Far Out Recordings was founded in 1994 by London DJ and record producer Joe Davis whose longstanding and insatiable passion for Brazilian music led him to become the UK's foremost authority on Brazilian music. The label's aim has been to bring the sound of Brazil to the world -- to showcase the history and culture of a land bursting with creativity and energy -- from the classic to the cutting edge. There have been numerous releases from both new and established Brazilian artists including legends such as Azymuth, Joyce, Marcos Valle, Arthur Verocai, The Ipanemas, Sabrina Malheiros, Clara Moreno and Binario, to name a few. Alongside Brazilian music, the label is also well known for its longstanding association with underground dance music, having collaborated with some of the most acclaimed and accomplished electronic producers of our times. This had led to a rich plethora of pioneering and innovative dance and beats music, forging a future for the oft-neglected role of Brazil and its rhythms in the complex dance music diaspora of the UK and US, with 12" remixes and original productions from the likes of Theo Parrish, Mark Pritchard, 4hero, Dego, Andres, Marcellus Pittman, Kirk Degiorgio, Nicola Conte, A.D. Bourke, Henry Wu and Rick Willhite among many others.
|
|
|
viewing 1 To 25 of 234 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
FARO 241LP
|
$26.00
PREORDER
RELEASE DATE: 12/8/2023
LP version. Far Out Recordings presents the new album from Brazilian guitarist and composer Fabiano do Nascimento: Mundo Solo. Recorded at his home studio in Los Angeles (2020) the album is fundamentally the sound of a man alone with his instruments. Utilizing a variety of guitars, including six, seven, and 1ten strings, Oktav guitar and electric baritone guitar, alongside a host of pedals and synthesizers, Fabiano tracked imagined landscapes with expressive, expansive improvisations, which tend toward the more ambient and atmospheric reaches of his recent output. Adopting Hermeto Pascoal's concept of "Universal Music," a rejection of nationalistic tendencies in order to express all of one's musical influences all at once, Fabiano avoided leaning too heavily on any particular musical language, without denying his own musical roots. After studying classical piano as a child, the Rio de Janeiro native discovered the guitar at aged ten. Studying under his late uncle, Lucio Nascimento, he eventually left Brazil for LA, where he soon became an in-demand player for his distinct and authentic sound. He has since released seven albums under his own name and collaborated with renowned Brazilian artists including Arthur Verocai and Airto Moreira, as well as experimental US saxophonist Sam Gendel. Mundo Solo (Do Nascimento's eighth), was recorded in one take per track, with occasional overdubs and a few appearances from collaborators and friends Julien Canthelm (drums on "Etude 1"), Ajurinã Zwarg, (percussion on "CPMV") and Gabe Noel (bass on "Curumim"). Fabiano Do Nascimento's consummate mastery of his instrument has afforded him a freedom of expression few can claim. Blending the emotional with the elemental, Mundo Solo is a stunning snapshot of solitude and the beauty which can blossom within it.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 241CD
|
$12.50
PREORDER
RELEASE DATE: 12/8/2023
Far Out Recordings presents the new album from Brazilian guitarist and composer Fabiano do Nascimento: Mundo Solo. Recorded at his home studio in Los Angeles (2020) the album is fundamentally the sound of a man alone with his instruments. Utilizing a variety of guitars, including six, seven, and 1ten strings, Oktav guitar and electric baritone guitar, alongside a host of pedals and synthesizers, Fabiano tracked imagined landscapes with expressive, expansive improvisations, which tend toward the more ambient and atmospheric reaches of his recent output. Adopting Hermeto Pascoal's concept of "Universal Music," a rejection of nationalistic tendencies in order to express all of one's musical influences all at once, Fabiano avoided leaning too heavily on any particular musical language, without denying his own musical roots. After studying classical piano as a child, the Rio de Janeiro native discovered the guitar at aged ten. Studying under his late uncle, Lucio Nascimento, he eventually left Brazil for LA, where he soon became an in-demand player for his distinct and authentic sound. He has since released seven albums under his own name and collaborated with renowned Brazilian artists including Arthur Verocai and Airto Moreira, as well as experimental US saxophonist Sam Gendel. Mundo Solo (Do Nascimento's eighth), was recorded in one take per track, with occasional overdubs and a few appearances from collaborators and friends Julien Canthelm (drums on "Etude 1"), Ajurinã Zwarg, (percussion on "CPMV") and Gabe Noel (bass on "Curumim"). Fabiano Do Nascimento's consummate mastery of his instrument has afforded him a freedom of expression few can claim. Blending the emotional with the elemental, Mundo Solo is a stunning snapshot of solitude and the beauty which can blossom within it.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 138X-CD
|
Recorded in Paris, in 1976, Visions of Dawn is the stunning "lost" Brazilian acid-folk masterpiece. First uncovered and released in 2009, the record transfixed Brazilian music lovers and fans of otherworldly psych-folk alike. Led by the sharp lyrics and gorgeous, voice of a young Joyce Moreno, the trio is completed by the late great Brazilian percussion legend Nana Vasconcelos, and master arranger, producer and bassist Mauricio Maestro. These beautiful recordings offer a unique opportunity to sit in on the original sessions of tracks that would later become Brazilian cult-classics, like swinging samba-jazz opener "Banana" and "Clareana", a lullaby named after Joyce's daughters Clara and Ana. The trippiest moments come from "Jardim Dos Deuces" (one of Frank Ocean's favorite tracks of all time) and the orgasmic album closer "Chegeda."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 238CD
|
Far Out Recordings presents laid back Brazilian groove maestro Joao Donato's synth-heavy collaboration with his son Donatinho. Sintetizamor sees the father-son duo jovially hurtle through space and time across ten tracks of sparkling pop, Brazilian boogie and club friendly disco-funk. Joao Donato has been a hugely influential figure in the development of Brazilian music since the mid-1950s. He's played and recorded with virtually every one of his fellow Brazilian masters. Many of his own albums (of which he's recorded over three-dozen) are regarded with such adulation that "cult-favorites" doesn't quite cut it. Aged 82 at the time, Donato's collaboration with his prodigious, synth obsessed son Donatinho -- whose keyboard talents have been called on by the likes of the late Gal Costa, Djavan, and Donatinho's contemporaries such as Diogo Strausz -- was originally released back in 2017, as a limited Brazil-only release.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 237CD
|
