Online Liner Notes:
The adventure begins! Discover The Pyramids…again!! Founded 40 years ago in 1972 in Besançon, France “Otherworldly” is the first Pyramids’ album in over 35 years. It was 1976 when the band recorded the seminal Birth/Speed/Merging LP which was the final vinyl album released before the dissolution of the band following the 1977 UC Berkeley Jazz Festival where the band opened for the singer Al Jarreau at the Greek Theater.
Now, close to 40 years since the founding of the group, The Pyramids reunited and toured Europe during November and December 2010, and most recently the summer of 2011 mesmerizing audiences at various clubs and festivals in Germany, Austria, Denmark, Belgium, France, Switzerland, and The Netherlands with a new sound and a new band configuration.
(See history at http://culturalodyssey.org/pyramids)
Track 1
Memory Ritual opens the CD with what was The Pyramids’ signature opening for it’s live European performances during the 2011 summer tour. The band enters and “takes” the audience coming in from all directions playing percussion instruments and chanting A ya ya a ya yeh yeh yeh as the audience sings along and immediately they are an integral part of the performance. It is the fitting way to begin the CD. Kash then brings in the smooth bass line followed by sinuous percussions and an almost Hawaiian slide bass guitar feel. My entrance on sax reinterprets the opening chant followed by a melodious and emotionally fueled solo. The whole piece is reminiscent of one of our mentors Pharaoh Sanders and his “The Creator has a Master Plan”. It’s spiritual jazz! The track ends as it begins. The adventure now continues…
Idris Ackamoor – alto sax, Chinese gong and cymbal tree, sleigh bells, Jamaican conch shell, Kash Killion – acoustic & electric bass, 3 hole flute, Kimathi Asante – Hawaiian conch shell, Kenneth Nash – drums set, bongos, a go-go bell, and vocals, Bradie Speller – congas, vibraslap, and percussions, The Pyramids – vocals
Inspired poem
Sound of a clap
Cry from my mother’s womb
Memory Ritual
Dance in a circle
Open up ancient tombs
Memory Ritual
Speaking in tongues
Listen to magic words
Memory ritual
A ya yeh A ya yeh yeh yeh
A ya yeh A ya yeh yeh yeh
A ya yeh A ya yeh yeh yeh
A ya yeh A ya yeh yeh yeh
Move in a Trance
Moving through time and space
Memory ritual
Music of Life
Music that opens ways
Memory ritual
Visions of Spirits
Uttering sacred words
Memory ritual
A ya yeh A ya yeh yeh yeh
A ya yeh A ya yeh yeh yeh
A ya yeh A ya yeh yeh yeh
A ya yeh A ya yeh yeh yeh
Track 2
Time Capsule is a departure for world music afficianados. The Pyramids were world music even before the term was coined back in the early 70’s. This reaffirms our seal as progenitors of the style. I play an unusual battery of ethnic instruments played as a unit. As I sit in my Malawi chair to facilitate playing them I pluck away at an mbira from Zimbabwe, a medium calypso box and a bass calypso box from Jamaica, and a Russian hand painted zither. The tuning of the battery is intentional atonal and spontaneous. This is not meant to duplicate African music but to create a departure. Kash on acoustic bass and Bradie on congas play in and out of the rhythm also intentionally atonally and as directed by myself at spontaneous times in the moment. Kimathi plays the more modern kalimba and Kenneth his wonderfully inventive vocal language and percussions. It is a time capsule and I imagine someone listening to this music in 100 years and wondering “what kind of humans lived a hundred years ago?”
Idris Ackamoor – mbira, calypso box, bass calypso box, bamboo flute, Kenneth Nash – mbira, vocals, and gongs, Kash Killion – acoustic bass, Kimathi Asante – thumb piano and Chinese wooden flute, Bradie Speller – congas
Track 3
What the World Needs Now is Kenneth’s solo and it highlights his inventive drum set up, vocals, and astonishing percussion abilities. It continues to set the tenure and concept of the adventure as a shout out to the world for peace. Kenneth plays a “cocktail” drum set, which is an elongated base drum, etc. Used by drummers in New York to circumvent the law of having to play sitting down. But in Kenneth’s hand it becomes uniquely suited to extend his reputation as one of the foremost percussionist on the planet!
