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I’d like to also be able to give details of the grandstanding percussion ensemble who shake and carry this music with ease but I can’t with any certainty.
There’s kit drums, a range of hand-drums, marimba, someone playing mbira (who actually knows what they’re doing with it), all kinds of rattles and maracas.
There’s no vocal, this is Idris Ackamoor the saxophone player, bolstered by a band with a big electric bass (it’s not Richard Bona, but it could be), popping space synth, more horns and a chorus of drums which are still echoing Africa.
Rather than Pukwana, there is a touch of Carlos Ward about this.
I’ve always liked Carlo Actis Dato since I first encountered his dexterous horns nearly twenty years ago as part of the magnificent Italian Instabile Orchestra.
When his Atipico Trio brought out their recording ((Leo Records CD LR 400) in 2004 I got to write the liner notes.
Later, on the track , as the title suggests, there’s an element of discovery, renewal, a re-telling of the music each time they hit the theme.
It is the title track, the opening track, and it defines The Pyramids message – go back far enough and there is Africa.
Track 2 is , and for me this is where I could spend a lot of time.
By 2012 there was evidence of interest in Idris Akamoor’s 1970’s recordings.
He reformed The Pyramids and they are back touring again.