Som Imaginário are the stuff of MPB mythos. Integral to Brazil's Clube Da Esquina movement in the early 1970s, a heady blend of progressive rock, folk, psychedelia, jazz, and traditional Brazilian rhythm flows through the three studio albums the band recorded between '70 and '73. Flying the countercultural freak-flag amid the context of military dictatorship, the Brazilian prog lords shared much of the sense of experimentation and bountiful fuzz bequeathed by their tropicalismo forbearers. But armed with genius composers, arrangers and stupendously high-level musicianship, Som Imaginário introduced a potent harmonic complexity to Brazilian popular music, which would inspire generations of artists to come. On October 4th, 1976, having finished a spell of recording and touring with Milton Nascimento, Som Imaginário performed a concert in celebration of Nature Day in Brasília. The recordings of the show would become Banda Da Capital, which, for the past half century, has laid dormant, waiting for its mystical power to be untapped. In the band that day were original members Wagner Tiso and Fredera, joined by Nivaldo Ornelas, Paulinho Braga, and Jamil Joanes. Operating within such a hugely creative and free-spirited scene meant line-up fluctuations were inevitable and former Som Imaginário members also include Laudir de Oliveira (who left to join Chicago), Nana Vasconcelos (who also moved to work in the US), Zé Rodrix, Robertinho Silva, Novelli, and Toninho Horta. Titled after the Belo Horizonte radio station where they would practice during their youth, the show opens with "Rádio Guarany", an improvisation led by Paulinho Braga and Nivaldo Ornelas. The track morphs into Nivaldo Ornelas's composition "Xa Mate", which also opens Milton Nascimento's Milagre dos Peixes ao Vivo album, featuring Som Imaginário and a 32-piece orchestra. Having grown up together in Minas Gerais, composer, arranger and keyboard player Wagner Tiso had been another close musical partner of Milton Nascimento's. Some of their work together includes many of Bituca's most beloved albums, including Clube Da Esquina, Milton Nascimento (1970) and Maria Maria / Ultimo Trem, as well as Native Dancer: Nascimento's album with Wayne Shorter. One of the album's most tender moments is a beautiful rendition of the post-tropicalista folk-rock classic "Sabado", written by Fredera for Som Imaginiaro's debut album. CD version includes two bonus tracks from a separate concert at Museu de Arte Moderna, in Rio de Janeiro, on October 6th, 1975. Restored and mastered by Frank Merritt at The Carvery, London.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 237LP
|
LP version. Som Imaginário are the stuff of MPB mythos. Integral to Brazil's Clube Da Esquina movement in the early 1970s, a heady blend of progressive rock, folk, psychedelia, jazz, and traditional Brazilian rhythm flows through the three studio albums the band recorded between '70 and '73. Flying the countercultural freak-flag amid the context of military dictatorship, the Brazilian prog lords shared much of the sense of experimentation and bountiful fuzz bequeathed by their tropicalismo forbearers. But armed with genius composers, arrangers and stupendously high-level musicianship, Som Imaginário introduced a potent harmonic complexity to Brazilian popular music, which would inspire generations of artists to come. On October 4th, 1976, having finished a spell of recording and touring with Milton Nascimento, Som Imaginário performed a concert in celebration of Nature Day in Brasília. The recordings of the show would become Banda Da Capital, which, for the past half century, has laid dormant, waiting for its mystical power to be untapped. In the band that day were original members Wagner Tiso and Fredera, joined by Nivaldo Ornelas, Paulinho Braga, and Jamil Joanes. Operating within such a hugely creative and free-spirited scene meant line-up fluctuations were inevitable and former Som Imaginário members also include Laudir de Oliveira (who left to join Chicago), Nana Vasconcelos (who also moved to work in the US), Zé Rodrix, Robertinho Silva, Novelli, and Toninho Horta. Titled after the Belo Horizonte radio station where they would practice during their youth, the show opens with "Rádio Guarany", an improvisation led by Paulinho Braga and Nivaldo Ornelas. The track morphs into Nivaldo Ornelas's composition "Xa Mate", which also opens Milton Nascimento's Milagre dos Peixes ao Vivo album, featuring Som Imaginário and a 32-piece orchestra. Having grown up together in Minas Gerais, composer, arranger and keyboard player Wagner Tiso had been another close musical partner of Milton Nascimento's. Some of their work together includes many of Bituca's most beloved albums, including Clube Da Esquina, Milton Nascimento (1970) and Maria Maria / Ultimo Trem, as well as Native Dancer: Nascimento's album with Wayne Shorter. One of the album's most tender moments is a beautiful rendition of the post-tropicalista folk-rock classic "Sabado", written by Fredera for Som Imaginiaro's debut album.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
FARO 239LP
|
Double LP version. 45RPM. Renowned Italian spiritual jazz master, DJ, producer, guitarist, and bandleader Nicola Conte presents his new album Umoja via Far Out Recordings. A joyous exultation across ten tracks, Umoja taps into the abundant well of knowledge Conte has amassed over his career as a compiler and archivist of deep jazz, Latin, Afro-futurist, bossa-nova and soul music from around the world. Expressing unity, oneness and harmony in Swahili, Umoja coalesces universal feelings through the multifaceted global music Conte has spent his life studying and researching. Having released music with Blue Note, Impulse! and Schema records, Nicola Conte's relationship with Far Out began over a shared love of hard-edged bossa-nova and swinging samba-jazz. Between 2009-2013 Nicola Conte compiled five volumes of forgotten '60s Brazilian music for his Viagem series. He then released his critically acclaimed Natural album (FARO 188CD/LP): a collaboration with vocalist Steffania Dippiero, featuring jazz standards alongside covers of lesser-known Brazilian gems. The music of Umoja draws on the deep-dug '70s independent spiritual and free jazz sounds, private-press soul records, and African and Afro Caribbean rhythms in Conte's collection. But he equally recognizes his debt to many of the decade's more celebrated musical icons, such as North American cosmic jazz masters Lonnie Liston Smith and Gary Bartz, and Afrobeat originators Fela Kuti and Tony Allen. Since founding the Bari-based bohemian cultural movement and club night Fez at the dawn of the nineties, Conte has proven to be a pillar of the contemporary, international soul-jazz scene. Composed alongside his long-time friend, guitarist Alberto Parmegiani, Conte brings together a dazzling host of guests from around the world, including award winning British vocalist Zara Mcfarlane, acclaimed Finnish saxophonist Timo Lassy, French vibes player Simon Mullier, US vocalist Myles Sanko, rising South African drummer Fernando Damon, former Roy Hargrove bassist Ameen Saleem, and Serbian flute sensation Milena Jancuric. Proudly revivalist, Umoja was recorded direct to analog tape, with just two takes for each track. "Searching for an unadulterated, spontaneous, almost improvised feeling", Nicola made sure that the few overdubs were also transferred to tape in order to retain the color and warmth of the analog sound. "Very little post production or editing has been added, so what you hear is largely what happened in those magical live sessions". Also features Bridgette Amofah and Miles Sanko.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 239CD
