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.
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FARO 022X-CD
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$14.00
PREORDER
RELEASE DATE: 10/5/2018
Up until Nova Bossa Nova, Marcos Valle's first release for Far Out Recordings originally released in 1997, Marcos Valle hadn't released an album for well over a decade. After 1983, he resented the way the music industry had changed with commercialization and new demands curtailing his creative freedom. This was until 1994 when Marcos met Far Out Recordings boss Joe Davis and they recorded a track for Far Out's first Friends From Rio album. This new collaborative partnership resulted in a new solo album, which commenced recording in 1996. Nova Bossa Nova brought Marcos bouncing back into the '90s, slotting nicely in place alongside the acid jazz movement as well as a voracious new demand for Brazilian music on dancefloors from London to Tokyo. It was witnessing the London club scene's growing appetite for Brazilian music, as well as a lack of new sounds coming out of Brazil at the time, that a young Joe Davis put in a proposal to record a new album with one of his musical idols. Joe wanted to facilitate an album which would combine the latest technologies and production techniques, with live to analog tape recording: a Marcos Valle album tailor-made for London's clubs. Always open to modern influences and possibilities, Marcos agreed to the project, and Joe and his production partner Roc Hunter flew to Rio in '96. The record wasn't released until '98, as the original ½ inch tapes were stolen from Far Out's London studio, meaning parts of the album had to be re-recorded. Nova Bossa Nova was unveiled at the peak of the of the Brazilian movement, the record would also prove to be something of a revolution, inspiring a new generation of artists like Bebel Gilberto, Sabrina Malheiros, Da Lata, and Bossacucanova, who continued to fuse Brazilian influences with modern electronic sounds. The album takes a panoramic view of Valle's career, which was so fundamental in defining the standard of bossa back in the sixties and continues to do so to this day. "Nova Bossa Nova", the album's title track is an update on Marcos's trademark style, developing a more modern, funkier sound. Other gems include the dancefloor ready re-work of his 1970 hit "Freio Aerodynamico", and the smooth instrumentals "Bar Ingles", a jazz fusion looper, and the sun-soaked samba "Nordeste".
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FARO 022X-LP
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$22.00
PREORDER
RELEASE DATE: 10/5/2018
LP version. 180 gram vinyl; Includes download code. Up until Nova Bossa Nova, Marcos Valle's first release for Far Out Recordings originally released in 1997, Marcos Valle hadn't released an album for well over a decade. After 1983, he resented the way the music industry had changed with commercialization and new demands curtailing his creative freedom. This was until 1994 when Marcos met Far Out Recordings boss Joe Davis and they recorded a track for Far Out's first Friends From Rio album. This new collaborative partnership resulted in a new solo album, which commenced recording in 1996. Nova Bossa Nova brought Marcos bouncing back into the '90s, slotting nicely in place alongside the acid jazz movement as well as a voracious new demand for Brazilian music on dancefloors from London to Tokyo. It was witnessing the London club scene's growing appetite for Brazilian music, as well as a lack of new sounds coming out of Brazil at the time, that a young Joe Davis put in a proposal to record a new album with one of his musical idols. Joe wanted to facilitate an album which would combine the latest technologies and production techniques, with live to analog tape recording: a Marcos Valle album tailor-made for London's clubs. Always open to modern influences and possibilities, Marcos agreed to the project, and Joe and his production partner Roc Hunter flew to Rio in '96. The record wasn't released until '98, as the original ½ inch tapes were stolen from Far Out's London studio, meaning parts of the album had to be re-recorded. Nova Bossa Nova was unveiled at the peak of the of the Brazilian movement, the record would also prove to be something of a revolution, inspiring a new generation of artists like Bebel Gilberto, Sabrina Malheiros, Da Lata, and Bossacucanova, who continued to fuse Brazilian influences with modern electronic sounds. The album takes a panoramic view of Valle's career, which was so fundamental in defining the standard of bossa back in the sixties and continues to do so to this day. "Nova Bossa Nova", the album's title track is an update on Marcos's trademark style, developing a more modern, funkier sound. Other gems include the dancefloor ready re-work of his 1970 hit "Freio Aerodynamico", and the smooth instrumentals "Bar Ingles", a jazz fusion looper, and the sun-soaked samba "Nordeste".
