(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

Joe Bataan is totally unique. Not only because of his inimitable voice but also because he is the inventor of the Salsoul genre and the only vocalist to have crossed the Sweet Soul, Latin, Disco and Rap genres with success every time. The ‘Latin Strut’ and ‘Rap-o-clap’ hits are known to most of you but how much do you know about his incredible life story? We had the great honor of interviewing one of our favorite artists of all time and are proud to share it with you today.

You had been learning music when you were in teenage jail at Coxsackie Correctional Facility. How were you introduced to music ? Did somebody put you on this track ?
Coxzackie reformatory was three years of my life. It gave me time to think and slow down my negative ways. I was determined to make something out of my life while I was locked up. I was not going to waste a minute feeling sorry for my situation. I attacked every form of learning that was available at this prison. I received my regent and h s diploma at 16 and was very proud of my accomplishments. I attacked music in the same way under the tutelage of Mark Francis, a music teacher. It was under him that I realised my dream to become an musician. He was a tough instructor but I was determined nevertheless!

Before that, what was your link, connexion, with music ? Did you listen to music at home through your parents ?
I always listened to the radio at home and was attached to certain programs that played the current hits of the day. I would buy hit parade mag and follow songs on the air and sing along tunes as they played on radio. This was a great influence early growing up listening to pop music like Nat King Cole, Patty Page, Frank Sinatra and Doris Day. Later on, we discovered Alan Freed and other R&B stations that were playing different sounds of music that intrigued our generation , R&B and rock n’ roll. Through these sounds, I developed my sound: « Latin Soul ». We took a little from all the artists of the past and rearranged their styles to fit our own. Smokey (Robinson) was the first major influence as was Judy Garland and The Heartbeats and Nat King Cole and George Gershwin. I discovered my style through Latin and R&B music at a time when the boogaloo was emerging in NYC. My ear training in hallways helped me to vocalise a style all of my own. I’m the neighbourhood street singer that everyone can identify with. This is unique because everyone wants to sing at one time or another! I had to go and get what I wanted nothing was given to me. It was this aggression that made what I am today. A person that was ahead of the curve but never wealthy lol.

You were a teenager during the fifties. It was the time of doo-wop… Who were your favourite ones? What did you like in this music?
Doo-wop was before R&B and connected the music in a more up to date fashion. Different voices were now more prevalent; female groups and bands etc. Pop was always around but more mainstream. Smokey used cha-cha rhythms and didn’t know he was opening doors to Latin Soul. His lyrics were an inspiration to my music-writing. We all took a little from many artist to develop our styles. My styles were to keep other artists from copying. My use of modulations – breaking from the form of standard AAbA TO AbAcA, changing my songs in mid-stream from ballads to up tempo mambo and cha-cha – was unique. Nevertheless this is how Joe Bataan competed in a world of reknowned artists.

Your style…
My boogaloo was different because I tried to tell stories with my lyrics as opposed to using just chants to excite the audience. In the long run this enabled me to last as long as I have. ‘Younger than the Sun, and older than yesterday’ !

Do you believe doo-wop was sort of a missing link between R&B and pop?
Doo wop preceded R&B and was the root. The music was separated through economics and availability of airplay. Pop dominated the radio stations and doo wop was searching for national air waves. R&B spread like a virus… and finally opened the doors to the world with a fresh sound that the masse listened to.

You came with a similar kind of mix, including Latin music ? How did you come to that?
I mixed my music by what I was exposed to at an early age. Growing up listening to ‘Crusing Down The River’, Day by Day, Nat King Cole, Frank Sinatra, Judy Garland, Hi Lows, and later on The Flamingos, The Heartbeats, then Frankie Lymon and Smokey Robinson – without forgetting show tunes from South Pacific, Annie Get Your Gun, Showboat – and then Tito Rodriguez, Tite Puente, Eddie Palmieri, Joe Cuba and many more. I was a romantic growing up wanting to fall in love and be happy and successful. But the one ingredient that was missing was the guidance of the Lord. But I was rear up spiritually. Nothing would have been possible in my life until I found the connection. Having lived in darkness most of my early life I came to realize something was missing. This is the only reason I am still performing at this stage of my life with added vigour, with a message I want to share. Joe Bataan almost died 20 years ago and the Lord revived me and has allowed me to bring his message to the world.

What is the particularity of boogaloo, the first music you played?
Boogaloo is a name given to a form of music that I am connected with called « latin soul ». In my lifetime, I created the name « salsoul » as a mix of latin and soul dance music around the world. I also introduced rap music in Europe through Salsoul and RCA records with ‘Rap –O Clap-O’ in 1979. Boogaloo has been known through many different names. Latin/soul/acid rock, salsoul/boogaloo etc. The feature film documentary called “We like it like that”, directed by Mathew Warren, which I am featured in was at SXSW in March and will premiere in NY in Summer (date and place to be announced soon!) will finally tell the true story of the « boogaloo » and we hope to bring it to Europe. The formula of Boogaloo was, early on, English lyrics set to a cha-cha beat. Smokey’s early songs were in this vain but perhaps he didn’t know!