|
Renowned Italian spiritual jazz master, DJ, producer, guitarist, and bandleader Nicola Conte presents his new album Umoja via Far Out Recordings. A joyous exultation across ten tracks, Umoja taps into the abundant well of knowledge Conte has amassed over his career as a compiler and archivist of deep jazz, Latin, Afro-futurist, bossa-nova and soul music from around the world. Expressing unity, oneness and harmony in Swahili, Umoja coalesces universal feelings through the multifaceted global music Conte has spent his life studying and researching. Having released music with Blue Note, Impulse! and Schema records, Nicola Conte's relationship with Far Out began over a shared love of hard-edged bossa-nova and swinging samba-jazz. Between 2009-2013 Nicola Conte compiled five volumes of forgotten '60s Brazilian music for his Viagem series. He then released his critically acclaimed Natural album (FARO 188CD/LP): a collaboration with vocalist Steffania Dippiero, featuring jazz standards alongside covers of lesser-known Brazilian gems. The music of Umoja draws on the deep-dug '70s independent spiritual and free jazz sounds, private-press soul records, and African and Afro Caribbean rhythms in Conte's collection. But he equally recognizes his debt to many of the decade's more celebrated musical icons, such as North American cosmic jazz masters Lonnie Liston Smith and Gary Bartz, and Afrobeat originators Fela Kuti and Tony Allen. Since founding the Bari-based bohemian cultural movement and club night Fez at the dawn of the nineties, Conte has proven to be a pillar of the contemporary, international soul-jazz scene. Composed alongside his long-time friend, guitarist Alberto Parmegiani, Conte brings together a dazzling host of guests from around the world, including award winning British vocalist Zara Mcfarlane, acclaimed Finnish saxophonist Timo Lassy, French vibes player Simon Mullier, US vocalist Myles Sanko, rising South African drummer Fernando Damon, former Roy Hargrove bassist Ameen Saleem, and Serbian flute sensation Milena Jancuric. Proudly revivalist, Umoja was recorded direct to analog tape, with just two takes for each track. "Searching for an unadulterated, spontaneous, almost improvised feeling", Nicola made sure that the few overdubs were also transferred to tape in order to retain the color and warmth of the analog sound. "Very little post production or editing has been added, so what you hear is largely what happened in those magical live sessions". Also features Bridgette Amofah and Miles Sanko.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FORDIS 007LP
|
Repressed; LP version. Far Out Recordings presents Hermeto Pascoal's remarkable self-titled debut album. Recorded in 1970 at A&R studios in New York, the album features certified North American titans including Ron Carter, Hubert Laws, Joe Farrel, and Googie Coppola, and Brazilian stars Airto Moreira and Flora Purim (who also produced the album). While it was Hermeto's first album released under his own name, he had spent the decade or so prior making a name for himself in Brazil and internationally as a composer, arranger and instrumentalist with groups including Sambrassa Trio, Quarteto Novo, and Brazilian Octopus, before going on to work with (amongst countless others) Edu Lobo, Antonio Carlos Jobim, Donald Byrd, Airto Moreira, and Miles Davis, who allegedly called Hermeto "one of the most important musicians on the planet." With Hermeto's otherworldly orchestral arrangements, ghostly vocal performances from Flora Purim and Googie Coppola, and the inimitable drumming and percussion stylings of Airto Moreira, Hermeto easily rivals some of the oft-celebrated MPB albums of the early 1970s, sitting somewhere between the string-heavy magic of Arthur Verocai's 1972 debut and the unplacable early experimentalism of Pedro Santos' 1968 album Krishnanda. With his phenomenal natural musical genius and a ceaseless sense of creative freedom, Hermeto is widely known for using unconventional objects to make music. In the album's sleeve notes, Airto highlights the track "Velório (Mourning)" explaining how Hermeto filled 36 apple juice bottles with different amounts of water and tuned them to precise pitches in order to create the beguiling harmonies heard. The reissue of Hermeto Pascoal's Hermeto follows Far Out's recent unveiling of a previously unheard Hermeto Pascoal live concert Planetario da Gavea from 1981 (FARO 229CD/LP), and 2017's release of Hermeto Pascoal's lost 1976 studio album: Viajando Com O Som (FARO 200CD/LP).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FORDIS 007CD
|
Far Out Recordings presents Hermeto Pascoal's remarkable self-titled debut album. Recorded in 1970 at A&R studios in New York, the album features certified North American titans including Ron Carter, Hubert Laws, Joe Farrel, and Googie Coppola, and Brazilian stars Airto Moreira and Flora Purim (who also produced the album). While it was Hermeto's first album released under his own name, he had spent the decade or so prior making a name for himself in Brazil and internationally as a composer, arranger and instrumentalist with groups including Sambrassa Trio, Quarteto Novo, and Brazilian Octopus, before going on to work with (amongst countless others) Edu Lobo, Antonio Carlos Jobim, Donald Byrd, Airto Moreira, and Miles Davis, who allegedly called Hermeto "one of the most important musicians on the planet." With Hermeto's otherworldly orchestral arrangements, ghostly vocal performances from Flora Purim and Googie Coppola, and the inimitable drumming and percussion stylings of Airto Moreira, Hermeto easily rivals some of the oft-celebrated MPB albums of the early 1970s, sitting somewhere between the string-heavy magic of Arthur Verocai's 1972 debut and the unplacable early experimentalism of Pedro Santos' 1968 album Krishnanda. With his phenomenal natural musical genius and a ceaseless sense of creative freedom, Hermeto is widely known for using unconventional objects to make music. In the album's sleeve notes, Airto highlights the track "Velório (Mourning)" explaining how Hermeto filled 36 apple juice bottles with different amounts of water and tuned them to precise pitches in order to create the beguiling harmonies heard. The reissue of Hermeto Pascoal's Hermeto follows Far Out's recent unveiling of a previously unheard Hermeto Pascoal live concert Planetario da Gavea from 1981 (FARO 229CD/LP), and 2017's release of Hermeto Pascoal's lost 1976 studio album: Viajando Com O Som (FARO 200CD/LP).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 236CD
|