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FORDIS 004LP
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Far Out Recordings present a reissue of the 1975 self-titled debut album from Brazilian vocalist and bossa nova luminary Emilio Santiago. Nicknamed "the Nat King Cole of Brazil", Santiago was a master bossa balladeer and a top-class crooner. But he is known equally for his Brazilian funk, soul, and boogie classics. One of his best know is album opener "Bananeira", a party-starting version of the song originally written by João Donato and Gilberto Gil. "Brother" is a smooth-grooving killer with great horn arrangements and a huge backing choir, while "La Mulata" is a soulful, swinging salsa stepper. Originally released on the CID label, the album showcases the full range of Emilio's talents, while paying homage to some of Brazil's greatest composers, including Jorge Ben, Marcos and Sergio Valle, and Ivan Lins, among others. The credits on the album are a "who's who" of Brazil's greats, with João Donato on keys, Wilson das Neves, Ivan "Mamão" Conti and Paulinho on drums, Durval Ferreira, Carlos Roberto Rocha and Helio Delmiro on guitar, Ariovaldo, Orlandivo and Chacal on percussion, Danilo Caymmi on flute, a brass section featuring Victor Assis Brasil, Edson Maciel and Jesse Sadoc, and backing vocals from Jaime & Nair, Lúcia Lins, Jurema and Marcio Lott.
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JD 043LP
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South London producer Ben Hauke takes a sonic excursion to South America via Lewisham for a new seven-track release for Far Out Recordings, Only Old. While littered with Afro-Latin percussion, and samples of obscure Brazilian, Cuban, and Colombian records, Only Old stays true to Ben's distinctly London identity, with a record that fluctuates between house, broken beat, and instrumental hip-hop. Having collaborated with the likes of Nubya Garcia and Joe Armon Jones, Ben Hauke stands at the electronic end of London's new jazz movement. Currently working on new releases with more of a focus on live instrumentation, Ben titled the release Only Old as it leans more heavily on his foundational approach to music making: an idiosyncratic, almost brazen sampling style in productions bursting with personality. Always full of character and style, Hauke's productions have seen him likened to Theo Parrish and Madlib, with an altogether physical approach to sound. Title track "Only Old" is moody broken beat with eerie sampled vocals and piano. "Get Up To Get Down" is a light n' breezy summer house stepper, while Brazil-inspired "Runners" sounds as if it was made for MF Doom. 180 gram vinyl. Sleeve design by fellow South London based artist Samuel Lloyd. "Digi Luv" features Eggrum.
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FARO 204CD
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Far Out Recordings venture further out to Uruguay to record a new album with fusion legend Hugo Fattoruso. After a twenty-year search for the man behind the cult '70s jazz-funk group Opa, Far Out Recordings present Barrio Opa: a new work from Fattoruso and his team of world-class musicians, including the sensational Candombe drumming of the renowned Silva brothers. Recorded at Sondor Studios, Montevideo, the album is the natural development of the original Opa sound, fusing Afro-Uruguayan rhythms, jazz harmony, and heavy funk attitude, under Hugo's unique musical vision. Hugo Fattoruso went from playing in his family band at street festivals around Uruguay, to fronting Los Shakers: South America's answer to the Beatles. At the end of the '60s Fattoruso was looking to broaden his musical horizons, and in 1969 he moved to New York where he formed Opa and went on to rub shoulders with the likes of Ron Carter and Creed Taylor. Fusing Candombe (traditional rhythm of Uruguay) with rock, jazz, funk, and other Latin American rhythms, Opa created a distinctive Afro-Uruguayan voice within the global jazz vernacular, influencing a generation of musicians throughout the seventies and beyond. During the '80s Fattoruso moved to Brazil, where he continued to work and record with Brazilian artists including Milton Nascimento, with whom he composed the World Music Grammy winning Nascimento album in 1997. Fattoruso also collaborated extensively with Airto Moreia. Recorded at Sondor Studios in Montevideo's iconic Barrio Sur district, the album features some of the world class musicians at the forefront of today's Uruguayan jazz scene, including Hugo's son Francisco Fattoruso on bass, Tato Bolognini on drums, Albana Barrocas on percussion, and Nicolás Ibarburu on electric guitar. The album also features the Candombe drumming of the legendary Silva brothers, Mathías, Guillermo Diaz, and Wellington, who give the album its Afro-Uruguayan identity. In Hugo's own words "this is the sound of Opa today." The stripped back yet equally rip-roaring trio piece "Botijas" is led by Hugo's virtuosic piano playing and hypnotic wordless vocals, and backed by an inventive, heavy grooving fusion of Latin rhythms from Tato Bolognini on drums. The shining moments for the Silva brothers' Tambor playing are "Candombelek" -- a beautifully moody Afro-Uruguyan groove with characterful Rhodes and vocal harmonies -- and "Candombe Alto", a carnivalesque track, awash with soaring synth lead, wah-wah guitar, and pulsating keys.