Kenneth Nash – drum set, Engelhart bells, gongs, vocals
Track 4 & 5
Nebulosity is one of my latest compositions. It is dedicated to my Daughter the soon to be PHD in Astronomy Aomawa Shields. The ostinato acoustic bass line sets up a trancelike 5/4 grove followed by the incomparable Nash dropping the snare hit to propel the proceedings into the cosmos. The melody line descends and ascends into the galaxy followed by a 6/8 tempo change bluesy as it wants to be. The melody reprises and the outer inner space journey begins. My solo rides the tail of the comet flashing and sky riding throughout until the 6/8 returns. The second part of the composition is a nod to the 40-year relationship of the trio of original Pyramids, Bradie “”Hekaptah” Speller, Thomas “Kimathi Asante” Williams, and myself. All you electronic music bluffs should get a real kick of what follows. Bradie plays various electronic sounds on his Roland drum sonic, Kimathi plays his ever innovative and unique style of the electric bass, and myself contributing with percussions and invented instruments. A true 40-year Trio!
Idris Ackamoor – alto sax, Russian hand painted lap harp, Chinese gong and cymbal tree, percussion, Bradie Speller – congas, Roland Handsonic, Kenneth Nash – drum set and vocals, Kash Killion – acoustic bass, Kimathi Asante – electric bass
Track 6
Uttering Sacred Words is another signature component of The Pyramids’ live European summer tour performances. Here you have two of the most accomplished and masterful percussionist on the planet playing together as if they are kids in a toy factory. Ever inventive. Ever masterful. A drum circle of two. This camaraderie that Kenneth and Bradie display is a hallmark of our live performances as The Pyramids breaks down into percussion heaven.
Bradie Speller – congas, percussions, and vocals, Kenneth Nash – congas, percussions and vocals
Track 7
Cloud Rider is one of my oldest compositions. Composed in 1972 as one of the Pyramids first compositions it is a 6/8 percussion driven romp through the sky as if floating and riding clouds above. The melody drifts above blown by the winds and locks into a repetitive ostinato acoustic bass line and chord like electric bass accompanying color. Another signature style of utilizing the “two bass” concept. The solo develops and builds until the band “trips out” into unexplored territory of spontaneous improvisation and “out” playing reminiscent of our days playing in the Cecil Taylor Black Music Ensemble as students. A signature style of The Pyramids. High energy abandoned playing. Playing to make music fire! The following acoustic bass solo highlights Kash at his most inventive. Bradie and myself provide an improvisational tableau contributing colors and textures as Kash takes off!
Idris Ackamoor – alto sax, nose flutes, bamboo flutes, musical spoons, train whistle, Bradie Speller – congas, flexitone, percussions, Kenneth Nash – drum set, Kash Killion – acoustic bass, Kimathi Asante – electric bass
Track 8
Boundless Eternities is an amazing track. Uniquely Pyramids! The composition begins with the two predominate instruments answering each other. Kash on the West African “bolong” and myself in the Egyptian “sensemia” harp. Once the rhythm is established Kenneth comes in with his invented vocal language and playing the “pygmy whistle’ and “baby megaphone” as Kimathi plays percussions and _______________. The effect is like an “otherworldly” giant insect colony on another planet doing a collective mating dance.
Idris Ackamoor – semsemia Egyptian harp, South African pan flute, Bradie Speller – Roland Handsonic –SFX Patch, Kenneth Nash – vocals, mini megaphone (megaphone?), pygmy train whistle, Kash Killion – bolong, Kimathi Asante – whirly tube, string bells, bird whistle, duck call, Andean clay flute
Track 9
Absolution is another of my latest compositions. It is one of those compositions that came to me in a flash of inspiration. The temple like melodic introduction of the alto sax and cello brings to mind visions of the Taj Mahal in its shining splender. A very vocal oriented bass line follows the introduction that sets up the entrance of Kenneth’s “bollywood” style drum pattern and the memorable singing like line played by the cello and alto. My lyrical delivery is impassioned and full of meaning. The composition is about “forgiveness”. The forgiveness that we all need to have for each other as well as the planet. We need to ask the planet for forgiveness for our transgressions here and the negative treatment earthlings sometimes perpetrate on her. Kash’s cello solo is a beautiful addition to the composition. The chant is like a nursery rhyme. The audiences for our summer tour went away singing the chant as well as chanting along with us!