Far Out Recordings presents the self-titled debut album by Rio de Janeiro born multi-instrumentalist, composer and arranger Tunico. Honing Brazilian roots rhythms like maracatu, xanadu, and samba, to combine with a global contemporary jazz outlook, the newcomer adds a modern classic to the rich vein of Brazilian instrumental music. Consider it a natural evolution from the legacies of greats like Quarteto Novo, Hermeto Pascoal, Banda Black Rio, Tamba Trio, and Dom Um Romão, Tunico's debut brings together an eye catching ensemble of talents from the Rio jazz community, with whom he performs on a weekly basis at celebrated live sessions and jam's at venues like Macuna and Comuna Lapa, which often go on all night. Released in 2022, the album's rip-roaring lead single "Galope" features the effervescent vocals of Katerina Assef, as well as consummate solos from all over the band, as Sounds & Colours put it "...it exudes distinction and promise." "Sambola" calls on the signature swagger of Far Out favorite Antonio Neves, indulging you in irresistible swinging samba-funk, undeniably reminiscent of the aforementioned Banda Black Rio in their late '70s heyday. Born and raised in an artistic Rio household, Antonio Secchin aka Tunico's father was the painter Guilherme Secchin, whose original work is lovingly repurposed to create the album's cover. Antonio learned his trade on guitar from a young age, which remains his primary method for composition, but at the age of eighteen he started to gravitate towards the saxophone, and in particular the soprano sax, from which he now leads bands despite being entirely self-taught. He would develop his skills busking on curbsides and metro stations before becoming a mainstay player in venues and clubs around the city. When the pandemic struck, Antonio retreated to his family home in the Rio countryside. With time and space to breathe and reflect in a natural environment, he set to work at fleshing out the compositions he'd written throughout his musical life into full bodied works. His affinity with his rural surroundings is reflected in the luscious, blossoming feel of this groovy, mystical and poignant instrumental debut album.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 236LP
|
LP version. Far Out Recordings presents the self-titled debut album by Rio de Janeiro born multi-instrumentalist, composer and arranger Tunico. Honing Brazilian roots rhythms like maracatu, xanadu, and samba, to combine with a global contemporary jazz outlook, the newcomer adds a modern classic to the rich vein of Brazilian instrumental music. Consider it a natural evolution from the legacies of greats like Quarteto Novo, Hermeto Pascoal, Banda Black Rio, Tamba Trio, and Dom Um Romão, Tunico's debut brings together an eye catching ensemble of talents from the Rio jazz community, with whom he performs on a weekly basis at celebrated live sessions and jam's at venues like Macuna and Comuna Lapa, which often go on all night. Released in 2022, the album's rip-roaring lead single "Galope" features the effervescent vocals of Katerina Assef, as well as consummate solos from all over the band, as Sounds & Colours put it "...it exudes distinction and promise." "Sambola" calls on the signature swagger of Far Out favorite Antonio Neves, indulging you in irresistible swinging samba-funk, undeniably reminiscent of the aforementioned Banda Black Rio in their late '70s heyday. Born and raised in an artistic Rio household, Antonio Secchin aka Tunico's father was the painter Guilherme Secchin, whose original work is lovingly repurposed to create the album's cover. Antonio learned his trade on guitar from a young age, which remains his primary method for composition, but at the age of eighteen he started to gravitate towards the saxophone, and in particular the soprano sax, from which he now leads bands despite being entirely self-taught. He would develop his skills busking on curbsides and metro stations before becoming a mainstay player in venues and clubs around the city. When the pandemic struck, Antonio retreated to his family home in the Rio countryside. With time and space to breathe and reflect in a natural environment, he set to work at fleshing out the compositions he'd written throughout his musical life into full bodied works. His affinity with his rural surroundings is reflected in the luscious, blossoming feel of this groovy, mystical and poignant instrumental debut album.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 235CD
|
The previously unreleased debut album from 1975. In 1975, under the oppressive military dictatorship in Brazil, brothers Lelo and Zé Eduardo Nazario invited bassist Zeca Assumpção to join their musical experiments in a basement under Sao Paulo's Teodoro Sampaio Street. As teenagers, the trio had already been playing together in Hermeto Pascoal's Grupo, alongside guitarist Toninho Horta and saxophonist Nivaldo Ornelas, and it was while working together under Hermeto's direction that the Paulista rhythm section (as they were then known) began to realize their own potential. With many nightclubs and venues closed in the mid-70s and government censors dictating the output of radio, TV, and art galleries, many Brazilian artists fled. But underground, Grupo Um were fusing avant-garde ideals with contemporary jazz and Afro Brazilian rhythm; making phenomenally free and expressive music -- in stark contrast to the sterile, conservative conditions being imposed above ground. Just like Hermeto Pascoal's Viajando Com O Som from the following year, Starting Point was recorded over two days at Vice-Versa Studios, by revered engineer Renato Viola. The studio was one of the best in Sao Paulo and musicians communicated with engineers through cameras and a monitor, allowing the group complete immersion in the process. They also made use of the studio's hemispherical tiled room, which served as an acoustic reverberation chamber. The album begins with Zé Eduardo Nazario's thunderous drum solo on "Porão da Teodoro", before clearing the clouds with the lone Berimbau which opens "Onze Por Oito". Built around a hypnotic electric bass line, heady Fender Rhodes improvisations, and more rip-roaring drums, it's a rapturous, electrifying freak-jam in 11/8. Like some invertebrate deep-sea curiosity, the free-form "Organica" is made up of Lelo Nazario's playfully eerie prepared piano, with Zé Eduardo's percussion flurries darting around Assumpçao's double bass. The equally non-conformist, percussion-only piece "Jardim Candida" features many of Zé Eduardo's homemade instruments, including a long saw blade played with vibraphone sticks and violin bow. While working with Hermeto, Zé Eduardo famously built his own all-in-one percussion set-up known as the "Barraca de Percussão" (Percussion Tent). "Suite Orquidea Negra" (Black Orchid Suite) was written by Lelo Nazario as the score for an imaginary movie about a rare, black orchid. The album closes with the triumphant "Cortejo dos Reis Negros" (Procession of Black Kings) -- a groovy variation on the Maracatu rhythm, with a two-note bassline underpinning piano improvisations, exultant wordless vocals, cuicas, slide-whistles and a very special guest appearance from Zé's dog Bolinha. Starting Point was to mark the inception of one of Brazil's most daring instrumental groups. Finally, almost fifty years later, this mesmerizing piece of history is here, and it was only the beginning...