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FARO 204LP
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LP version. 180 gram vinyl. Far Out Recordings venture further out to Uruguay to record a new album with fusion legend Hugo Fattoruso. After a twenty-year search for the man behind the cult '70s jazz-funk group Opa, Far Out Recordings present Barrio Opa: a new work from Fattoruso and his team of world-class musicians, including the sensational Candombe drumming of the renowned Silva brothers. Recorded at Sondor Studios, Montevideo, the album is the natural development of the original Opa sound, fusing Afro-Uruguayan rhythms, jazz harmony, and heavy funk attitude, under Hugo's unique musical vision. Hugo Fattoruso went from playing in his family band at street festivals around Uruguay, to fronting Los Shakers: South America's answer to the Beatles. At the end of the '60s Fattoruso was looking to broaden his musical horizons, and in 1969 he moved to New York where he formed Opa and went on to rub shoulders with the likes of Ron Carter and Creed Taylor. Fusing Candombe (traditional rhythm of Uruguay) with rock, jazz, funk, and other Latin American rhythms, Opa created a distinctive Afro-Uruguayan voice within the global jazz vernacular, influencing a generation of musicians throughout the seventies and beyond. During the '80s Fattoruso moved to Brazil, where he continued to work and record with Brazilian artists including Milton Nascimento, with whom he composed the World Music Grammy winning Nascimento album in 1997. Fattoruso also collaborated extensively with Airto Moreia. Recorded at Sondor Studios in Montevideo's iconic Barrio Sur district, the album features some of the world class musicians at the forefront of today's Uruguayan jazz scene, including Hugo's son Francisco Fattoruso on bass, Tato Bolognini on drums, Albana Barrocas on percussion, and Nicolás Ibarburu on electric guitar. The album also features the Candombe drumming of the legendary Silva brothers, Mathías, Guillermo Diaz, and Wellington, who give the album its Afro-Uruguayan identity. In Hugo's own words "this is the sound of Opa today." The stripped back yet equally rip-roaring trio piece "Botijas" is led by Hugo's virtuosic piano playing and hypnotic wordless vocals, and backed by an inventive, heavy grooving fusion of Latin rhythms from Tato Bolognini on drums. The shining moments for the Silva brothers' Tambor playing are "Candombelek" -- a beautifully moody Afro-Uruguyan groove with characterful Rhodes and vocal harmonies -- and "Candombe Alto", a carnivalesque track, awash with soaring synth lead, wah-wah guitar, and pulsating keys.
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FORDIS 003LP
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Far Out Recordings present a reissue of Baiano & Os Novos Caetanos's self-titled album, originally released in 1974. Baiano & Os Novos Caetanos was a band formed by prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues. Satirizing Brazil's tropicalia movement in the 1970s, the duo took a friendly crack at the likes of Caetano Veloso and psychedelic rockers Novos Baianos, with their righteous tropicalista alter-egos "Baiano" and "Paulinho Boca de Profeta" poetically denouncing the dictatorship while simultaneously mocking those who took themselves too seriously. Jazz funk legends Azymuth play backing band with keyboard maestro Jose Roberto Bertrami also responsible for the arrangements on the album. Azymuth's free and funky psych sounds combine with accordion, harmonica, brass, and plenty of rural Brazilian rhythms, for a hugely varied album drawing on MPB, funk, and soulful samba rock. The album also features Orlandivo who co-wrote many of the songs, and renowned multi-instrumentalist and producer Durval Ferreira. 180 gram vinyl.
