(c) Alexis Maryon

Saxophonist, composer, actor, and tap dancer, Idris Ackamoor is the founder of The Pyramids in 1972, resurrected ten years ago. Since 2010 the band has toured throughout the world with original members and a line-up of new players. As for this brand new album, ‘An Angel Fell’ produced by Malcolm Catto and recorded during an intense week at Quatermass studios in London. Time to go back to the complete story of this under known master.

In Land of Ra we can see a tribute to Sun Ra. Did you know him? What was his influence?
The original name of the composition was “Land of Jah” as a tribute to the beautiful Island of Jamaica. I changed it when I updated the composition adding lyrics and a new reference to “Land of Ra” referencing a double meaning to the Egyptian Ra, god of the sun, as well as a tribute to Sun Ra. I did not know Sun Ra personally but I always was inspired by his music and theatrical stage performances. He is still one of my favorite composers and performers. Equally, I have always loved Marshall Allen’s and John Gilmore’s playing.

Cecil Taylor was also a mentor, who was looking for other ways. What was your relationship with him?
Cecil was one of my major influences musically and philosophically and one of my greatest teachers along with my principle mentor, historic clarinet and reed master Andrew Cyrille (who had played with Jelly Roll Morton and Freddie Keppard in the 1920s), and the late alto saxophonist Charles Tyler. I was a student at Antioch College in Yellow Springs, Ohio and studying in the music department. One of my music professors, named John Ronsheim, wrote a large grant to bring Cecil Taylor and his group including the late Jimmy Lyons on alto, Andrew Cyrille on drums, dancer Ken Miller, percussionist Cliff Sykes, and poet James Thompson. Professor Ronsheim decided to give me a work-study job to help prepare the way for Cecil and his ensemble to come to Antioch. During Cecil’s stay he taught classes and conducted the Cecil Taylor Black Music Ensemble. I took Cecil’s classes and was a member of the Ensemble playing alto saxophone in the alto section, along with Jemeel Moondoc and Bobby Zankle, both of who are major innovators in the jazz world now.

Sun Ra and Cecil Taylor have been classified in free jazz, yet their music is often different in their intentions. What do you think of this word, free jazz? A paradoxical jail or a radical opening?
I don’t and never have used the word «free jazz». If someone wants to use that word to describe a certain genre of jazz I don’t really have a problem with it. I am not much into slogans, or types. I understand the need for marketing purposes to have a name to attempt to identify a category of music. However, I must quote one of the masters of African American music, Duke Ellington, who said, «There are two kinds of music. Good music, and the other kind.»

You toured in Africa during the 70’s… What did you find, discovered?
I found my true self! Africa was a spiritual and revelational journey and adventure for me. I will never forget it and it will always be a part of one of my greatest experiences and influences beyond all others. I took a musical and spiritual journey to Northern Ghana traveling to Tamale and Bolgatanga, Ghana. It lasted about two weeks and during that time I played with the Dagomba people of Tamale who introduced me to playing with the King’s drummers. I also journeyed to Bolgatanga and participated in several magical musical rituals and ceremonies including performing at the Second Burial of a Fra Fra King, as well as, undertaking a healing ritual in the African bush with a Shaman who performed the «ritual of the washing of the legs». I collected many instruments and also became a percussionist playing a variety of instruments including talking drums, balafons, and a variety of flutes.

Lalibela


 

When you were going back, you had recorded three Afro-jazz albums, “c” in 1973, “King of Kings” in 1974 and “Birth / Speed / Merging” in 1976 on independent labels. Why this choice of independence ?
I wanted a way to get the music of The Pyramids out to a wider audience. In America it was the time of crossover music and rock and roll, and this was the type of music that was being played on the radio as well as recorded by record companies. They were not recording the music of Cecil Taylor or The Pyramids. Cecil was already beginning to self-produce and distribute his music while he was at Antioch College. Sun Ra was also continuing to self-produce and distribute his music. It was a natural development for me to be inspired by these innovative and independent musicians who also wanted to take control of their own musical destiny. The Pyramids were some of the first DIY musicians to take control of their music and fiercely independent!

The first Pyramids LP’s from the 70’s are now strong collector’s pieces. Haw many of each of them have been printed at the time
We printed 1000 copies of ‘Lalibela’ and ‘King of ’ and 5000 copies of ‘Birth/Speed/’. Many of the Birth/Speed/Merging LPs we’re unfortunately lost during a move.

