VOTD 1/3/2023

 The Pyramids: Birth/Speed/Merging (Ikef)

Purchased at Fungus Books and Records

I've linked this blog on my Facebook page, so now there are more eyes on it. Will that influence my listening? What things might I choose because I know someone will be reading?

Not so much for the time being. I have a small stack of records and discs sitting here awaiting a spin or two, and I really must get to those first. Those include LPs by George Russell, Bonzo Dog Band, and a collection of cabaret songs by Schoenberg; also a CD soundtrack by Claudio Simonetti, and a 3-CD collection by Thomas Dimuzio. 

And this. I bought this last week at Fungus Books and Records, a micro-store in half the space upstairs where the Turmoil Room used to be. Fungus doesn't have a huge collection of records, but it's all prime stuff. The problem is, it's prime and vintage enough that many pieces are just more than I'm willing to spend. Yes it would be cool to have that original Evan Parker LP on Incus Records, but I just won't go as high as $200. And this is to say nothing of the copy of Sun Ra's Atlantis on El Saturn going for $2000. This isn't to complain that they're unreasonable prices given the market, I'm just not enough of a vinyl fetishist to spend that amount. 

I knew nothing about The Pyramids, but I knew it was right from the cover. I'm back to that topic again, whether I know if something is for me based on the name or appearance. Look at the image below to understand. 

This is a reissue copy, originally on their own in-house label from 1976. It's a period of time I find interesting, for both little operations like this (originally) and even bigger labels and artists.

I've just been reading on their Discogs page that the core of the band met at Antioch College in Ohio, while studying with Cecil Taylor. This really brings things closer to home for me, because David Stock told me he was responsible for bringing Cecil to Antioch. (David, who was a long-time Pittsburgh resident, and founder of the Pittsburgh New Music Ensemble.)  I think that's not just a story, but a succession of stories. There was one thing David told me that I promised I'd never say publicly, and I'm going to stay by my word. Otherwise, he admired Cecil tremendously, but also told me, "If I don't have any hair today, it's because Cecil Taylor made me pull it out."

Which reminds me that I played a gig in New York alongside Karen Borca, one time bassoonist with the Cecil Taylor Unit (and later in Jimmy Lyons' groups). I told her the Stock quote, and she said dryly, "Cecil made a lot of people want to tear their hair out. Cecil once started practicing in someone's apartment, and it made another tenant jump out the window! Thankfully he was on the first floor."

..none of which has really anything to do with the content of this record. Comparisons can be a lazy way of suggesting a group's sound, but I can't think of an easier way to describe this group as being part Sun Ra Arkestra (sans the charismatic, dominant leader) and the Art Ensemble of Chicago. At times funky, always with a trans-African aesthetic, and a fair amount of free blowing in between some solid composing. All players have their primary instrument with at least one other credit, either percussion or voice. One player (Margo Ackamoor) is mostly on flute. Yes, the dreaded "jazz flute." I don't mind it so much in a situation such as this, or in Sun Ra's ensembles. The flute recalls more ancient wind instruments, and is totally appropriate. 

I like it. It's worth a listen, if this record turns up. I'll definitely come back to it.