(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

Each month, we are focusing on a record label founded by an active digger. This month, Gerald from Jazzman Records : in our opinion the greatest reissue label of them all, a pioneering mind in the Rare Groove scene and an inspiration to all of us, starting in the early 90s with his legendary stall in Camden Town. He talks about his passion : music, vinyl records, from digging to publishing.

When did you start digging records?
The first real trip that I undertook with a specific aim to search out old records, rather than casual record shop browsing, was probably 1992 or thereabouts. I’d just started out in business and I heard a rumour that St Louis in the US was good for old records, so the plan was to go there and hope for the best, simple as that! In those days there was no internet, and unless you’re old enough to remember the pre-internet days, it’s hard to imagine that the only information you could get about records & record shops was purely word of mouth or ads in music magazines.

What LP’s did you buy at first? Do you still listen to them?
The first record I ever bought was Madness “The Return Of The Los Palmas” – I got it because it came with a free comic so I thought it was better value compared to getting just a record! It’s got a ska version of “Swan Lake” on it but these days I prefer the 1968 version by The Cats which was probably where Madness got their idea from.

Do you have a particular style or favorite period?
Different styles are often best during different periods, for instance funk from 1968-72 is often acknowledged to be the Golden Era not just for funk but all kinds of music. I also like blues from the 1930s & 40s, oddball instros from 1959-63, and jazz from all periods, although there was a bit of a lull in the 80s and 90s, but some better stuff has been made more recently.

Are you still digging’, buying vinyl, visiting record shops?
Since I moved out of London a few years ago I don’t find the time like I used to, most « digging » is done online, but when I do go to London every few weeks yes I try and find the time, mostly at Eldica, Flashback or London House of Records, which is a private dealer rather than a shop. I also still travel to the US every year and make little trips here and there, always on the lookout… Never Stop Diggin’ as the saying goes!

What was your first release on Jazzman? And why this one?
It was the late 1990s and prices were starting to get crazy high because the supply was dwindling and the demand was increasing, so it made sense to start a reissue label. I didn’t have enough money to make LPs and CDs, so I decided to start with 7”s which cost a lot less. I had this 7” by Kathleen Emery that I got from renowned dealer Bob Gibson from Boston, he sold it to me on the basis of the flipside “Evil Ways” but I preferred the A side, a funky version of “Sometimes I Feel Like a Motherless Child” with some fat drums & bass; nobody I knew had heard of it and everyone I played it to was into it, so it seemed like a good choice.

Soul Expedition
Night Life

Why did you choose this name: Jazzman? Why this explicit reference to jazz?
I didn’t make it up, my girlfriend called me the « Jazzman » so it stuck! I decided to keep the name despite my interest in soul & funk etc, because jazz is basically the root of it all. Without jazz there wouldn’t be a lot else.

You have issued series about Spiritual Jazz … A longtime passion?
In the early 2000s I was working with Malcolm Catto doing funk reissues, but we were both into jazz too. Specifically modal jazz, or spiritual jazz as it was becoming known ie music that was derivative of John Coltrane, Sun Ra etc. We’d done quite a few funk things by this point and I didn’t want Jazzman to be known as just a funk label, so the time was right to branch out a bit. I was concerned whether or not people would be into it as it’s quite a departure from the funk stuff we were known for, but the first album contained quite a few tracks that had a bit of a groove going on eg Salah Ragab, Frank Derrick, so we gave it a go, and it seemed to work.

Your favourites on it?
I honestly can’t specify favourites, they’re all good for one reason or another. I must say I was pleased to get Lloyd Miller on there, the inclusion of his music on that album was the first time it had been issued anywhere since his own releases and I’d been looking for an excuse to get his music re-released for quite a long time.

Jef Gilson
Chant Inca

You did a lot of work about french composer Jef Gilson. How did you discover him?
When you hear a piece of music that you like, it’s natural to investigate other stuff by the same artist to see if it’s any good too. I can’t remember exactly which album of Jef’s that I first heard (probably the one on Saba) but I do know that every record of his had something on it that I enjoyed. Not only that, but he had his own sound. A lot of lesser musicians end up sounding the same, but Jef has a sound of his own, and in particularly good taste. These kind of things sit in the back of the mind, and at some point or other the concept of getting the music out there one way or another starts to form. Then it was just a matter of locating as many of his records as possible, and locating the man himself.

And could you explain the fact of an englishman did a better job than all french label about this great musician?
That I can’t explain, but I can say that I could not have done it without the help of many French people, notably Geraldine Gloro, Jerome Simonneau and Fred Martin.

The Jazzman label is famous for the essential 7” reissues serial from a few years back! How many copies did you press of the best sellers?
1000 as a rule, although some of the popular ones crept up to 2000. The rarest is JM002 by Frank Motley, we only did 500 of those, and we did some WLP of some others where we only made 50…

Riccardo Marrero
Babalonia

Some of your previous long time deleted reissues are now collectible items (Ricardo Marrero, Milton Wright Spaced…). Do you plan any repressing? What do you think of the reissues collector’s market?
I have no plans for repressing those records at the moment. They were limited and numbered editions of 1000 copies, so a repress would make a bit of a mockery of that. Perhaps in a few years, when they’re « old ». One of the reasons for making them numbered and limited is to make sure people bought them. If people thought there was an unlimited pressing and they would be around for a while, they may procrastinate with the purchase. But if they’re numbered and limited – you have to buy now because when they’re gone they’re gone! Of course this means they can command a higher price on the reissues market when they’re sold out, but that’s down to the speculators and dealers and those that slept only have themselves to blame! The reissues market is what it is, as long as there is a demand there will be someone who will sell, and prices go up and down like in any market. It can be interesting and amusing at times to stand back and watch it happen.

