The Heliocentric Worlds of Sun Ra, Volume One is a 1965 album by the jazz musician Sun Ra. The back cover describes it as an "album of compositions and arrangements by Sun Ra played by Sun Ra and his Solar Arkestra".
The Magic City is an album by the American jazz musician Sun Ra and his Solar Arkestra. Recorded in two sessions in 1965, the record was released on Ra's own Saturn label in 1966. The record was reissued by Impulse! in 1973, and on compact disc by Evidence in 1993. The Penguin Guide to Jazz Recordings includes the album in its suggested “Core Collection” of essential recordings.
The Heliocentric Worlds of Sun Ra, Volume Two is a 1965 recording by the jazz musician Sun Ra and his Solar Arkestra. Where Volume One of the Heliocentric Worlds series had predominantly featured short abstract pieces, Volume Two features longer pieces performed by a smaller group, making it closer in spirit to the contemporaneous The Magic City, released on Ra's own Saturn label. The record has been widely bootlegged, some versions of which were retitled The Sun Myth.
Angels and Demons at Play is a jazz album by Sun Ra and his Myth Science Arkestra.
Atlantis is an album by American jazz musician Sun Ra and his Astro-Infinity Arkestra, released in 1969 by El Saturn Records.
Super-Sonic Jazz is an album by Sun Ra, recorded in 1956 at RCA Studios, Chicago. Super-Sonic Jazz was the first album to be released on Saturn Records, the label run by Sun Ra and Alton Abraham, and was one of only three albums by Sun Ra to have been available in the 1950s.
Sound Sun Pleasure!! is an album by the American Jazz musician Sun Ra and his Astro Infinity Arkestra. Recorded March 6, 1959, it wasn't released until 1970 on Sun Ra's Saturn label. Recorded at the same time and with the same personnel as Jazz in Silhouette, the album is unusual amongst early Ra albums for predominantly featuring jazz standards.
Sun Ra and his Solar Arkestra Visits Planet Earth is a jazz album by the American musician Sun Ra and his Solar Arkestra. Recorded between late 1956 and 1958, the album was originally released on Ra's own Saturn label in 1966, and has since been reissued on CD by Evidence in 1992. In keeping with many Saturn releases, one side features cuts from the arkestra c.1958, whilst the other side comes from the 1956 sessions originally intended for Sound of Joy but still unreleased in 1966.
The Nubians of Plutonia is an album recorded by Sun Ra and his Myth Science Arkestra c.1958 - 1959 and released c.1966 on his own Saturn label. Originally released in a blank sleeve under the title The Lady With The Golden Stockings, the album had gained its current title, and sleeve by Richard Pedreguera, by 1969. In common with most releases by Sun Ra at the time, the record was printed in extremely limited numbers and primarily available at concerts and mail-order. The record was reissued by Impulse! in 1974, and on CD by Evidence in 1993, backed with the contemporaneous album Angels and Demons at Play.
"The Nubians of Plutonia... evidence an Arkestra moving into ever looser, more abstract ground. The percussion becomes more varied and moves ever closer to the foreground. 'The Golden Lady' seduces with a swaying groove created by a combination of simple parts: hi-hat, cow bell, wood blocks, rolling floor toms and bass. Ra then sets up a dark melodic theme, and then the Arkestra proceeds to weave a series of jaunty, blues-tinged solos into the fabric of the groove. 'Nubia', 'Africa' and 'Aiethopia' continue this excursion into more mystical, rhythm-based territory. The Arkestra utilizes the same ominous, simmering percussion beds, now augmented by more exotic instruments like Pat Patrick's 'space lute', which gives a playfully sinister sound to 'Africa'.... This powerful, multi-faceted music is a great place to start if you are just beginning to travel with Sun Ra, or a great way to continue the journey." Mathew Wuethrich
Interstellar Low Ways is an album recorded by the American jazz musician Sun Ra and his Myth Science Arkestra, mostly recorded in Chicago, 1960, and probably released in 1966 on his own Saturn label. Originally titled Rocket Number Nine, the album had acquired its present name, and the red-on-white sleeve by Claude Dangerfield, by 1969. The album is known particularly for the two songs featuring space chants - Interplanetary Music and Rocket Number Nine Take off for the Planet Venus - that would stay in the Arkestra's repertoire for many years;
'Rocket Number Nine points toward the music that the Arkestra would be playing on the lower East Side of New York City. The tenor sax solo isn't the work of John Coltrane in 1962, but of John Gilmore in 1960. And not even Ornette Coleman's bassists were playing like Ronnie Boykins at this date.' Robert Campbell
Fate in a Pleasant Mood is an album by the American jazz musician Sun Ra and his Myth Science Arkestra recorded in Chicago, mid 1960 and originally released on his own Saturn label in 1965. The album was reissued by Impulse! in 1974, and by Evidence in 1993. For the latter reissue, the record was included as the first half of a CD that also featured the whole of When Sun Comes Out, an album recorded by the Arkestra in New York, 1963.
The Futuristic Sounds of Sun Ra is an album by the American jazz musician Sun Ra and his Arkestra, recorded October 10, 1961 for the Savoy label and released in 1962.
