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LP
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FARO 198LP
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LP version. Nomade Orquestra return from the stratosphere via Brazil with their second offering: Entremundos ("Between Worlds"). Gazing outward through a kaleidoscope from the heart of Sao Paulo's jazz scene, the collective consciousness of the ten-man orquestra has dreamt up an adventurous amalgam of earth's most far reaching musical cultures. Recorded at Red Bull Studios, Sao Paulo, Entremundos is like a cosmic musical playground where Ethio-jazz, Indian classical, and Oriental sounds dance around Afro-Brazilian roots rhythms and Northern hemisphere jazz, funk, soul, library music, and hip-hop influences. The sheer vastness of the album is astounding, Nomade Orquestra have quite literally conquered the world in sound. Nomade Orquestra are some of the most accomplished musicians in their city. They're also avid record collectors, citing the coming-together of their expansive musical knowledges as key to their unique sound. Album opener "Jardim De Zaira" -- a tribute to the neighborhood on the outskirts of the famous ABC region, where the band meet and rehearse -- hosts a playful unison of vibraphone, guitar, horns, and keyboards reminiscent of Stereolab's funkiest late '90s output. "Felag Mengu" lies somewhere between the groovy, brooding Ethio-jazz of Mulatu Astatke and Tinariwen's hazy desert rock, and "Olho Do Tempo" is another enchanting incarnation of the band's impossible to define brand of global roots music. The album's wildest moment comes from the roaring off-road, big-band joy-ride "Rinoceronte Blues" with hillbilly harmonica, soulful organ stabs, and soaring horn arrangements, further highlighting the depths of Nomade Orquestra's endless span of influences. With Gilles Peterson singing their praise and rave reviews from the likes of Wax Poetics, Record Collector, and Songlines, Nomade Orquestra's self-titled debut album (FARO 189CD/LP, 2015) launched them from their humble beginnings to international recognition. They also embarked on their first tour outside of Brazil.
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CD
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FARO 198CD
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Nomade Orquestra return from the stratosphere via Brazil with their second offering: Entremundos ("Between Worlds"). Gazing outward through a kaleidoscope from the heart of Sao Paulo's jazz scene, the collective consciousness of the ten-man orquestra has dreamt up an adventurous amalgam of earth's most far reaching musical cultures. Recorded at Red Bull Studios, Sao Paulo, Entremundos is like a cosmic musical playground where Ethio-jazz, Indian classical, and Oriental sounds dance around Afro-Brazilian roots rhythms and Northern hemisphere jazz, funk, soul, library music, and hip-hop influences. The sheer vastness of the album is astounding, Nomade Orquestra have quite literally conquered the world in sound. Nomade Orquestra are some of the most accomplished musicians in their city. They're also avid record collectors, citing the coming-together of their expansive musical knowledges as key to their unique sound. Album opener "Jardim De Zaira" -- a tribute to the neighborhood on the outskirts of the famous ABC region, where the band meet and rehearse -- hosts a playful unison of vibraphone, guitar, horns, and keyboards reminiscent of Stereolab's funkiest late '90s output. "Felag Mengu" lies somewhere between the groovy, brooding Ethio-jazz of Mulatu Astatke and Tinariwen's hazy desert rock, and "Olho Do Tempo" is another enchanting incarnation of the band's impossible to define brand of global roots music. The album's wildest moment comes from the roaring off-road, big-band joy-ride "Rinoceronte Blues" with hillbilly harmonica, soulful organ stabs, and soaring horn arrangements, further highlighting the depths of Nomade Orquestra's endless span of influences. With Gilles Peterson singing their praise and rave reviews from the likes of Wax Poetics, Record Collector, and Songlines, Nomade Orquestra's self-titled debut album (FARO 189CD/LP, 2015) launched them from their humble beginnings to international recognition. They also embarked on their first tour outside of Brazil. CD version comes in a jewel case.
