A heavyweight, foundational, spiritual jazz classic back in circulation, The Pyramids’ first LP, inspired by a trip to the Lalibela monastery in Egypt, is a masterpiece of rhythmic psychedelia and post-Coltrane and Cecil Taylor modal voodoo
Now appearing as part of Strut’s vital reissue programme, ‘Lalibela’ (1973) pays witness to Idris Ackamoor, Margaux Ackamoor, Kwame Kimanthi Asante, and Hekaptah flocking to a spirit prompted by their visit to the eponymous c.12th monastery, a site of pilgrimage for Coptic Christians. The recordings were made back in the US in Yellow Springs, early 1973 and was issued in edition of 500 as The Pyramids’ debut release. Originals understandably trade for triple figures, if you can find one, but thanks to the reissue machine it is now more widely available and deserves a place on the shelf of any self-respecting spiritual jazz fiend or indeed followers of heavy rhythmic Afro-American music.
In two extended, multi-part movements the ensemble’s ancestral communications manifest in deeply possesses rhythmic verve and ribboning lines of melodic thought led by Idris’ alto and tenor sax, joined by the bamboo flutes of Kwame and Tony Owens aka Masai. They all get down on drums too, with a wide range of Ugandan balafon, Moroccan clay drum, Ethiopian percussion, and the wooden Osi drum in a breathtaking rhythmelodic flow. It’s really best taken in one sitting, but make sure to check for the muscular breakbeat hustle and buzzing horns of ‘Rock Churches’, or ‘Ya A Ya A Ya A Ya A (Anubis Awakens) (Indigo Suite Part 2)’ and you’ll know exactly what to do next.
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A heavyweight, foundational, spiritual jazz classic back in circulation, The Pyramids’ first LP, inspired by a trip to the Lalibela monastery in Egypt, is a masterpiece of rhythmic psychedelia and post-Coltrane and Cecil Taylor modal voodoo
Now appearing as part of Strut’s vital reissue programme, ‘Lalibela’ (1973) pays witness to Idris Ackamoor, Margaux Ackamoor, Kwame Kimanthi Asante, and Hekaptah flocking to a spirit prompted by their visit to the eponymous c.12th monastery, a site of pilgrimage for Coptic Christians. The recordings were made back in the US in Yellow Springs, early 1973 and was issued in edition of 500 as The Pyramids’ debut release. Originals understandably trade for triple figures, if you can find one, but thanks to the reissue machine it is now more widely available and deserves a place on the shelf of any self-respecting spiritual jazz fiend or indeed followers of heavy rhythmic Afro-American music.
In two extended, multi-part movements the ensemble’s ancestral communications manifest in deeply possesses rhythmic verve and ribboning lines of melodic thought led by Idris’ alto and tenor sax, joined by the bamboo flutes of Kwame and Tony Owens aka Masai. They all get down on drums too, with a wide range of Ugandan balafon, Moroccan clay drum, Ethiopian percussion, and the wooden Osi drum in a breathtaking rhythmelodic flow. It’s really best taken in one sitting, but make sure to check for the muscular breakbeat hustle and buzzing horns of ‘Rock Churches’, or ‘Ya A Ya A Ya A Ya A (Anubis Awakens) (Indigo Suite Part 2)’ and you’ll know exactly what to do next.
A heavyweight, foundational, spiritual jazz classic back in circulation, The Pyramids’ first LP, inspired by a trip to the Lalibela monastery in Egypt, is a masterpiece of rhythmic psychedelia and post-Coltrane and Cecil Taylor modal voodoo
Now appearing as part of Strut’s vital reissue programme, ‘Lalibela’ (1973) pays witness to Idris Ackamoor, Margaux Ackamoor, Kwame Kimanthi Asante, and Hekaptah flocking to a spirit prompted by their visit to the eponymous c.12th monastery, a site of pilgrimage for Coptic Christians. The recordings were made back in the US in Yellow Springs, early 1973 and was issued in edition of 500 as The Pyramids’ debut release. Originals understandably trade for triple figures, if you can find one, but thanks to the reissue machine it is now more widely available and deserves a place on the shelf of any self-respecting spiritual jazz fiend or indeed followers of heavy rhythmic Afro-American music.