You have a special link with France since this is where your band, The Pyramids, was born. Tell us more about this episode?
I wrote a proposal to the Antioch College Abroad Program to leave America with three Antioch students (my ex-wife flutist Margo Simmons, and electric bassist Kimathi Asante) and travel to Europe and form a band and work. The college agreed to send us with the condition that we had to at least spend some time at a university for several months. Once we did this we would be on our own to form a band and attempt to find work as professional musicians. We selected the University of Besançon and we took 6 weeks of Intensive French. We arrived in this idyllic small city in the French countryside and began our year abroad! While we were at the University we each stayed in three different dormitories that were shaped a lot like a pyramid. Hence the name! Following the six week language program we were speaking French pretty good, but when we left after the end of the intensive we went to Paris and then to Amsterdam. While in Paris we were introduced to musicians like tenor saxophonist Frank Wright and we also met a young drummer our age named Donald Robinson. He became the first drummer with The Pyramids and followed us to Amsterdam and months later to Yellow Springs, Ohio.

Ayler’s and Pharoah’s messages (‘Music Is The Healing Force Of The Universe’, ‘Love Is Everywhere,’ …), are spiritual jazz essence. Do people need now more than ever music with a message?
I have always believed that musicians are spiritual messengers! Just like the ancient griots of Africa musicians are the repository of the collective cultural memories of a people. Whether it is John Coltrane’s ‘Alabama’ as a homage to the four black schoolgirls killed in Birmingham, or Charlie Parker’s ‘Now’s The Time’, the powerful music of Bob Marley or Fela Kuti, or ‘Soliloquy For Michael Brown’ from my album. These are the compositions and the musicians I most admire and listen to. Musicians who are not afraid to compose and play music with a positive message. I also loved the freedom and uncompromising music of early Albert Ayler whose very style and intensity sends its own kind of spiritual and political message! I was fortunate enough to study and play with Albert’s cousin and alto player, Charles Tyler.

Nsorama from King of Kings

 

We are witnessing a revival of spiritual jazz, also known as cosmic jazz, whose values you carry. What could be your definition of this music?
I can only define my music. As I mentioned before I understand the need to use words to categorize and market music. However, I am an Artistic Being! The music I play is cosmic in that it is expansive and encompasses the past, present and future of the Omniverse! I also live in San Francisco! In the early 70’s the city was the epicenter for mind altering drugs, flower power, and freedom. I love the music of Jimi Hendrix, Sly and the Family Stone and Santana. But equally I grew up in Chicago. The home of the Association for the Advancement of Creative Musicians. I loved Martha and the Vandellas. Smokey Robinson and the Miracles. And of course The Impressions. Then I was birthed into John Coltrane, nurtured by Cecil Taylor, destroyed and reinvented by Albert Ayler and the album “Bells”. Altoist Charles Tyler passed a message on to me I will never forget! Clifford King was truly «The King»! He taught me to play dogs and cats, lightning and rain, and invent my life. I mention all of the above because they are the aggregate of cosmic music…music of the Omniverse!

Your were a tap dancer, you had worked with Bill T. Jones, great choregrapher… What is your relationship to dance? Do you think music is a «body and soul» affair?
Yes, I am a tap dancer. Or more appropriately, a «hoofer». Legendary hoofer, the late Al Robinson, was my mentor and teacher. He taught me to tell stories with my feet. I am one of the repositories of amazingly complex and sublime «Al Robinson» steps. I also studied with the master Steve Condos. I also number Bill T. Jones as a friend and collaborator. His creativity and intellect is of the highest form. I danced a duet with Bill in the Cultural Odyssey production, “Perfect Courage”. Music is a «body and soul affair». I seek to be a very physical saxophonist with the stance of a basketball player at the free throw line. Breath to me is the most important aspect of my playing. I play like i’m swimming. Breathing deep, relaxed, but intense!

In your new album you talk about global apocalypse, climate change and the healing power of music. Why this title : An Angel Fell? A subliminal message?
Everyone who listens to the music and lyrics of “An Angel Fell” will have their own story to tell. It is my phantasmagoric journey just below the service of awareness. Something I dreamed or thought I dreamed but in fact it was a reality. A love story. A story of loss and recovery. A story of memory, minds, bodies, and spirits crossing time… falling through space. What’s your story?

When we see the coming to power of many nationalists, including Donald Trump in the USA, but also in India, Japan or Europe, are you pessimistic about the future of the planet?
I don’t have a pessimistic bone in my body! I embrace the positive and hope abounds. I’m from a people who were taken as slaves and who triumphed against all odds! My mother was one of those golden warriors. I saw my father (who is now 96 years old) stand up fearless looking into the barrel of a gun held by a white man. I was there as a teenager helping him as a janitor in the sixties. So, no I am not pessimistic about the future of the planet. I have seen real live angels in my life… they are everywhere… in the prisons, on the playgrounds, next door…

Tinoge

 

What are the main dangers for the next years ?
Indifference! Listen to the album.

