment with these aims.

He denied feeling closely connected to any race. In he said:. I couldn't approach black people with the truth because they like lies.

At one time I felt that white people were to blame for everything, but then I found out that they were just puppets and pawns of some greater force, which has been using them Some force is having a good time [manipulating black and white people] and looking, enjoying itself up in a reserved seat, wondering, "I wonder when they're going to wake up.

Sun Ra is considered to be an early pioneer of the Afrofuturist movement due to his music, writings and other works.

The influence of Sun Ra can be seen throughout many aspects of black music. He grounded his practice of Afrofuturism in a musical tradition of performing blackness that remains relevant today.

Sun Ra lived out his beliefs of Afrofuturism in his daily life by embodying the movement not only in his music, but also in his clothes and actions.

This embodiment of the narrative allowed him to demonstrate black nationalism as a counternarrative to the present culture.

It was in Chicago, as well, in the mid-fifties, that Ra began experimenting with extraterrestriality in his stage show, sometimes playing regular cocktail lounges dressed in space suits and ancient Egyptian regalia.

By placing his band and performances in space and extraterrestrial environments Sun Ra built a world that was his own view of how the African diaspora connected.

Many of Sun Ra's innovations remain important and groundbreaking. Ra was one of the first jazz leaders to use two double basses, to employ the electric bass, to play electronic keyboards, to use extensive percussion and polyrhythms , to explore modal music and to pioneer solo and group freeform improvisations.

In addition, he made his mark in the wider cultural context: Sun Ra had given NRBQ's Terry Adams a copy of the song on 45 and told him, "This is especially for you," which Adams reported inspired him to reform the band after a period of inactivity.

The band still includes Sun Ra's compositions in their performances, and besides "Rocket 9" have released recordings of "We Travel the Spaceways" and "Love in Outer Space.

Adams has joined the Arkestra as their pianist on several tours, most recently during a February tour of cities in the US southeast.

Detroit 's MC5 played a handful of shows with Sun Ra and were influenced by his works immensely. One of their songs from their premiere album Kick Out the Jams featured a track called Starship , which was based on a poem by Ra.

The Sun Ra Repatriation Project was started in with the aim of using interplanetary communication with a view to facilitating Sun Ra's return to planet Earth.

Filmmaker and visual artist Cauleen Smith has heavily researched the life and legacy of Sun Ra. Her exhibition "17" "arises out of [her] research into the legacy of Sun Ra, who was himself a student of numerology and achieved a kind of cultural immortality the number 17 might be said to refer to".

The second component of the project The collection was assembled by Ra's business manager Alton Abraham and is open to the public upon request.

The latest exhibition was entitled Sounds from Tomorrow's World: Sun Ra and the Chicago Years Space Is the Place is a feature-length film that stars Sun Ra and his band as themselves.

The soundtrack, also by Sun Ra, is available on CD. The film follows Sun Ra after he returns to Chicago from many years of space travel with his Arkestra.

In a meeting with "the Overseer" — a devil-like figure stationed in the desert — Sun Ra agrees to play a game of cards to "win" the black community.

Sun Ra's goal is to transport the American black community to a new planet he discovered while on his journey, and that he hopes to use as a home for an entirely black population.

The artist's mission is to "teleport the whole planet through music", but his attempts are often misunderstood by his supposed converts. A Joyful Noise It interspersed passages of performances and rehearsals with Sun Ra's commentary on various subjects ranging from today's youth to his own place in the cosmos.

Points on a Space Age is a documentary by Ephrahaim Asili. Sun Ra wrote an enormous number of songs and material regarding his spiritual beliefs and music.

A magazine titled Sun Ra Research was published irregularly for many years, providing extensive documentation of Sun Ra's perspectives on many issues.

Another book of over of Sun Ra's poems, Sun Ra: Immeasurable Equation was published by Phaelos Books in November The Wisdom of Sun Ra: From Wikipedia, the free encyclopedia.

This article is about the jazz musician, Sun Ra. Retrieved 6 December Why black science fiction 'can't be ignored ' ".

Marshall Allen Celebrates 94th Birthday". Retrieved August 19, So I leave the word space open, like space is supposed to be. I'm using ordinary instruments, but actually I'm using them in a manner Space Is the Place:

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