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FORDIS 002LP
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Far Out Recordings present a reissue of Azambuja & Cia's self-titled album, originally released in 1975. In 1975, the prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues recorded an album based on the protagonist of one of their most celebrated TV series. Sporting a dodgy moustache and an equally troubling haircut, Carioca conman Paulo Maurício Azambuja (played by Anysio) would flog his own mother's leg if he could, and his ever-ridiculous scams are inevitably always destined to fail. This soundtrack/musical reimagining of the series combines jazz-funk with samba soul and MPB, with the help of cult Brazilian trio Azymuth, keyboard maestro Jose Roberto Bertrami, who arranged the album alongside renowned conductor and composer Jose Menezes, elevates the groovy odd-ball sound to another dimension, with his set up including Fender Rhodes, Arp Strings, Arp Omni, Clavinet, and Hammond organ. Remaining Azymuth members Ivan Conti (drums) and Alex Malheiros (bass) provide the signature Azymuth foundation, and saxophone prodigy Victor Assis Brasil and legendary multi-instrumentalist producer Durval Ferreira also feature. As well as its distinctly comedic character, what makes the music so special is the coming together of traditional samba roots, and Azymuth's ahead-of-its-time psychedelic funk influence. Each side ends with a comedy monolog, complete with live audience laughter, but before that you get seven tracks of weird and wonderfully emotive Brazilian groove music. 180 gram vinyl.
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12"
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FOMDO 015EP
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Hot off the back of the second full length Far Out Monster Disco Orchestra LP Black Sun (FARO 202CD/LP, 2018), the orchestra's prolific remix series, which has so far included reworks from the likes of Theo Parrish, DJ Spinna, Andres, and Dego, rolls on. John Morales's massive "M&M Main Mix" of "Step Into My Life" featuring Arthur Verocai gets a reissue, alongside a brand new remix of "The Two Of Us" from Al Kent, who highlights the hypnotic backing vocals of Brazilian psych-folk master Mauricio Maestro, for an emotionally charged Balearic anthem, complete with heavy dub mix.
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FARO 203LP
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LP version. 180 gram vinyl. For his third album for Far Out Recordings, London-based multi-instrumentalist and one of Europe's finest saxophonists Sean Khan ventures to Rio de Janeiro to collaborate with iconic Brazilian polymath Hermeto Pascoal. Taking its title from the escaped slave settlement "Palmares" in the Northeast of Brazil during the 1600s, Palmares Fantasy is Khan's utopian jazz message for the world, and it features Azymuth drummer Ivan "Mamao" Conti, bassist Paulo Russo, guitarist Jim Mullen, and guest vocals from Brazilian chanteuse Sabrina Malheiros, and Cinematic Orchestra frontwoman Heidi Vogel. Like Hermeto Pascoal, Sean Khan is a self-taught musician. Never able to afford his original dream of studying at Berklee and having been turned away from Guildhall School of Music for being "too raw", he became disillusioned with what he saw as the exclusivity, elitism, and dangerous institutionalization of the jazz world. Yet Sean's love for music and the drive to create never faltered. Hermeto Pascoal, the man Miles Davis once dubbed "the most impressive musician in the world", is a similarly independent artist. by the 17th century settlement of Palmares in Brazil's Alagoas region, which was free from the Portuguese crown's murderous exploitation of South America for a century, Khan notes his fascination with the fact that while made up mostly of escaped African slaves, many deserter conquistadors also joined the settlement. Hearing the deep-grooving title track with this history in mind, the listener is transported to a futuristic musical eden, with Mamao's insatiable 10/8 rhythm back-boning Hermeto's wild improvised vocals, Rhodes, and whistles, while Sean's harmonically brilliant sax and flute add more layers of moody, characterful expression. "Moment of Collapse" is Sean's poetic study on the uncertainties of modern day western civilization, delicately presented by the gorgeous vocals of Heidi Vogel and drenched in lugubrious strings and Alice Coltrane-esque harp. The two covers on the album are of Hermeto's own "Montreux" (on which Hermeto plays solos on a teapot and a pint of water), and an uplifting soulful jazz-funk take on Milton Nascimento and Lo Borges MPB classic "Tudo Que Voce Podia Ser" featuring the vocals of pioneering nu-bossa voice Sabrina Malheiros. The recording sessions for the album were part of an intensive and hugely productive eight-week excursion to South America for Far Out Recordings boss Joe Davis in the summer of 2016.