The political commitment was very strong in the 70’s, and again there is a movement of more militant musicians. Do you believe that music is the weapon of the future, as Fela said?
A friend of mine said, «Musicians are the ambassadors of the soul». I believe this. For me weapons and music are diametrically opposed! Try to live one day without music in your life! Music is omnipresent! The eyes are the windows into the soul and the ears are the black hole into space. Music is change and change is music! See the clouds part with the sun. It’s a new start everyone!

“Tinoge” is co-written with Max Weissenfeldt and a few others. Are you surprised by this new generation, who often knows history better than many jazz specialists?
There are many of the new generation who respect what came before but are not anchored to it. I find it exciting when genres are broken down and barriers come tumbling down! Joshua fought the battle of Jericho and the walls came tumbling down! Musicians young and old have to speak with one voice, blow with one horn to tumble down walls of hatred, disrespect, and division.

How did you work with Malcolm Catto? What did he bring you?
Malcolm gave 100% to the recording! He has such large ears and the ability to help guide and produce a recording session in a respectful and mutually supportive manner. The more we worked together the better we understood each other. I found him to be very nurturing of my compositional needs and vision for the album which was worked out in my waking dreams for many years.

Are you going to perform on stage with Heliocentrics?
I am ready anytime!!!! And would love it!

Check the complete new record on Strut website

Since the late 60’s, the native from Connecticut has played an important role in jazz history. After hosting a radio jazz show and writing for ‘Down Beat’ and other music magazines, he started working for record companies : Atlantic, Motown, ABC, Freedom and finally… Blue Note. Since 1984, Michael Cuscuna has been a special consultant, producer and the reissue director of the mythical label… During the same period, he also managed Mosaic Records, the indie company well known for its reissue boxsets of jazz legends.

 
 

Before directing Blue Note, you worked for various labels such as ESP, Muse, or ABC … Is Blue Note the label you dreamed of working for?
There were two labels that I dreamed about working for – Atlantic and Blue Note. I was a staff producer for Atlantic in 1972-74. I was friendly with a lot of jazz musicians and many of them told me about great Blue Note sessions that they played on that had never been released. I started to keep a notebook with all of their memories and tried to contact Blue Note to get into the vaults to see what might be worth releasing. But George Butler was running Blue Note and his interest was not in jazz. The label had changed and was nothing like the old Blue Note. Finally in 1976 I met Charles Lourie who had just joined Blue Note and he was a great jazz fan. He got me into the vaults and I have been working with this material ever since.

What lays behind the identity of Blue Note? What makes the difference, gives it a different edge compared to other Jazz labels? The Pop dimension?
What gave Blue Note the creative edge and made it better and different than most labels is that Alfred Lion and Francis Wolff were interested in keeping jazz pure, BUT ALSO in helping to create a situation in which to make great jazz, they befriended artists, they had planning meetings and rehearsals and tried to encourage musicians to compose and make new music that they would be proud of. The difference was in the care and hard work they put into everything.

Do you think the history of Blue Note can be split in several periods? If so what are they and why?
The different periods of Blue Note are basically defined by the style of music they recorded at the time. The first period is 1939-46 when they recorded boogie woogie, New Orleans jazz and small group swing. The second period is 1947-54 when they discovered modern jazz and made great first sessions by Thelonious Monk, Art Blakey, James Moody, Kenny Drew, Wynton Kelly, Lou Donaldson and Horace Silver. 1954-67 is the period when Blue Note discovered its identity through sound (Rudy Van Gelder), design (Reid Miles), photography (Francis Wolff), production (Alfred Lion) and the style of the music (Horace Silver, Art Blakey with the birth of the Jazz Messengers). In this third period, the music grew and changed but it was basically the same creative team and the growing group of great musicians who recorded with the label, moving from soul jazz to hard bop to modal to avant-garde. Alfred Lion left in 1967 and Francis Wolff and Duke Pearson tried to keep the identity of Blue Note going until Frank’s death in 1971. The fourth period is the 70’s when George Butler ran the label. Some older artists like Horace Silver, Bobby Hutcherson and Elvin Jones stayed for a while, but the label’s sound was mainly controlled by the Mizell Brothers and Larry Rosen & Dave Grusin who were turning out successful, commercial albums by Donald Byrd, Earl Klugh and others. The next phase would be from 1985 when Bruce Lundvall restarted Blue Note to 2010 when he retired. In that era, we recorded a variety of music so it is hard to define what we have done. This is a different time.