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 233LP
|
2023 repress forthcoming. LP version. Maceió, the capital of Brazil's Alagoas state on its sprawling east-coast, is home to pastel colored colonial houses, white sand beaches and a brilliant young composer, poet and multi-instrumentalist named Bruno Berle. With a voice of pure gold and a startling sensitivity for heartfelt pop songwriting, on No Reino Dos Afetos (In the Realm of Affections), Berle firmly embraces earnestness, through starry-eyed Brazilian love songs, ambient vignettes, warm, home-cooked beats and gentle strokes of MPB genius. "It's an album that was built from my desire to find beauty", Berle explains -- his simple, graceful words mirroring the graceful simplicity in his music. But amongst the simplicity, the compositions, arrangements and productions on No Reino Dos Afetos tingle with nuance and detail. On the contemporary R&B inspired lead single "Quero Dizer" -- produced by Berle and longtime friend and collaborator Batata Boy -- the swirling, lo-fi, kalimba, and guitar-fronted beat is turned into a feel-good hit by the ingenuity of Berle's honey-soaked vocal melody. Powerfully intimate, "O Nome Do Meu Amor" (My Love's Name) is a guaranteed tearjerker, with Berle's stunning voice soaring over gently plucked acoustic guitar and the textural flutter of soft movement, as if we hear him writing the song in the moment. Drawing upon a close-knit, collaborative scene of Maceió artists and musicians, (of which Berle and Batata Boy are vital members), Berle also recorded some of his friends' songs on the album, including João Menezes's "Até Meu Violao", the album's beautifully laidback sunshine soul opener, which has all the charm of early-70s João Donato. Having cut his teeth in soft-rock group Troco em Bala, and more recently finding himself embedded in both Rio and Sao Paulo's contemporary music scenes -- collaborating with the likes of Ana Frango Eletrico, who took the photo for the album cover -- No Reino Dos Afetos is as musically diverse as Bruno himself. It's hazy indie rock ("É Preciso Ter Amor"), calming ambient and field recording ("Virginia Talk") as well as Berle's own take on West African high life ("Som Nyame"). Instantly recognizable as a truly special artist, Berle's character fills every corner of the sound, which is unsurprising considering he played most of the instruments.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 235LP
|
LP version. Includes insert. The previously unreleased debut album from 1975. In 1975, under the oppressive military dictatorship in Brazil, brothers Lelo and Zé Eduardo Nazario invited bassist Zeca Assumpção to join their musical experiments in a basement under Sao Paulo's Teodoro Sampaio Street. As teenagers, the trio had already been playing together in Hermeto Pascoal's Grupo, alongside guitarist Toninho Horta and saxophonist Nivaldo Ornelas, and it was while working together under Hermeto's direction that the Paulista rhythm section (as they were then known) began to realize their own potential. With many nightclubs and venues closed in the mid-70s and government censors dictating the output of radio, TV, and art galleries, many Brazilian artists fled. But underground, Grupo Um were fusing avant-garde ideals with contemporary jazz and Afro Brazilian rhythm; making phenomenally free and expressive music -- in stark contrast to the sterile, conservative conditions being imposed above ground. Just like Hermeto Pascoal's Viajando Com O Som from the following year, Starting Point was recorded over two days at Vice-Versa Studios, by revered engineer Renato Viola. The studio was one of the best in Sao Paulo and musicians communicated with engineers through cameras and a monitor, allowing the group complete immersion in the process. They also made use of the studio's hemispherical tiled room, which served as an acoustic reverberation chamber. The album begins with Zé Eduardo Nazario's thunderous drum solo on "Porão da Teodoro", before clearing the clouds with the lone Berimbau which opens "Onze Por Oito". Built around a hypnotic electric bass line, heady Fender Rhodes improvisations, and more rip-roaring drums, it's a rapturous, electrifying freak-jam in 11/8. Like some invertebrate deep-sea curiosity, the free-form "Organica" is made up of Lelo Nazario's playfully eerie prepared piano, with Zé Eduardo's percussion flurries darting around Assumpçao's double bass. The equally non-conformist, percussion-only piece "Jardim Candida" features many of Zé Eduardo's homemade instruments, including a long saw blade played with vibraphone sticks and violin bow. While working with Hermeto, Zé Eduardo famously built his own all-in-one percussion set-up known as the "Barraca de Percussão" (Percussion Tent). "Suite Orquidea Negra" (Black Orchid Suite) was written by Lelo Nazario as the score for an imaginary movie about a rare, black orchid. The album closes with the triumphant "Cortejo dos Reis Negros" (Procession of Black Kings) -- a groovy variation on the Maracatu rhythm, with a two-note bassline underpinning piano improvisations, exultant wordless vocals, cuicas, slide-whistles and a very special guest appearance from Zé's dog Bolinha. Starting Point was to mark the inception of one of Brazil's most daring instrumental groups. Finally, almost fifty years later, this mesmerizing piece of history is here, and it was only the beginning...