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CD
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FARO 203CD
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For his third album for Far Out Recordings, London-based multi-instrumentalist and one of Europe's finest saxophonists Sean Khan ventures to Rio de Janeiro to collaborate with iconic Brazilian polymath Hermeto Pascoal. Taking its title from the escaped slave settlement "Palmares" in the Northeast of Brazil during the 1600s, Palmares Fantasy is Khan's utopian jazz message for the world, and it features Azymuth drummer Ivan "Mamao" Conti, bassist Paulo Russo, guitarist Jim Mullen, and guest vocals from Brazilian chanteuse Sabrina Malheiros, and Cinematic Orchestra frontwoman Heidi Vogel. Like Hermeto Pascoal, Sean Khan is a self-taught musician. Never able to afford his original dream of studying at Berklee and having been turned away from Guildhall School of Music for being "too raw", he became disillusioned with what he saw as the exclusivity, elitism, and dangerous institutionalization of the jazz world. Yet Sean's love for music and the drive to create never faltered. Hermeto Pascoal, the man Miles Davis once dubbed "the most impressive musician in the world", is a similarly independent artist. by the 17th century settlement of Palmares in Brazil's Alagoas region, which was free from the Portuguese crown's murderous exploitation of South America for a century, Khan notes his fascination with the fact that while made up mostly of escaped African slaves, many deserter conquistadors also joined the settlement. Hearing the deep-grooving title track with this history in mind, the listener is transported to a futuristic musical eden, with Mamao's insatiable 10/8 rhythm back-boning Hermeto's wild improvised vocals, Rhodes, and whistles, while Sean's harmonically brilliant sax and flute add more layers of moody, characterful expression. "Moment of Collapse" is Sean's poetic study on the uncertainties of modern day western civilization, delicately presented by the gorgeous vocals of Heidi Vogel and drenched in lugubrious strings and Alice Coltrane-esque harp. The two covers on the album are of Hermeto's own "Montreux" (on which Hermeto plays solos on a teapot and a pint of water), and an uplifting soulful jazz-funk take on Milton Nascimento and Lo Borges MPB classic "Tudo Que Voce Podia Ser" featuring the vocals of pioneering nu-bossa voice Sabrina Malheiros. The recording sessions for the album were part of an intensive and hugely productive eight-week excursion to South America for Far Out Recordings boss Joe Davis in the summer of 2016.
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2LP
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FARO 202LP
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Double LP version. 180 gram vinyl. Far Out Monster Disco Orchestra returns with Black Sun, their second full-length album of 100% original, unadulterated disco sophistication, featuring all three original members of pioneering Brazilian jazz-funk trio Azymuth; a full orchestra with arrangements split between Arthur Verocai and Azymuth's late maestro Jose Roberto Bertrami; plus, members of the legendary Rio funk group Banda Black Rio, Since its critically acclaimed self-titled debut album in 2014, the FOMDO imprint has released a string of remixes by some all-time greats of dance music, including John Morales, Theo Parrish, Mark Pritchard, Marcellus Pittman, Andres, Dego, Volcov, Kirk Degiorgio, and Al Kent. To huge effect in clubs and festivals around the globe, some of the more recent remixes teased the new album material, which for the first time, is presented in its original, soul-heavy incarnation, alongside instrumental versions highlighting the album's stunning arrangements and compositional brilliance. Far from a throwback -- with disco music firmly entrenched in the modern club vernacular -- Black Sun is ecstatic dance music at its finest.