To try and study the history of Blue Note, its evolution and singular aesthetic may sometimes sound like trying to understand the history of jazz. Why do you think this is?
Alfred Lion and Francis Wolff were jazz fans and they followed the music as it grew and changed. It is natural that people as smart and talented as them would mirror the evolution of the music in what they did. Sometimes they were followers like when they discovered bebop two years after other labels were recording it and sometimes they were the creators of change like when they signed Jimmy Smith before the organ was a jazz instrument and before the popularity of soul jazz.

Why do you think Blue Note succeeded in bringing together so many different artists, from Ornette Coleman and Cecil Taylor to Lou Donaldson and Lonnie Smith, without losing its originality and unity?
That is the key behind Blue Note. You could go from Ike Quebec to Jackie McLean to Lonnie Smith to Ornette Coleman and what is common about each artist is that they were making their best records for Blue Note. The sound, the packaging, the planning – it all makes each record special in the sense of Blue Note quality. We tried to do that in the 80’s. 80’s and 00’s. But of course we had different engineers, producers, studios and designers so we did not have the consistency that Alfred and Frank had.

What was the essence behind the fascinating Blue Note artwork? What kind of directions were given to the graphics designer to achieve such a harmonious and unique series of design?
This is very interesting. The early Blue Note designers like Paul Bacon and John Hermansader were modern designers and jazz fans. But by the time of the 12” (30 cm) LP, they settled on Reid Miles as their designer. Reid only liked classical music so he never listened to any of the hundreds of Blue Note albums that he designed covers for. And yet, he captured each album perfectly. The reason is that Alfred, who was a very enthusiastic and talkative man, would describe to Reid the spirit and intent of each album and Reid created the ideal design for each one. He also had that rare gift that every album cover looked different from the rest, but together they all looked like Blue Note covers.

There are some musicians that were all about Blue Note in their style but never got a release on the label like Mal Waldron or Charles Tolliver. What criteria did you mainly use to select your artists?
Well, Mal Waldron never recorded for Blue Note in any session, but I understand your question. Charles Tolliver and Woody Shaw were promised contracts with Blue Note but when Alfred sold the label to Liberty Records and didn’t like the way they were doing business, he told Charles and Woody that he didn’t want to sign new artists because he wanted to leave the label himself. Others like James Spaulding are a mystery. I asked James once why he never made a Blue Note album as a leader. He said, « They never asked me. » Well, James is a shy guy and probably he never asked them either! There is no logic to all of this.

Blue Note is by far the most collected and famous jazz label. Are you familiar with all the pressing details (the ear, the R, the deep groove, the flat edge etc …) that make it such a fascinating record series to collect and what is your opinion about it? And how did so many pressing variances occur?
I don’t know all the ins and outs of the collector details for Blue Note. Fred Cohen who runs the Jazz Record Center in New York City published a whole book about it. I am amazed at how collectable original Blue Note pressings and all the attention paid to little details like the label address on the pressings etc. By the way, the ear in the wax that collectors talk about is actually a P for Plastylite, the pressing plant that pressed all the Blue Notes in the 50’s and 60’s.

During the 90’s, Blue Note Japan reissued a number of previously unreleased sessions on LP including material by Jackie McLean, Andrew Hill, Bobby Hutcherson, Dexter Gordon, Lee Morgan, Wayne Shorter… Most of these recordings are awesome. Why weren’t they released at the time? Do you plan to release new issues of those recordings for the rest of the world?
Actually, in 1976 I started going into the Blue Note vaults for unissued material. I was amazed at the quality of a lot of it. Some artists like Lee Morgan and Grant Green recorded so frequently (probably because they wanted to earn more money) that the label could never put out everything, but much of what they did not release was every bit as good as what they did release. Both Lee and Grant were very successful so Alfred and Frank probably leaned towards their more commercial sessions to release at the time. Others are a great mystery like Wayne Shorter’s ‘Et Cetera’ or Bobby Hutcherson’s ‘Oblique’. Brilliant sessions. I asked Alfred once about all the unissued material and he didn’t really remember leaving so much good material in the vault. So I started putting these sessions out in the late ‘70s in the US. But the record business was in bad shape at the time and the label lost interest in issuing them. So I talked to King Records in Japan who were distributing Blue Note at the time. They put a lot of them out. Then when Toshiba EMI took over Blue Note we put more out and then started converting everything to CD. I have gotten just about everything out that deserves to be released at least in Japan if not everywhere. In the past few years, Japan has begun to reissue of lot of these and classic Blue Notes on hi-res CDs.