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
JD 054EP
|
Originally written by João Bosco and Aldir Blanc and released on Bosco's 1976 album Galos De Briga, "O Ronco da Cuica" is a samba/MPB masterpiece. In the song, the cuíca roars: roars in anger, roars from hunger and is told to stop, but it cannot -- "it's a man thing" explains Bosco in the lyrics. Personifying the instrument in this way, "O Ronco da Cuica" points to something quite profound about the nature of human suffering and our primitive need for expression. On this brilliant reimagining, renowned bassist Dudu Lima teamed up with Joao Bosco himself, as well as Azymuth drummer Ivan "Mamão" Conti, pianist Dudu Viana, and percussionist Marcos Suzano. Ironically, this version contains no cuíca, instead it takes a more stripped back instrumentation, exploring the deep jazz potential of this roaring samba classic, to stunning effect. On the B-side is a beautiful duet between Dudu Lima and João Bosco: acoustic guitar and vocals, and fretless bass -- together they take on "Imcompatibilidade De Gênios", also from Bosco's 1976 Galos De Briga album.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
PINKY 003EP
|
Continuing to shine a light on John Rocca & Co.'s pioneering early '80s music, Far Out Recordings presents the first ever 12" release of Freeez's monster brit-funk classic "Mariposa", along with the equally heavy and hard to find 12" mix of "Alone". The limited Mariposa/Alone 12" release follows Far Out's reissues of Freeez's first two 12" single releases Keep In Touch (PINKY 001EP) and Stay/ Hot Footing It (PINKY 002EP), which saw support from Kenny Dope, Greg Wilson, Gilles Peterson, Shuya Okino, and Harvey Sutherland. Slightly more refined, but no less groovy and mysterious, "Mariposa" and "Alone" are the pinnacle of the sound Rocca and Peter Maas began developing in an East London basement in the early '80s. Released on Freeez's debut album Southern Freeez in 1980, "Mariposa" is fearsomely funky, high-tempo, melodic jazz-funk featuring Paul Morgan's lighting drum fills, Peter Maas's slapping and popping, Andy Stennett's top-drawer keys, and John Rocca's percussion and otherworldly Spanish vocals. Pure dancefloor body music, "Mariposa" typified the group's feel-good sound and has torn up club floors throughout the '80s and beyond. With the same core line-up, with the exception of new drummer; Light Of The World's Everton McCalla, "Alone", originally released as the B-side to Freeez's "One to One" single in 1982, is a cool, heady boogie stepper, and this elusive extended 12" mix is a no brainer for any discerning jazz/funk boogie jock. In the mid-80s Rocca would go onto craft underground cult classics like "Melodies of Love" and "India" as Pink Rhythm, before foraying into the world of electro, collaborating with legendary US producer Arthur Baker.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 234LP
|
LP version. Not long after the dawn of her career, as a teenager in Rio de Janeiro, Joyce was declared "one of the greatest singers" by Antonio Carlos Jobim. Yet despite reputable accolades and the fact that she has since recorded over thirty acclaimed albums, Joyce never quite achieved the international recognition of Brazilian contemporaries. There was a moment when it seemed she might be on the cusp of an international breakthrough. While living in New York, Joyce was approached by the great German producer Claus Ogerman who recorded with Jobim and João Gilberto. Featuring fellow Brazilian musicians Mauricio Maestro (who wrote/co-wrote four of the songs), Nana Vasconcelos and Tutty Moreno, and in-demand stateside players including Michael Brecker, Joe Farrell, and Buster Williams, the recordings for Natureza were produced by Ogerman. Mysteriously, Natureza was never released, and what should have been Joyce's big moment never happened. The Brazilian craze was coming to an end, making way for disco and new wave at the end of the seventies, and Ogerman struggled to find an interested major label. Additionally, it wasn't quite finished. Ogerman wanted to add finishing touches to the mix and to record alternative English lyrics -- a critical artistic difference between Joyce and Ogerman. Joyce had a handful of hits in her home county, including "Clareana" and the iconic "Feminina". Already a feminist pioneer, these successes were hard fought. Joyce had caused controversy as a nineteen-year-old when she became the first in Brazil to sing from the first-person feminine perspective, and the institutional sexism she faced was worsened by the censor-happy dictatorship. A few years after the success of her albums Feminina and Agua E Luz in Brazil, Joyce's music began to find its way to the UK, Europe, and Japan, and "Feminina" and "Aldeia de Ogum" became classics on the underground jazz-dance scenes. The full-length version of "Feminina" from the Natureza sessions was on a Brazilian Jazz compilation (1999) and "Descompassadamente" was licensed for a CD compiling the work of Claus Ogerman (2002). Forty-five years since it was recorded, Natureza finally sees the light of day, as Joyce intended: with her own Portuguese lyrics and vocals. Featuring the fabled 11-minute version of "Feminina", as well as the never before heard "Coração Sonhador" composed and performed by Mauricio Maestro, Natureza's release is a landmark in Brazilian music history and represents a triumphant, if overdue victory for Joyce as an outspoken female artist who has consistently refused to bow to patriarchal pressure. While "Feminina" and "Descompassadamente" were mixed by legendary engineer Al Schmitt and mastered from the original master tapes, the remaining five tracks are unmixed. Due to significant deterioration of the master-tapes, the best audio source for these tracks was an unmixed tape copy Joyce had kept of the recordings.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 234CD
|