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CD
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FARO 202CD
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Far Out Monster Disco Orchestra returns with Black Sun, their second full-length album of 100% original, unadulterated disco sophistication, featuring all three original members of pioneering Brazilian jazz-funk trio Azymuth; a full orchestra with arrangements split between Arthur Verocai and Azymuth's late maestro Jose Roberto Bertrami; plus, members of the legendary Rio funk group Banda Black Rio, Since its critically acclaimed self-titled debut album in 2014, the FOMDO imprint has released a string of remixes by some all-time greats of dance music, including John Morales, Theo Parrish, Mark Pritchard, Marcellus Pittman, Andres, Dego, Volcov, Kirk Degiorgio, and Al Kent. To huge effect in clubs and festivals around the globe, some of the more recent remixes teased the new album material, which for the first time, is presented in its original, soul-heavy incarnation, alongside instrumental versions highlighting the album's stunning arrangements and compositional brilliance. Far from a throwback -- with disco music firmly entrenched in the modern club vernacular -- Black Sun is ecstatic dance music at its finest.
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FORDIS 001LP
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Far Out Recordings present the first official vinyl reissue of Edu Passeto and Gui Tavares's Noite Que Brincou De Lua: a super rare and largely unheard masterwork of MPB, originally released in 1981. Disciples of the Clube da Esquina movement, pioneered by Milton Nascimento and Lô Borges, Edu and Gui mixed psychedelic folk, jazz, bossa, and rock for an album of soulful, dreamy Brazilian pop, with stunning arrangements and lush vocal harmonies. Having first met performing on the music festival circuits of São Paulo and Minas Gerais, it wasn't long before Edu and Gui struck up a thriving song writing partnership and close friendship. The duo's motivation stemmed from a desire for social and political change, during what turned out to be the final years of the Brazilian military dictatorship. Prior to recording, Edu and Gui had to tread carefully with their lyrics, which had to be submitted to the federal censorship authorities before release. Their first application was rejected after the lyrics were deemed to contain too much direct social criticism. "Profome" (translated "Pro-hunger"), a song characteristically bittersweet in tone, was initially a matter of fact portrayal of the desperately poor social conditions many people in Brazil faced at the time. Back to the drawing board, Edu and Gui, like many persecuted artists from this era had to refine their lyrics to convey their message more subtly. It took the best part of a year to complete the album, with Edu and Gui saving every scent they could spare from gigging and hitchhiking the 100km to each session from their home in Campinas, so that they'd have enough money to pay for studio time in Abertura Studios, São Paulo. Although the album gained a respectable amount of radio play in the years that followed, it's remained in relative obscurity, despite its spellbinding qualities, evident on tracks like "Sabiá Na Palmeira", a sweet Brazilian rare-groove with shades of Leroy Hutson, and the psych-folk tinged "Seguir", which harks to the dreamiest moments of Milton Nascimento and Marcos Valle. Edu and Gui called time on their musical partnership in 1986 when Gui moved to Rio De Janeiro, but they remained close friends until Edu sadly passed away in 2008 after a series of health complications. Remastered from the original ½-inch tapes. 180 gram vinyl.
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FARO 201LP
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Far Out Recordings present a second album from Victor Assis Brasil from the treasure trove of the Quartin Records catalog, Esperanto, originally released in 1976. Over the course of the 1960s, Roberto Quartin released more than 20 albums in Brazil on his label Forma. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade's first year. These singular gems in Brazilian music, difficult to categorize, yet compellingly beautiful, have for too long gone unheard. Gifted his first saxophone by his aunt at the age of fourteen, only four years later the determined young musician, Victor Assis Brasil recorded his debut album, with a second to follow only a year later. The prodigious young carioca was subsequently granted a place to study at Berklee College of Music, where he played alongside the likes of Dizzy Gillespie, Clark Terry, Chick Corea, and Ron Carter. It was also during this period he recorded Esperanto and 1970's Toca Antonio Carlos Jobim (FARO 195LP) with Roberto Quartin, upon returning to Brazil in the summer of 1970. Recorded in the same sessions as the Toca Antonio Carlos Jobim album, Esperanto consists of five deep jazz cuts: original compositions except for a heavy-swinging Latin-jazz cover of Jimmy Heath's "Ginger Bread Boy", alongside more moments of wild frenetic jazz, like "Quarenta Graus A Sombra", amongst more melancholic, but no less captivating compositions like "Marilia" and "Ao Amigo Quartin". Esperanto's influences span both American continents, finding a meeting point for Latin jazz and North American post-bop, with Roberto Quartin's perfectionist approach to sound elevating the already incandescent music to divine new heights. The band consists of some mercurial greats of Brazilian music: Dom Salvador (bass), Edison Machado (drums), Helio Delmiro (guitar), and Edson Lobo (Bass). Victor Assis Brasil passed away aged just thirty-five, due to a rare circulatory disease, but by this point his status was already cemented as one of the most talented musicians in Brazil's history. Victor Assis Brasil passed away aged just thirty-five, due to a rare circulatory disease, but by this point he was already considered one of the most talented musicians in Brazil's history. Features a track previously unreleased on vinyl, "Children". Remastered from the original 2" tapes. 180 gram vinyl.
