Ahmad Ahmal - Ectoplasmic rebirth vol.III - Cassette, digital - 2018 - BLACK SHIP
Ahmad Ahmal: bamboo sax, bone flute, percussion, astral projections, incantations
Recorded in Stockholm, Sweden, date unknown
Processed and engineered at Black Ship, 2017
"I first met Ahmad on a plane, mid-air between London and Osaka, when the particularly large elderly woman sitting beside him, who, like the universe, appeared to be in the throes of acute accelerating expansion, suddenly required a water closet interlude of some magnitude, mobilizing three cabin crews, and an improvised system of ropes and levers on her anti-gravitational voyage to the spatially inadequate facility, prompting Ahmad’s strategic move to the empty seat to my left.
What would have been a mere nod turned into a fateful encounter but for the appearance of three items, which he carefully carried out of a tan leather pouch: a quartz triangular prism, a beaten copy of Zelazny’s “Creatures of light and darkness”, and a femur flute.
“Believe it or not, but this prism and I used to teach geometry,” he smiled softly, preempting any line of questioning, “now the flute is teaching us everything else.”
“What’s the book for, then?” I asked, intrigued. “a test, my friend, just a test.”
It was there and then that we bonded over a handful of psychedelic peanuts and a shared appreciation of cosmic confluence. Several years and many conversations later, I am excited and humbled to present this recording, a unique document of Ahmad’s fluid explorations and singular visions."
Recorded in Stockholm, Sweden, date unknown
Processed and engineered at Black Ship, 2017
"I first met Ahmad on a plane, mid-air between London and Osaka, when the particularly large elderly woman sitting beside him, who, like the universe, appeared to be in the throes of acute accelerating expansion, suddenly required a water closet interlude of some magnitude, mobilizing three cabin crews, and an improvised system of ropes and levers on her anti-gravitational voyage to the spatially inadequate facility, prompting Ahmad’s strategic move to the empty seat to my left.
What would have been a mere nod turned into a fateful encounter but for the appearance of three items, which he carefully carried out of a tan leather pouch: a quartz triangular prism, a beaten copy of Zelazny’s “Creatures of light and darkness”, and a femur flute.
“Believe it or not, but this prism and I used to teach geometry,” he smiled softly, preempting any line of questioning, “now the flute is teaching us everything else.”
“What’s the book for, then?” I asked, intrigued. “a test, my friend, just a test.”
It was there and then that we bonded over a handful of psychedelic peanuts and a shared appreciation of cosmic confluence. Several years and many conversations later, I am excited and humbled to present this recording, a unique document of Ahmad’s fluid explorations and singular visions."
