These two discs from Sun Ra and his Solar Myth Arkestra are not, as their title suggests, parts of a singular or continuous work. They were initially issued as two separate titles – similar to the two-part Heliocentric Worlds of Sun Ra – by the Belgian BYG Actuel label in 1971. Both volumes consist of mid-fidelity and primarily self-realized and -produced recordings. Despite the claim that these sides were taped in New York City at Sun Studios, Ra discographer Robert L. Campbell notes that by the time these tracks were documented, the Arkestra had ended its N.Y.C. residency and returned to Philadelphia.
The usual stuff is here: arpeggio versus ostinato, ostinato versus arpeggio. And as always, the Philip Glass Ensemble's synthesizers double their woodwinds. But Glassworks is the most pleasant craftwork ever from the great minimalist exploiter – six warm pieces that approach the spirit of minimalist pioneer Erik Satie. Only instead of Satie's lyrical-to-antic jumps, Glass creates the ruminative-to-excitable kind. "Opening"'s softly rolled piano melody is music to fold your hands and muse by, and when Sharon Moe's French horn sets up "Floe," everything seems nice and level – until the flailing woodwinds and synthesizers of the ensemble crash in. Glassworks is tuneful in the most pleasingly direct sense – the arrangements define the melodies so cleanly they're instantly memorable.
Time (The Revelator) is the third full-length album by Gillian Welch. All songs were written by Welch together with David Rawlings and were recorded in Nashville, Tennessee. "I Want To Sing That Rock and Roll" was recorded live at the Ryman Auditorium as part of the sessions for the concert film, Down from the Mountain, all the rest of the tracks were recorded at RCA Studio B, Nashville, Tennessee.
This Fantasy 2001 two-fer reissue features saxophonist Eddie "Lockjaw" Davis in session with a quintet that includes the Shirley Scott trio (Scott, organ; George Duvivier, bass; Arthur Edgehill, drums) and conga player Ray Barretto. It was released as Eddie Lockjaw Davis Meets Shirley Horn as Moodsville 30 in 1960. With the exception of a quartet recording released on Stompin' (Prestige 7456), the rest was another quintet with pianist Horace Parlan, drummer Art Taylor, Buddy Catlett on bass, and Willie Bobo on conga, issued as Goin' to the Meetin' in 1962 as Prestige 7242.