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12"
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JD 042EP
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A huge peak time space-funk excursion from Italian duo Ad Bourke & ROTLA (Raiders of the Lost Arp), with a remix from Chicago deep-house architect Ron Trent. "RAW" gives you huge live drums, seriously deft Rhodes noodling, and a galactic ocean of synth layers, making for a hyperkinetic yet altogether refreshingly organic, outer-national future-disco belter. Taking a similar approach to that of his recent remix of Azymuth's Fênix (FARO 194CD/LP), Ron Trent takes "RAW" into harder territory, giving it an extra coat of slick, stripping back and tightening the original before adding his own layers of kaleidoscopic synth-lines and pad progressions.
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FARO 201CD
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Far Out Recordings present a second album from Victor Assis Brasil from the treasure trove of the Quartin Records catalog, Esperanto, originally released in 1976. Over the course of the 1960s, Roberto Quartin released more than 20 albums in Brazil on his label Forma. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade's first year. These singular gems in Brazilian music, difficult to categorize, yet compellingly beautiful, have for too long gone unheard. Gifted his first saxophone by his aunt at the age of fourteen, only four years later the determined young musician, Victor Assis Brasil recorded his debut album, with a second to follow only a year later. The prodigious young carioca was subsequently granted a place to study at Berklee College of Music, where he played alongside the likes of Dizzy Gillespie, Clark Terry, Chick Corea, and Ron Carter. It was also during this period he recorded Esperanto and Toca Antonio Carlos Jobim with Roberto Quartin, upon returning to Brazil in the summer of 1970. Recorded in the same sessions as the Toca Antonio Carlos Jobim album, Esperanto consists of five deep jazz cuts: original compositions except for a heavy-swinging Latin-jazz cover of Jimmy Heath's "Ginger Bread Boy", alongside more moments of wild frenetic jazz, like "Quarenta Graus A Sombra", amongst more melancholic, but no less captivating compositions like "Marilia" and "Ao Amigo Quartin". Esperanto's influences span both American continents, finding a meeting point for Latin jazz and North American post-bop, with Roberto Quartin's perfectionist approach to sound elevating the already incandescent music to divine new heights. The band consists of some mercurial greats of Brazilian music: Dom Salvador (bass), Edison Machado (drums), Helio Delmiro (guitar), and Edson Lobo (Bass). Victor Assis Brasil passed away aged just thirty-five, due to a rare circulatory disease, but by this point his status was already cemented as one of the most talented musicians in Brazil's history. This double-CD is contains both Esperanto and Toca Antonio Carlos Jobim (previously only made available by Far Out Recordings on vinyl), as well as two bonus tracks: previously unreleased alternative versions of "Marilia" and "Ao Amigo Quartin".
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12"
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JD 041EP
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Back as strong as, or perhaps even stronger than ever before, Ivan "Mamao" Conti is releasing a forthcoming solo album due out next year. Now fitted with a new iron hip, the Azymuth drummer still remains one of the greatest and outright funkiest drummers alive anywhere. Far Out Recordings ease into the cosmic samba of his new album with a series of appropriately propulsive percussive jazz-headed remixes. For the second 12" of the series, they've enlisted two of the most on-fire producers in Germany: Max Graef and Glenn Astro, along with one of the UK's brightest ascendant producers, Contours.