Not long after the dawn of her career, as a teenager in Rio de Janeiro, Joyce was declared "one of the greatest singers" by Antonio Carlos Jobim. Yet despite reputable accolades and the fact that she has since recorded over thirty acclaimed albums, Joyce never quite achieved the international recognition of Brazilian contemporaries. There was a moment when it seemed she might be on the cusp of an international breakthrough. While living in New York, Joyce was approached by the great German producer Claus Ogerman who recorded with Jobim and João Gilberto. Featuring fellow Brazilian musicians Mauricio Maestro (who wrote/co-wrote four of the songs), Nana Vasconcelos and Tutty Moreno, and in-demand stateside players including Michael Brecker, Joe Farrell, and Buster Williams, the recordings for Natureza were produced by Ogerman. Mysteriously, Natureza was never released, and what should have been Joyce's big moment never happened. The Brazilian craze was coming to an end, making way for disco and new wave at the end of the seventies, and Ogerman struggled to find an interested major label. Additionally, it wasn't quite finished. Ogerman wanted to add finishing touches to the mix and to record alternative English lyrics -- a critical artistic difference between Joyce and Ogerman. Joyce had a handful of hits in her home county, including "Clareana" and the iconic "Feminina". Already a feminist pioneer, these successes were hard fought. Joyce had caused controversy as a nineteen-year-old when she became the first in Brazil to sing from the first-person feminine perspective, and the institutional sexism she faced was worsened by the censor-happy dictatorship. A few years after the success of her albums Feminina and Agua E Luz in Brazil, Joyce's music began to find its way to the UK, Europe, and Japan, and "Feminina" and "Aldeia de Ogum" became classics on the underground jazz-dance scenes. The full-length version of "Feminina" from the Natureza sessions was on a Brazilian Jazz compilation (1999) and "Descompassadamente" was licensed for a CD compiling the work of Claus Ogerman (2002). Forty-five years since it was recorded, Natureza finally sees the light of day, as Joyce intended: with her own Portuguese lyrics and vocals. Featuring the fabled 11-minute version of "Feminina", as well as the never before heard "Coração Sonhador" composed and performed by Mauricio Maestro, Natureza's release is a landmark in Brazilian music history and represents a triumphant, if overdue victory for Joyce as an outspoken female artist who has consistently refused to bow to patriarchal pressure. While "Feminina" and "Descompassadamente" were mixed by legendary engineer Al Schmitt and mastered from the original master tapes, the remaining five tracks are unmixed. Due to significant deterioration of the master-tapes, the best audio source for these tracks was an unmixed tape copy Joyce had kept of the recordings.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 200X-LP
|
Green vinyl. Recorded in two days in 1976, at Rogério Duprat's Vice Versa Studios in São Paulo, the sessions featured Hermeto's go-to "Paulista" rhythm section: Zé Eduardo Nazario (drums), Zeca Assumpção (bass), and Lelo Nazario (electric piano), as well as saxophonists Mauro Senise, Raul Mascarenhas, and Nivaldo Ornelas, guitarist Toninho Horta, and vocalist Aleuda Chaves. Not released until over 40 years later, now Viajando Com O Som is back again for a short time only, on limited edition green vinyl.
"Brazilian multi-instrumentalist Pascoal's magical 1976 album casts a spell over the listener from the first beat to the last" --Echoes.
"Viajando Com O Som is a wonderful buried treasure from a better time." --Songlines
"It's a richly satisfying discovery; a snapshot of a master at his peak." --Record Collector
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 233CD
|
Maceió, the capital of Brazil's Alagoas state on its sprawling east-coast, is home to pastel colored colonial houses, white sand beaches and a brilliant young composer, poet and multi-instrumentalist named Bruno Berle. With a voice of pure gold and a startling sensitivity for heartfelt pop songwriting, on No Reino Dos Afetos (In the Realm of Affections), Berle firmly embraces earnestness, through starry-eyed Brazilian love songs, ambient vignettes, warm, home-cooked beats and gentle strokes of MPB genius. "It's an album that was built from my desire to find beauty", Berle explains -- his simple, graceful words mirroring the graceful simplicity in his music. But amongst the simplicity, the compositions, arrangements and productions on No Reino Dos Afetos tingle with nuance and detail. On the contemporary R&B inspired lead single "Quero Dizer" -- produced by Berle and longtime friend and collaborator Batata Boy -- the swirling, lo-fi, kalimba, and guitar-fronted beat is turned into a feel-good hit by the ingenuity of Berle's honey-soaked vocal melody. Powerfully intimate, "O Nome Do Meu Amor" (My Love's Name) is a guaranteed tearjerker, with Berle's stunning voice soaring over gently plucked acoustic guitar and the textural flutter of soft movement, as if we hear him writing the song in the moment. Drawing upon a close-knit, collaborative scene of Maceió artists and musicians, (of which Berle and Batata Boy are vital members), Berle also recorded some of his friends' songs on the album, including João Menezes's "Até Meu Violao", the album's beautifully laidback sunshine soul opener, which has all the charm of early-70s João Donato. Having cut his teeth in soft-rock group Troco em Bala, and more recently finding himself embedded in both Rio and Sao Paulo's contemporary music scenes -- collaborating with the likes of Ana Frango Eletrico, who took the photo for the album cover -- No Reino Dos Afetos is as musically diverse as Bruno himself. It's hazy indie rock ("É Preciso Ter Amor"), calming ambient and field recording ("Virginia Talk") as well as Berle's own take on West African high life ("Som Nyame"). Instantly recognizable as a truly special artist, Berle's character fills every corner of the sound, which is unsurprising considering he played most of the instruments.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 194X-LP
|
Flame splattered vinyl. Originally released in 2016. Continually pushing the boundaries of jazz, funk, electronic music and disco, as expressed through their signature samba swing, the Brazilian mavericks Azymuth, have recreated the energy of those spellbinding seventies sessions which would launch them into international recognition and confirm their status as one of Brazil's most successful bands. Since the passing of keyboard maestro Jose Roberto Bertrami in 2012, remaining members Ivan Conti and Alex Malheiros have worked tirelessly to keep the spirit of Azymuth alive, and to continue the legacy of Bertrami's genius. But Fênix also marks a new era as the Azymuth trio is complete once again, by special guest keyboardist Kiko Continentino. A hugely talented pianist, composer and arranger, Kiko has worked with the likes of Milton Nascimento, Gilberto Gil and Djavan, and the fresh energy and inspiration he has brought to the group is undeniable. The album also features Brazilian percussion legend Robertinho Silva, one of Brazil's most important and influential players. From the disco-carnival title track to sunny jazz-funk head-nodder "Orange Clouds", through to the deep-space samba "Corumbá", Azymuth have drawn upon five decades of consummate craftsmanship which, coupled with their endless desire for experimentation and improvisation, has resulted in a ten-track journey encapsulating the full spectrum of Azymuth's brilliantly colored expressionist fusion. With all the cosmic energy and masterful musicianship you'd expect from the three-man orchestra, Azymuth rise from the ashes!