Our favorite recordings on the label belong to what we call the « Dark Jazz » genre, like Duke Pearson’s ‘The Phantom’, Andrew Hill’s ‘Lift With Every Voice’, Bobby Hutcherson’s ‘Oblique’ or Jack Wilson’s ‘Easterly Winds’! These are still largely underrated. Any idea why?
Well, most of the albums that you name are from the late 60’s and early 70’s. This was a bad time for jazz in USA. Underground FM Rock like Jefferson Airplane and the Grateful Dead were attracting the young white audience and the avant-garde was driving away the middle-aged black audience and jazz was left with very little support. These albums were created and issued during that time and were overlooked. I think that is why history has forgotten them.

Pete La Roca’s ‘Basra’ is one of our favorite LPs on the label. Why did Pete release only one LP for Blue Note?
I don’t know. A lot of guys only made one or two albums for a label during that time. And guys like Pete (in demand drummers and bassists) got a lot more work by playing with different groups than trying to lead their own group. Of course, Pete did make another album for Blue Note 30 years later !!!

75 years is quite an achievement! How do you explain the longevity of the label?
I think the longevity of the label is owed to the great music of the classic Blue Note period (1954-67) that Alfred and Frank recorded and that remains vital and alive today and the fact that Bruce Lundvall, myself and Don Was who followed since the 80’s have never tried to duplicate what they did, but we respect it and try to live up to their legacies in our own way.

The Blue Note identity (the artwork, the quality of recordings, …) is part of the label’s mythology. Do you have any type of strategy to keep the myth alive?
Well, we’ve always kept that legacy alive by issuing the classic Blue Note albums in the best possible sound with original packaging and liner notes to keep the spirit of the original Blue Note alive. That identity does not exist for new Blue Note recordings since 1985 because we have so many different producers, engineers, photographers and designers. We have always tried to keep the quality high, but it doesn’t have an identity like the original Blue Note did.

What could eventually endanger the Blue Note brand?
What would endanger Blue Note would be if the kind of person who only cared about music as a commercial commodity instead of an art were to take over the label. Then bizarre projects like Rod Stewart sings Gershwin or Barry Manilow duets with dead people would destroy the integrity of the label and lose the trust of the fan.

Do you think a label like Blue Note could see the light today? If so, which other label could potentially look like Blue Note today?
Yes, I do. But it would have to be an independent label, not part of large corporation. I think in the 70’s ECM in its own musical style created an independent label with a very strong identity. I think Criss Cross in the 80’s till today is doing very much what Blue Note of the 50’s and 60’s did. And newer labels like Palmetto and ACT are recording pure jazz and forging their own identities.

Are you interested in the current jazz scene?
Yes, I don’t have the time to follow it as much as I would like but there are an amazing amount of talent artists on every instrument. I think the fact that people like Herbie Hancock and Terence Blanchard give their time to jazz education has really helped too.

Current Blue Note artists like Gregory Porter or Robert Glasper are very promising. Do you think they will be part of the Blue Note legend one day?
Yes I do. We have been very lucky over the past 30 years to record people like Dianne Reeves, Cassandra Wilson, John Scofield, Greg Osby, Tim Hagans, Joe Lovano, Jason Moran, Ambrose Akinmusire, Robert Glasper and Gregory Porter. They are all original and they are here to stay.

Are you enthusiastic about the return of vinyl records? How do you see the future in that respect?
I don’t think the return of vinyl affects the style or quality of music, but it does make us more conscious of upholding great sound quality when producing a record.

We owe you the re-discovery of the Monk quartet with Coltrane. Do you have many more unreleased tapes? Where do you find them?
Well, they come from different places. That one came from Larry Appelbaum at the Library of Congress. Author Lewis Porter found an ad for that concert in a New York newspaper and kept asking Larry to look for it in the Voice Of America radio tapes. A couple of years later, Larry found it by accident !!!! They called me and we made a deal. This was a major find. I doubt we will ever see anything that significant again. I believe most of the next discoveries will come from INA, the BBC, RAI and other European radio and television companies that taped the great American artists in the 60’s.

What would be the Blue Note release of your dreams?
I don’t know how to answer that. Since 1976, I’ve gotten all the great unissued music released. Since 1985, I’ve gotten all of the classic catalog issued on CD in good sound with bonus tracks. I’ve also been able to produce a lot of wonderful artists like Andrew Hill, McCoy Tyner, Freddie Hubbard, Don Pullen-George Adams, Joe Lovano, Terence Blanchard and more. I think my dreams have come true.