Bad and Beautiful is an album by the American jazz musician Sun Ra and his Arkestra. Recorded in 1961 in New York City at the Choreographers' Workshop, 414 W. 51st St., the album was the second to be recorded in New York by the Arkestra after leaving Chicago, but would remain unreleased until 1972. The album is considered to represent an important transition between the big band approach of the Chicago recordings, and the more 'outside' approach of Ra's smaller bands recorded later in the decade:
'Aside from "Exotic Two," the tunes are split between standards and blues originals, but there are indications of the direction the Arkestra would take throughout the '60s. "Search Light Blues" has some interesting percussion accents finding their way into the arrangement, and "Exotic Two" alludes more clearly to the percussion-heavy sound that dominated many of the '60s recordings. Sun Ra plays piano exclusively on this recording, and Gilmore gets lots of room to shine. A significant transitional LP, this is probably the last "inside" record the Arkestra would record as they forged new sonic paths into the mid-'60s.' Sean Westergaard, All Music Guide link
Art Forms of Dimensions Tomorrow is an album by the American jazz musician Sun Ra and his Solar Arkestra. Often considered the first of Ra's 'outside' recordings, the album was the first to make extensive use of a discovery by the Arkestra's drummer and engineer Tommy Hunter:
'Art Forms of Dimensions Tomorrow.... contained "Cluster of Galaxies" and "Solar Drums", two rhythm section exercises with the sound treated with such strange reverberations that they threatened to obliterate the instruments' identity and turn the music into low-budget musique concrète. While testing the tape recorder when the musicians were tuning up one day, Hunter had discovered that if he recorded with the earphones on, he could run a cable from the output jack back into the input on the recorder and produce massive reverberation:
"I wasn't sure what Sun Ra would think of it... I thought he might be mad - but he loved it. It blew his mind! By working the volume of the output on the playback I could control the effect, make it fast or slow, drop it out, or whatever." [Tommy Hunter]
'By the 1950s commercial recording companies had developed a classical style of recording which assured that the recording process itself would be invisible... but Sun Ra began to regularly violate this convention on the Saturn releases by recording live at strange sites, by using feedback, distortion, high delay or reverb, unusual microphone placement, abrupt fades or edits, and any number of other effects or noises which called attention to the recording process. On some recordings you could hear a phone ringing, or someone walking near the microphone. It was a rough style of production, an antistyle, a self-reflexive approach which anticipates both free jazz recording conventions and punk production to come.' John F Szwed
Secrets of the Sun is an album by the American Jazz musician Sun Ra and his Solar Arkestra. The album is considered one of the more accessible recordings from his 'Solar' period. Originally released on Ra's own Saturn label in 1965, the record was unavailable for many years before being reissued on compact disc by Atavistic in 2008.
'Marking a transition in its development between the advanced swing of the early Chicago-era recordings and the increased free-form experimentation of its New York tenure, this album also reveals the first recorded versions of two Ra standards, "Friendly Galaxy" and "Love in Outer Space." Accessible, yet segueing into vanguard territory, this album highlights a fertile period in the Arkestra's history. Looser and more aggressive than its Chicago recordings, these pieces find the Arkestra pushing at the limits of harmony and tonality.' Troy Collins
For the song by Harold Arden and Ted Koehler, see When the Sun Comes Out
Cosmic Tones for Mental Therapy is an album by the American Jazz musician Sun Ra and his Myth Science Arkestra. Recorded in 1963, but not released until 1967 on Sun Ra's own Saturn label, the record has become one of the most discussed of Ra's New York recordings. The record was reissued on compact disc by Evidence in 2000.
'Cosmic Tones functions as a kind of blueprint for the sort of large-scale jazz weirdness that would inform much of Sun-Ra's subsequent works, featuring the woozy reeds of And Otherness and the afro-jazz experiments of Thither And Yon. On Adventure Equation a space echo treatment on the recording which is reprised for the sax flurries on Voice Of Space making the whole experience even more disorientating than it already would be.'
Other Planes of There is an album by the American Jazz musician Sun Ra and his Solar Arkestra. Recorded in 1964, the album had been released by 1966 on Sun Ra's own Saturn label. The record was reissued on compact disc by Evidence in 1992.
'Granted, the selection is certainly not as abrasive and demanding as later efforts, although there is strident involvement from everyone within the dense arrangement. The brass and reed sections provide emphasis behind an off-kilter and loping waltz backdrop. All the more impressive is how well the material has held up over the decades. Even to seasoned ears, the music is pungent and uninhibited, making Other Planes of There a highly recommended collection.' Lindsay Planer
Holiday For Soul Dance is an album by the American jazz musician Sun Ra and his Intergalactic Arkestra recorded in Chicago, mid-1960 and originally released on his own Saturn label in 1970. The album was reissued by Evidence on Compact disc in 1992. Within Ra's catalogue, Holiday For Soul Dance is considered a bit of an oddity as it lacks any tracks written by Sun Ra, although a song written by Phil Cohran, the Arkestra's cornet player, is included. The record is one of a trio of albums recorded between 1959 and 1961, featuring jazz standards, that Ra released in the early 1970s. The others were Sound Sun Pleasure!! and Bad and Beautiful.
Strange Strings is an album by the American Jazz musician Sun Ra and his Astro Infinity Arkestra. Recorded in 1966, the album was released by 1967 on Sun Ra's own Saturn label. The record was reissued on compact disc by Atavistic in 2007.
Strange Strings is a somewhat legendary album from the mid-'60s. "Worlds Approaching" is a great tune, anchored by a bass ostinato and timpani and featuring several fantastic solos... Off and on throughout the tune, Bugs Hunter applies near-lethal doses of reverb, giving the piece a very odd but interesting sound. "Strange Strings" is one of those songs that is likely to inspire some sort of "you call that music?" comment from your grandmother, or even from open-minded friends. It sounds like they raided the local pawnshop for anything with strings on it, then passed them out to the bandmembers. It's difficult to tell if some of these instruments have been prepared in some way, or if they're simply being played by untutored hands. There are also lots of drums and some viola playing from Ronnie Boykins that is also treated heavily with reverb. Despite the cacophony, there is a definite ebb and flow to the piece and what seem like different movements or themes. Whatever you think of the music contained, there's no denying that it produced some of the most remarkable sounds of the mid-'60s. If you don't like "out," stay clear of this one.' Sean Westergaard
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