We heard rumors about a Jazzman reissue of Mor Thiam much sought-after afro spiritual jazz LP. Is it gonna happen?
I’ve been working on it for about seven years and I think the negotiations are coming to an end so not too long now I hope!

What could be your editorial/esthetic line?
« We dig deeper », a simple phrase that works on a number of levels. If anything, it’s a rod for my own back as it’s something I have to live up to!

What is the Jazzman LP you are prouder? why?
Sorry I can’t single out a specific LP, they all have their particular stories and memories. But the ones closest to me are probably the ones where I met the artist in person, shook their hand, listened to their story. Meeting great artists like Jef Gilson, Bobby Jackson, Lloyd Miller and many, many others can impart something special that you can’t get from an email or a phone call.

You released also the first Lp of Tumi Mogorosi, young South African drummer. What did you like in his music?
It’s breathtaking, the whole album. A masterpiece and a debut album at that. I’d have been a fool not to release it.

How do you find brand new talents? On the internet? On stage? By friends?
Tumi was recommended to me by French record guru Antoine Rajon of Nyami Nyami Records. There are no boundaries to the sources of records, ideas and talent: recommendations from friends and strangers, demos that are sent in, internet searches, anywhere that music can be heard. It’s all about keeping your ears and mind open. I’m very fussy though. Developing an artist takes a lot of time and money to do it right, so if I take the plunge, it has to be right.

What could be the label’s leitmotif?
« What is wrong with groovin’. »

The Brief Encounter
Get A Good Feeling

What is the best deal/business : to make reissues or to produce new records?
With the style of music that we do it is much easier to make reissues, but you will never sell more than a few thousand and often you only sell a few hundred. With new music you may sell just a few hundred too, BUT it’s possible to sell tens of thousands, which will never happen with a reissue. So if you have the time, skill, funding and a bit of luck, the best business is new music.

Is it harder and harder to release compilations? Is it more difficult to obtain copyright by family or producers? Do they ask more guarantees (financial, but also moral)?
It’s easier if anything as more info is online than ever before. What’s difficult is that lots of the artists that we’re interested in are either senile or dying. Obtaining copyrights has been and always will be tricky at times, for all kinds of reasons. If only it were a straightforward job. One thing’s for sure, nothing is straightforward in this business!

Nowadays, there are many LP labels who follow this model, I mean more quality even if it’s more expensive… but in same time, there are also another « new » LP market, with majors’ come-back and other labels, who prefer to sell cheaper. Is it the (re)creation of two camps for the LP?
Not sure and I’m not too fussed what others are doing, particularly the majors, I do my own thing and I do what I think is best.

Prices for rare original LP’s are getting crazy these days. What do you think of it?
They always have been crazy, it’s just a matter of getting used to it. It’s all about supply and demand, and what people are willing to pay.

There are more and more reissues of old LPs, and more and more record labels (major or indie) now release their new artists on LP, or EP. Do you think that the LP reissue market could ever reach saturation point?
Unlikely in that LPs, unlike 7”s, are expensive to produce and the pressing runs are greater. This means that unless they’re super hot they tend not to get repressed, so the cycle of « new release – deletion » is quicker. We have certainly seen saturation in the 45s market, specifically RnB reissues, where the market has been flooded and records kept in print. The result is saturation with 1000s of unwanted, cheap records everywhere.

Uncle Funkenstein

These days more and more bootlegs reissues of rare LP’s arrive on the market (recently World Experience Orchestra, Rick Mason or 1619 Bad Ass Band just to name a few…). I imagine you are, like us, very annoyed by this. How do you react regarding this and what is the correct answer as far as you are concerned?
I’d like to meet the person making them and have a chat. I’d like to introduce them to some of the artists they’re ripping off, face to face. I remember a notorious funk bootlegger back in the day in my office when James Bell (from the Highlighters) was there. We spoke about bootlegs and he was hiding behind the speakers. He’s a coward, just like all bootleggers are. They never reveal their names or identity, and the Funky Planet people are no different. They’re nothing more than criminals out to rip artists off and make money from their cheap and nasty bootlegs. They contribute nothing to the preservation of historic music, they don’t care about the damage they are doing; all they care about is making their dirty money.

Have you received many negative answers on some of the LPs, artists, unreleased tapes, you were trying to reissue?
Not exactly no, quite the opposite in fact. Many people are delighted to be able to hear the music on a rare LP for a few pounds that would otherwise cost hundreds or thousands, not to mention months or years searching.

What are your next releases?
James Tatum, Greg Foat, Belgium Popcorn Story, Nat Birchall… There are 30+ more…!

What is the LP you dream of reissuing?
There are a few that have been denied us for various reasons, such as John Coltrane “Cosmic”, and Dusko Gojkovich “Swinging Macedonia”. Several years ago I wanted to do East New York Ensemble de Music, but the Smithsonian said they would not allow any of their albums to be reissued. Then a year or two later they let someone else do it and there it was! You can’t have them all I suppose. Someone else will do these others one day I’m sure, and there’s plenty more out there besides.

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