Idris Ackamoor – Alto sax, vocals, Chinese gongs and cymbal tree, Bradie Speller – Congas, Roland Handsonic – table patch, Kenneth Nash – drum set, Kash Killion – cello, Kimathi Asante – electric bass, The Pyramids – background vocals
Absolution Lyrics
We all need some Absolution
Our whole world is in confusion
Now’s the time for a solution
Time for a new constitution
Nana na nanana nana nana na nanana na
Nana na nanana nana nana na nanana na
Nana na nanana nana nana na nanana na
Nana na nanana nana nana na nanana na
No more war
And stop pollution
Kill no whales
No nuclear fusion
Heal the world
Our soul’s salvation
We all need some absolution
Nana na nanana nana nana na nanana na
Nana na nanana nana nana na nanana na
Nana na nanana nana nana na nanana na
Nana na nanana nana nana na nanana na
Track 10
Ancient Funk! This composition is courtesy of Kash Killion for his inspiration and remarkable bass line. This is Ancient Funk! Kenneth provides a tribal introduction setting up a meeting of the primitive “funksters” with vocals and percussions including bongos and talking drum. The funky bass then enters rallying the tribe to dance and party the night away as the alto joins to “nice up the party”. It is a wonderful addition to the adventure.
Kash Killion – acoustic bass, Kenneth Nash – drum set, bongos, percussions, and vocals, Idris Ackamoor – alto saxophone
Track 11
Otherworldly speaks for itself! The title track is mysterious, otherworldly, and deep. The Australian didgeridoo establishes the vibe as Kenneth and Kimathi play gongs and percussions, Bradie plays drum sonic, and Kash plays a bowed acoustic bass in the higher harmonics. One can feel the outer reaches of space and visualize alien tableaus.
Idris Ackamoor – didgeridoo, Bradie Speller – drum sonic, Kenneth Nash – percussions, Kash Killion – acoustic bass, Kimathi Asante – Chinese gong, string bells
Track 12
They Came from Chicago Suite is divided into three parts. The composition pays homage to all of the creative musicians hailing from the Midwest. I am a part of that legacy. So is Kash. However, it is a particular homage to The Art Ensemble of Chicago and everything they have meant to me as performers and composers. Part one begins with a dirge like melody that builds and ascends into the spiritual jazz universe populated by John Coltrane. From a circular breathing drone the song kicks off with a bass walk and electric bass drone and swinging Kenneth playing Elvin Jones like drums (but uniquely Kenneth Nash). This is how I envisioned my personal alto statement without any commercial considerations a nod to Albert Ayler, Charles Tyler, Roscoe Mitchell, Trane, Pharaoh, and David Murray, all of the horn gurus and inspired ones. And me too!
Idris Ackamoor – Alto sax, Bradie Speller – congas, percussions, Kenneth Nash – drum set, Kash Killion – acoustic bass, Kimathi Asante – electric bass
Track 13 - St Louis Two! - is a wonderful interplay between spiritual brothers Kenneth and Kash. So reminiscent of Malachi and Moye. Inventive, comic and theatrical!
Kash Killion – acoustic bass and vocals, Kenneth Nash – drum set and vocals
Track 14 - Reincarnation - brings the adventure to a close. The poem is for all of those hoofers and tap dancers that translated the ancient African rhythms from hands to feet! Our slave ancestors were brought from Africa without any of their instruments. Their music was inside their heads, their bodies, and their feet. The rhythms of the great hoofers translated these rhythms from the King’s drummers making the transfer from hands to feet complete. I have studied tap dance (hoofing) for over twenty years. One of my principle teachers was the late, great Al Robinson. Part 3 is dedicated to him and to my great great grandfather Dick Ackamoor who came up to the St. Louis area from New Orleans in the 1880’s with his wife Phoebe and settled on a farm near Farmington, Missouri. Visiting New Orleans I would see kids “hoofing” and busting for coins on the “cement street corners”.
Idris Ackamoor – musical washboard, harmonica, spoken word, Kenneth Nash – a go-go bell, Bradie Speller –a go – go bell, Kash Killion – tambourine, Kimathi Asante – Brazilian pandera drum and bird whistle
I am the reincarnation of royal drum bearers
For the ancient kings of Mali
Whose hands moved in multiple blazes
of unencumbered energy flashing fire
Tattoo signals of ancestry
Transfer of hands to feet complete
Moving in a blink of an eye
over landscapes of photographic images
Adolescents pounding cement street corners
Weapons of well-worn tennis shoes tipped with bottle caps
Clickety clack clickety clack clickety clack
Rusted trolley cars
Rumbling the streets of New Orleans
Track 15
Memory Ritual (Extended version) is a bonus track that reprises this composition with extended playing.
Idris Ackamoor – alto sax, Chinese gong and cymbal tree, sleigh bells, Jamaican conch shell, Kash Killion – electric bass, 3 hole flute, Kimathi Asante – Hawaiian conch shell, electric bass (second bass solo), Kenneth Nash – drum set, bongos, a go-go bell, and vocals, Bradie Speller – congas, vibraslap, and percussions, The Pyramids – vocals
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