Who were the most influential musicians in the Latin World? Musicians from Fania?
The early musicians on Fania were Johnny Pacheco, Willie Colon, Bobby Valentine and myself. so it wasn’t so much the influence of Fania Records, it was more Tico, Ansonia, Decca records artists that influenced me. Such great artists as Tito Rodriguez, Tite Puente, Eddie Palmieri, Joe Cuba, Cal Tjader, Randy Carlos, etc.

Did you go to the Apollo Harlem ?
I did go to shows on the weekends and Wednesdays on famous amateur nights. Some of the greatest talents were on stage on Wednesdays.

You became more famous with a great cover of The Impressions, ‘Gypsy Woman’ released on Fania. We love the “Singin’ Some Soul” LP. Who were your main influences in Soul music?
As I said before, Frankie Lymon, The Heartbeats, The Flamingos, The Shirelles, Bobby Freeman, The Moonglows, The Orioles…

We have always loved the Latin Soul genre and consider you as one of the godfathers of that style. Looking back on it was it something that you reflected on or was it something that came to you naturally, through encounters?
Latin/soul came to me naturally but was influenced by my environment and airplay at an early age. « MY QUOTE””’STREETOLOGY », my sixth sense or mother wit lol.

You founded Ghetto Records. What impact did the label have back then? We struggle to find the original records, why is that?
Ghetto records is another chapter in my life. I was funded by negative elements that interfered with my music plan for a latin/soul Motown Records label. Economics took us over by storm and I was forced to drop this project after a small success. This label was a threat to all the record labels of that era because I was a musician stepping into another music world that was considered taboo for guys like me lol.

After that, you participated in the creation of Salsoul Records in the late seventies. You collaborated with them up until the early eighties. What were the differences (production, audience…) with the previous 60s Fania period?
I left Fania because I had no real creative freedom there and I wanted to do my own things. I knew exactly where I wanted to go, what to sing, how to arrange it, what to put on the cover etc. I didn’t need anybody. At Fania I was directly dealing with Jerry Masucci, the boss, but the label wouldn’t back me up and I had very little room to manoeuvre so I decided to try my luck elsewhere and started a new label. I contacted the Cayre Brothers who had just started Mericana Records. That was around 1972. I had read an article about this new label. I explained to them what I wanted to do, mixing different styles, Latin and soul. They were interested but couldn’t understand why I would leave Fania to come to them. And they didn’t know much about Latin music. But they decided to take a chance and give me a small budget to do the album. I called the album ‘Salsoul’. It turned out to sell very well so the Cayre Brothers were pretty pleased with the outcome. So we decided to start a new label called Salsoul which I would A&R. That was the start of it. I had a lot more freedom and we had more budget so it was great, and the label became hugely successful during the disco era

During the disco years, as you said before, you had a hit with ‘Rap-O-Clap-O’! Is this your best seller? Do you still enjoy this tune now?
Yes, I always kept my ears open to what was happening in the streets and I’d see these kids in a party. That was around 1978. They would clap their hands and stomp their feet to the sound of DJ’s spinning records and other guys rapping. So I thought « Let’s Do Something ». I talked to two of the rappers – Dr. Jekyll & Mr Hyde (who would later record Genius Rap) and booked the RCA studio and got some musicians in. But Jekyll & Hyde blew up the date. They thought I was probably joking so they never showed up. I had booked the session and all the backing musicians and there was no way out so I decided to rap myself. But it turned out to be a huge success after DJs like Larry Levan at the Paradise Garage got behind it. Especially in Europe where it was one of the first rap records to cross the Atlantic.

You decided to stop after “Bataan II”. What happened?
I was involved in all kinds of activities, a lot of social and community activities, sports, etc and had a family to look after so I had less time for music.

You worked as a youth counsellor in one of the reformatories you had spent time in during your youth. Did you transmit to them your approach of music, all your experience? And did you find in young guys some brand new Joe Bataan?
Yes it was a great experience and there were some amazing kids in there. Of course I told them about my experience and always played music to them. The place was constantly filled with MUSIC. I never had any problems with any of the kids there. They respected me. I didn’t really seriously train them simply because it was forbidden to keep in touch with them once they had left the reformatory.

After a long retirement, you released a record in 2004 for Vampisoul. Everybody said the boss is back… Why did you accept to go back on a mic? What was your message?
It happened pretty simply. I was performing at the SOB club in New York and the musician and producer Daniel Collas came to me and introduced himself. He wanted to know if I would like to come and sing on one of his sessions. I thought why not? This led to the album which became “Call My Name” which Vampisoul licensed and released. We made a deal pretty quickly with them as they were fans.

When you go back to your discography, which album would you take to a desert island?
It’s very subjective and I realised with experience and traveling in many countries that everybody have their own favourite, depending on which I’m very pleased with. It’s a great feeling to know my music still touches people. BUT on a personal level, I’m very fond of the album “Singin’ Some Soul” on Fania. It was a great album and I was backed by superb musicians like Bernard Purdie, Cornell Dupree and none others than Doo Wop stars The Imperials on vocals. The funny anecdote is I fell asleep during the session and missed it so I only put my vocals after the battle, once they had finished the job!
 

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