In two extended, multi-part movements the ensemble’s ancestral communications manifest in deeply possesses rhythmic verve and ribboning lines of melodic thought led by Idris’ alto and tenor sax, joined by the bamboo flutes of Kwame and Tony Owens aka Masai. They all get down on drums too, with a wide range of Ugandan balafon, Moroccan clay drum, Ethiopian percussion, and the wooden Osi drum in a breathtaking rhythmelodic flow. It’s really best taken in one sitting, but make sure to check for the muscular breakbeat hustle and buzzing horns of ‘Rock Churches’, or ‘Ya A Ya A Ya A Ya A (Anubis Awakens) (Indigo Suite Part 2)’ and you’ll know exactly what to do next.
A heavyweight, foundational, spiritual jazz classic back in circulation, The Pyramids’ first LP, inspired by a trip to the Lalibela monastery in Egypt, is a masterpiece of rhythmic psychedelia and post-Coltrane and Cecil Taylor modal voodoo
Now appearing as part of Strut’s vital reissue programme, ‘Lalibela’ (1973) pays witness to Idris Ackamoor, Margaux Ackamoor, Kwame Kimanthi Asante, and Hekaptah flocking to a spirit prompted by their visit to the eponymous c.12th monastery, a site of pilgrimage for Coptic Christians. The recordings were made back in the US in Yellow Springs, early 1973 and was issued in edition of 500 as The Pyramids’ debut release. Originals understandably trade for triple figures, if you can find one, but thanks to the reissue machine it is now more widely available and deserves a place on the shelf of any self-respecting spiritual jazz fiend or indeed followers of heavy rhythmic Afro-American music.
In two extended, multi-part movements the ensemble’s ancestral communications manifest in deeply possesses rhythmic verve and ribboning lines of melodic thought led by Idris’ alto and tenor sax, joined by the bamboo flutes of Kwame and Tony Owens aka Masai. They all get down on drums too, with a wide range of Ugandan balafon, Moroccan clay drum, Ethiopian percussion, and the wooden Osi drum in a breathtaking rhythmelodic flow. It’s really best taken in one sitting, but make sure to check for the muscular breakbeat hustle and buzzing horns of ‘Rock Churches’, or ‘Ya A Ya A Ya A Ya A (Anubis Awakens) (Indigo Suite Part 2)’ and you’ll know exactly what to do next.
2022 re-issue.
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A heavyweight, foundational, spiritual jazz classic back in circulation, The Pyramids’ first LP, inspired by a trip to the Lalibela monastery in Egypt, is a masterpiece of rhythmic psychedelia and post-Coltrane and Cecil Taylor modal voodoo
Now appearing as part of Strut’s vital reissue programme, ‘Lalibela’ (1973) pays witness to Idris Ackamoor, Margaux Ackamoor, Kwame Kimanthi Asante, and Hekaptah flocking to a spirit prompted by their visit to the eponymous c.12th monastery, a site of pilgrimage for Coptic Christians. The recordings were made back in the US in Yellow Springs, early 1973 and was issued in edition of 500 as The Pyramids’ debut release. Originals understandably trade for triple figures, if you can find one, but thanks to the reissue machine it is now more widely available and deserves a place on the shelf of any self-respecting spiritual jazz fiend or indeed followers of heavy rhythmic Afro-American music.
In two extended, multi-part movements the ensemble’s ancestral communications manifest in deeply possesses rhythmic verve and ribboning lines of melodic thought led by Idris’ alto and tenor sax, joined by the bamboo flutes of Kwame and Tony Owens aka Masai. They all get down on drums too, with a wide range of Ugandan balafon, Moroccan clay drum, Ethiopian percussion, and the wooden Osi drum in a breathtaking rhythmelodic flow. It’s really best taken in one sitting, but make sure to check for the muscular breakbeat hustle and buzzing horns of ‘Rock Churches’, or ‘Ya A Ya A Ya A Ya A (Anubis Awakens) (Indigo Suite Part 2)’ and you’ll know exactly what to do next.