Sun Ra and his Myth Science Arkestra: Fate In A Pleasant Mood
A relatively early release from Sun Ra in his and the ensemble’s far-reaching recording career, Fate In A Pleasant Mood shows early traces of many features that would shape Ra’s later music, but you’d never predict from this album the enormous, risk-taking strides Sun Ra was on the verge of making.
A few pieces however, most notably Space Mates, naturally evolve toward the freer concepts of form, structure and rhythm that later became hallmarks of Ra’s most influential music. That’s apparent in the breadth of its textures, the surprising turns of its shape, and the way each sound is given space to reveal itself and evolve, even as everything fits together effortlessly.
Other tracks, including Distant Stars, showcase the lively, bop-driven energy in Ra’s music, a quality he would keep alive and eventually weave into his freer explorations. The title track floats along with a gentle sway and a vivid, scenic aura. Ra steps forward briefly on piano midway, but what truly captivates is how he keeps reshaping the shifting main theme in fresh and surprising ways.
This 2025 reissue comes with six bonus tracks (Space Loneliness, Somewhere In Space, The Blue Set, Enlightenment, Tapestry From An Asteroid and Hour Of Parting) taken from recordings by Sun Ra for the Saturn label from the mid-50s to the early 60s.
Discography
(1) The Others In Their World; Space Mates; Lights Of A Satellite; (2) Space Loneliness; Somewhere In Space; The Blue Set; (1) Distant Stars; Kingdom Of Thunder; Fate In A Pleasant Mood; Ankhnaton; (2) Enlightenment; Tapestry From An Asteroid; Hour Of Parting (50.13)
(1) Phil Cohran (c); Nate Pryor (tb, bells); John Gilmore (ts, cl); Marshall Allen, James Spaulding (as, f); Sun Ra ( p, bells, pc); Ronnie Boykins (b); Jon Hardy (d, pc, gong); George Hudson, Lucious Randolph (t); Hobart Dotson (t mouthpiece); Bo Bailey (tb); Pat Patrick (bar, f, pc); Charles Davis (bar); William “Bugs” Cochran (d). Chicago, March-June 1960.
(2) Various personnel and places, 1950s-60s.
Pan Am Records 9152336
Anne Paceo: Atlantis
Born in Niort, France but raised in Daloa, Ivory Coast, Paceo grew up surrounded by the country’s love for percussion and focus on rhythm and was later introduced to the drums at the age of 10. In total, she has recorded eight studio albums, having founded her own label Jusqu’à La Nuit in 2021. She recently joined the Montreux Jazz Academy as a mentor alongside John McLaughlin and Snarky Puppy.
It’s easy to hear the wide variety of inspirations that find their way into Paceo’s music, from specific African melodies and textured horn lines to electronic sounds and experimental layering. Despite studying jazz at the Conservatoire National Supérieur de Musique de Paris, her music is fixed firmly away from the characteristics one would conventionally associate with jazz but finding focus and attention on rhythm, as one might expect from a drumming composer.
Many of the tracks feature multiple vocalists singing in both French and English which lie organically on top of the instrumentation. It’s hard to find a narrative through the album but at the same time there are standout tracks, including Mantha and Sur Une Île with the album finding its feet towards the end.
Charlie Haden said of her “She has impressed me immensely with her talent, musicality and dedication to her art form. Her personal style and distinctive sound make her a unique musician.” As I find myself listening to Atlantis again, it’s starting to become clear what Haden is talking about.
Discography
The Edge; Tant Qu’il Y A De L’eau; Inside; Sedna; Love Song; The Diver; Restless; Aube Marine; Mantha; Sur Une Île; Au Large (43.43)
Anne Paceo (d, v); Cynthia Abraham, Gildaa (v); Zacharie Ksyk (t); Christophe Panzani (s); Gauthier Toux (p, OB6 syn); Oxy (Moog and Prophet syn). Paris, record date not given.
Jusqu’à La Nuit JLNLP09