"The first album in five years for the Brazilian jazz-funk heroes, and it's as catchy, cosmic and sun-soaked as the seventies studio sessions that made their name." --Evening Standard
"This record is testament to a sound which Azymuth helped build from the ground up. The musical ideas at the band's core have stood the test of time remarkably well and remain as enjoyable and relevant as they ever were." --Clash
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
JD 053EP
|
This fabled 11-minute+ version of Brazilian icon Joyce's groundbreaking "Feminina" was recorded at Columbia Studios, New York in 1977, for the as yet unreleased Natureza album. Produced, arranged, and conducted by the great Claus Ogerman (Frank Sinatra, Antonio Carlos Jobim, Billie Holiday... the list goes on), Natureza would have ostensibly been Joyce's big break to international stardom, but mysteriously it was never released. With Joyce came fellow Brazilian icons Mauricio Maestro, Nana Vasconcelos, and Tutty Moreno, and Ogerman employed North American jazz legends Joe Farrell, Michael Brecker, Buster Williams, and Mike Manieri. This astonishing version of a true classic gets its first proper 12" release. Rather than make it a single-sided 12", Far Out boss called up Joyce to talk about the recording, recorded the conversation, and pressed it to vinyl on the B side.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 232LP
|
LP version. Far Out Recordings present a reissue of Os Tatuís' self-titled album, originally released in 1965. The late José Roberto Bertrami is best known as the keyboardist and bandleader of legendary trio Azymuth. In 1965, at the age of just nineteen, Zé Roberto recorded his first studio album with his group Os Tatuís, and the José Roberto Trio in the following year. These largely slept-on albums of beautiful, expressive samba jazz, and bossa nova stand as a testament to the prodigious genius of one of the most important musicians in Brazil's history. In his late teens, and around the same time as he was regularly sneaking off to São Paulo by train to perform in nightclubs, Zé Roberto, alongside his brother Claudio and other musicians from Tatuí's emerging jazz and bossa nova scene, recorded the first album under the group name Os Tatuís. The self-titled LP featured Zé Roberto on piano, Claudio on double bass, a horn section and an organist. With compositions by Antonio Carlos Jobim, Roberto Menescal, Carlos Lyra, Durval Ferreira, and Adilson Godoy, the album also featured Bertrami's own composition "A Bossa do Zé Roberto", a mesmerizing piece of bossa jazz, which proved that already -- even as a teenager -- Bertrami's compositions could stand alongside those by the bossa greats. A year later, in 1966, Bertrami went back into the studio, but this time stripping the format back to a trio set up. Again, featuring Claudio Henrique Betrami on double bass, and with Jovito Coluna on drums, the José Roberto Trio recorded their one and only album, featuring compositions by Baden Powell, Manfredo Fest, and Marcos Valle. The album also featured three of Bertrami's own compositions: the wistful "Lilos Watts", the groovy "Kebar", and the dazzling "Talhuama". In the vein of the pioneering Tamba Trio who had so inspired Bertrami in the few years' prior, the José Roberto Trio typified an emerging movement within bossa nova in the mid-sixties, with a distinctively Brazilian reimagining of the piano jazz trio sound conceived by the likes of Nat King Cole, Oscar Peterson, and Ahmad Jamal, and further developed by Bill Evans. Following on from Tamba Trio, in Brazil, the mid-sixties saw a number of great Brazilian bossa jazz trios recording around this time, such as Bossa Três, Milton Banana Trio, Tenório Jr, and Bossa Jazz Trio, the latter another group helmed by Betrami. Across both of these historic albums, Bertrami's stunningly performed compositions are rich with harmonic complexity and rhythmic ingenuity, providing a precursor to some of Bertrami's futuristic fusion with Azymuth later in his career.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 231LP
|
LP version. Far Out Recordings present a reissue of José Roberto Trio's self-titled album, originally released in 1966. The late José Roberto Bertrami is best known as the keyboardist and bandleader of legendary trio Azymuth. In 1965, at the age of just nineteen, Zé Roberto recorded his first studio album with his group Os Tatuís, and the José Roberto Trio in the following year. These largely slept-on albums of beautiful, expressive samba jazz, and bossa nova stand as a testament to the prodigious genius of one of the most important musicians in Brazil's history. In his late teens, and around the same time as he was regularly sneaking off to São Paulo by train to perform in nightclubs, Zé Roberto, alongside his brother Claudio and other musicians from Tatuí's emerging jazz and bossa nova scene, recorded the first album under the group name Os Tatuís. The self-titled LP featured Zé Roberto on piano, Claudio on double bass, a horn section and an organist. With compositions by Antonio Carlos Jobim, Roberto Menescal, Carlos Lyra, Durval Ferreira, and Adilson Godoy, the album also featured Bertrami's own composition "A Bossa do Zé Roberto", a mesmerizing piece of bossa jazz, which proved that already -- even as a teenager -- Bertrami's compositions could stand alongside those by the bossa greats. A year later, in 1966, Bertrami went back into the studio, but this time stripping the format back to a trio set up. Again, featuring Claudio Henrique Betrami on double bass, and with Jovito Coluna on drums, the José Roberto Trio recorded their one and only album, featuring compositions by Baden Powell, Manfredo Fest, and Marcos Valle. The album also featured three of Bertrami's own compositions: the wistful "Lilos Watts", the groovy "Kebar", and the dazzling "Talhuama". In the vein of the pioneering Tamba Trio who had so inspired Bertrami in the few years' prior, the José Roberto Trio typified an emerging movement within bossa nova in the mid-sixties, with a distinctively Brazilian reimagining of the piano jazz trio sound conceived by the likes of Nat King Cole, Oscar Peterson, and Ahmad Jamal, and further developed by Bill Evans. Following on from Tamba Trio, in Brazil, the mid-sixties saw a number of great Brazilian bossa jazz trios recording around this time, such as Bossa Três, Milton Banana Trio, Tenório Jr, and Bossa Jazz Trio, the latter another group helmed by Betrami. Across both of these historic albums, Bertrami's stunningly performed compositions are rich with harmonic complexity and rhythmic ingenuity, providing a precursor to some of Bertrami's futuristic fusion with Azymuth later in his career.
|
viewing 1 To 25 of 234 items
Next >>
|
|