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Then I got to college and was introduced to piano as my major instrument, and theory and composition. The sound stuck with me, and sort of set the tone of my New York experience: the sound of a sophisticated cosmopolitan area. I even see some of my influences now stem from just my few experiences of the Radio City orchestra. Once or twice, my aunt, on visiting New York, took me to Radio City Music Hall, and the orchestra there made a big impact on me. I didnвЂ™t realize how strong an influence they had on me until I got into composition and noticed how much I reached for that expansive experience.

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He was on TV вЂ“ TV would have the Liberaces and the Florian ZaBachs of the music.Д¬omedy was a part of my life then, laughing and humor and going to filmsвЂ¦ I should mention that cinematic scores were very impressive to me. Florian ZaBach at that time was a violinist who was inspirational. Where I was, there wasnвЂ™t a noticeable jazz scene, but I would hunt it out for the records: Erroll Garner and a couple other names that donвЂ™t come to mind. My body was born in Philadelphia, and for a few years the family lived there, but then we moved to New Jersey. Music was a staple, automatic it was a part of my life.Дid you connect in any way with the historic jazz scene in Philadelphia? I listened to the radio and bought records.

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So my life was full of music, full of expression. Then along came the trombone in high school, playing in the marching band. Playing the piano was improv, and even when I was taking lessons I explored improvisation a lot. So I used music to lift me intoвЂ¦ I didnвЂ™t call it вЂњother dimensions,вЂќ but lift me away into a more pleasant space. I recognized the ability of music as a vehicle to lift me out of any kind of depression, and I understand now why teenagers blast their rock music when they go into their rooms: It creates a clear space for them to shut out the unwanted vibrations. For those four years вЂ“ fifth, sixth, seventh, eighth вЂ“ I was in the school choir, school orchestra, and the church choir, and I was doing doo-wop on the street corner with friends. And then she saw I was interested in the piano and put a piano in the house, and I attacked that. In fifth grade I was allowed to take serious lessons with the violin my mother really sprang for that. And of course the radio was always going. Then around fourth grade, the school system introduced us to something called a fife, like a tonette. LARAAJI: From the church, church-influenced вЂ“ my mother always sang around the house.

STEVE SMITH: How big a part did music play in your childhood? There, the congenial master discussed his musical roots, background in stand-up comedy, spiritual path, and artistic evolution, and contemplated the causes for his recent resurgence. 29, Laraaji revisits Day of Radiance in a live rendition at BAMcafГ©, presented by World Music Institute in partnership with the Brooklyn Academy of Music.ДЄnticipating that event, we recently sat down with Laraaji вЂ“ nattily attired head-to-toe in shades of deep saffron and orange вЂ“ on a quiet park bench near a busy Harlem crossroads. A number of his early self-released cassettes and subsequent studio albums have been reissued in recent years. Since then, Laraaji has continued to perform and record regularly, including collaborations with inquisitive artists and groups like Blues Control, Sun Araw, and Julia Holter, while also conducting workshops meant to harness the healing power of music вЂ“ and of laughter, as well. The result, Ambient 3: Day of Radiance, brought his ecstatic strain of meditative music, which previously had circulated principally on self-released cassettes, to a global audience. That busker, Laraaji вЂ“ named Edward Larry Gordon when he was born in Philadelphia in 1943 вЂ“ responded with curious enthusiasm. Stopped in his tracks by the playerвЂ™s blissfully arresting work on the autoharp, a keyed zither chiefly familiar among folk groups and in elementary-school music programs, Eno dropped a note in the performerвЂ™s case, inviting him to come make an album together.

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The story has been told over and over for years now: In the midst of fashioning an offbeat yet deeply influential series of recordings featuring sounds that he would christen вЂњAmbient Music,вЂќ the English conceptual artist and record producer Brian Eno chanced upon a distinctive musician busking in Washington Square Park.