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CD
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FARO 189CD
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2015 release. Nomade Orquestra came together in Sao Paolo in the year 2012, though they could just as easily have emerged fully formed into our world from a mystical land where spaced out jazz soundtracks daily life and the passing of time is rhythm and groove. Such is their elusive, ethereal yet highly accomplished and deeply funky otherness. The time is ripe for ten of the most talented and daring musicians working in Brazil today to deliver their fully formed debut. Effortlessly weaving through the disparate sounds of Brazil's diverse musical diaspora, the group describe themselves and their shared project as "the point where different musical expressions and strands meet and interact in a unique way." From funk and soul to Afro-beat, Ethio-grooves, dub and hip hop, their sound remains firmly anchored in the world of jazz while taking off to the cosmic stratosphere and incorporating electronic elements, alongside traditional Brazilian styles. In line with the bands's musical and spiritual influences, adopted from age old lineages of the global east, the album's opening track "Samurai" kicks off the psychedelic party with the strike of a gong. Dream-like synths, Marcos Mauricio's arresting piano and André Calixto's beautifully expressive tenor saxophone shed the first light on this enchanting new incarnation of global roots music. "Sonhos De Tóquio" hypnotic grooving bassline is complimented with psychedelic guitar riffs and ominous synth washes, building a sound both tranquil and unsettling. Bobby McFerrin makes an appearance in spirit on "Bedum", possibly the album's most directly expressive track. "Morning Birds", features the talents of Otis Trio's Beto Montag, who brings his deft marimba playing to the party for an Afro-beat tinged beauty that further highlights the varied and deep roots of Nomade's musical influences. "Garuda" finds Nomade Orchestra in a more contemplative, mood. Bringing together soaring Chinese flutes, Hawaiian style fuzz guitar, snake charming saxophone and some world class oud playing from guest musician Luciano Sallun, the track is a spiritual wonder and another part of a highly sensory journey that recalls the mystical jazz musings of Herbie Hancock and Pharoah Sanders while sounding like the Brazilian take on Taoism. Making music like none other in Brazil, or indeed the world, Nomade Orquestra lead the way.
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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FARO 189LP
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LP version. 2015 release. Nomade Orquestra came together in Sao Paolo in the year 2012, though they could just as easily have emerged fully formed into our world from a mystical land where spaced out jazz soundtracks daily life and the passing of time is rhythm and groove. Such is their elusive, ethereal yet highly accomplished and deeply funky otherness. The time is ripe for ten of the most talented and daring musicians working in Brazil today to deliver their fully formed debut. Effortlessly weaving through the disparate sounds of Brazil's diverse musical diaspora, the group describe themselves and their shared project as "the point where different musical expressions and strands meet and interact in a unique way." From funk and soul to Afro-beat, Ethio-grooves, dub and hip hop, their sound remains firmly anchored in the world of jazz while taking off to the cosmic stratosphere and incorporating electronic elements, alongside traditional Brazilian styles. In line with the bands's musical and spiritual influences, adopted from age old lineages of the global east, the album's opening track "Samurai" kicks off the psychedelic party with the strike of a gong. Dream-like synths, Marcos Mauricio's arresting piano and André Calixto's beautifully expressive tenor saxophone shed the first light on this enchanting new incarnation of global roots music. "Sonhos De Tóquio" hypnotic grooving bassline is complimented with psychedelic guitar riffs and ominous synth washes, building a sound both tranquil and unsettling. Bobby McFerrin makes an appearance in spirit on "Bedum", possibly the album's most directly expressive track. "Morning Birds", features the talents of Otis Trio's Beto Montag, who brings his deft marimba playing to the party for an Afro-beat tinged beauty that further highlights the varied and deep roots of Nomade's musical influences. "Garuda" finds Nomade Orchestra in a more contemplative, mood. Bringing together soaring Chinese flutes, Hawaiian style fuzz guitar, snake charming saxophone and some world class oud playing from guest musician Luciano Sallun, the track is a spiritual wonder and another part of a highly sensory journey that recalls the mystical jazz musings of Herbie Hancock and Pharoah Sanders while sounding like the Brazilian take on Taoism. Making music like none other in Brazil, or indeed the world, Nomade Orquestra lead the way.
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