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LP
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FARO 200LP
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2018 repress; LP version. 180 gram vinyl. Hermeto Pascoal is a true maestro and a cultural icon. He represents the highest level of musical evolution; as a multi-instrumentalist, a composer, and an arranger. Once described by Miles Davis as "the most impressive musician in the world", there is good reason (beyond his Gandalf-like appearance) why he is known as "O Bruxo" ("the Wizard"). For Far Out Recordings' 200th release, the label present a previously unreleased album by Hermeto Pascoal and his Grupo Vice Versa: Viajando Com O Som, the lost '76 Vice Versa Studio Sessions. 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. Hermeto decided he would record with this particular group following a show at Teatro Bandeirantes, during which an almost spiritual musical connection amongst the group was realized. The performance lasted for hours, without any breaks, and Hermeto saw the potential for his compositions to reach a "higher level" as the music organically moved from structured compositions to "freer" improvisational works. In the studio, the sound engineer Renato Viola understood that things needed to happen quickly. Almost everything recorded on the first take ended up staying in the final mix. After the mixdown, Lelo Nazario would ask Renato to make him a copy of all the material. Supposedly, the master tape was lost, but Lelo kept his copy in his studio's archives, where it stayed for over forty years. With the tape rescued and restored, this release fills a void in time. Recorded at an especially experimental period in Hermeto's career, it's a compelling insight into the incredible efforts of this group, who created a unique musical language which would have a profound influence on countless artists to come. The 1970s are considered a golden age of Brazilian music, but it's often forgotten how desperately hard it was for artists to get their music past the military dictatorship's censorship efforts. Yet in 1976, despite the often musically radical nature of Hermeto Pascoal's compositions, he was typically productive. The release of Viajando Com O Som re-writes the already remarkable story of one of the world's most supernaturally talented musicians.
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CD
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FARO 200CD
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Hermeto Pascoal is a true maestro and a cultural icon. He represents the highest level of musical evolution; as a multi-instrumentalist, a composer, and an arranger. Once described by Miles Davis as "the most impressive musician in the world", there is good reason (beyond his Gandalf-like appearance) why he is known as "O Bruxo" ("the Wizard"). For Far Out Recordings' 200th release, the label present a previously unreleased album by Hermeto Pascoal and his Grupo Vice Versa: Viajando Com O Som, the lost '76 Vice Versa Studio Sessions. 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. Hermeto decided he would record with this particular group following a show at Teatro Bandeirantes, during which an almost spiritual musical connection amongst the group was realized. The performance lasted for hours, without any breaks, and Hermeto saw the potential for his compositions to reach a "higher level" as the music organically moved from structured compositions to "freer" improvisational works. In the studio, the sound engineer Renato Viola understood that things needed to happen quickly. Almost everything recorded on the first take ended up staying in the final mix. After the mixdown, Lelo Nazario would ask Renato to make him a copy of all the material. Supposedly, the master tape was lost, but Lelo kept his copy in his studio's archives, where it stayed for over forty years. With the tape rescued and restored, this release fills a void in time. Recorded at an especially experimental period in Hermeto's career, it's a compelling insight into the incredible efforts of this group, who created a unique musical language which would have a profound influence on countless artists to come. The 1970s are considered a golden age of Brazilian music, but it's often forgotten how desperately hard it was for artists to get their music past the military dictatorship's censorship efforts. Yet in 1976, despite the often musically radical nature of Hermeto Pascoal's compositions, he was typically productive. The release of Viajando Com O Som re-writes the already remarkable story of one of the world's most supernaturally talented musicians.
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12"
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JD 040EP
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Three major players from the now multi-generational broken-beat scene: Henry Wu, Dego (2000Black), and IG Culture have assembled for an irresistible bruk-samba trip. Brazilian rhythms have always been foundational influences on the broken-beat and future jazz movements, and this EP continues to explore these connections. The joyful samba-soul in the title track of Sabrina Malheiros's latest album (FARO 199CD/LP, 2017) features the bass and keys of Brazilian jazz-funk legends Azymuth, and is inspired by the quest for clarity. This EP beautifully ruptures the "clarity" in style, each crafting the breezy Brazilian beats into their own distinct brand of future-thinking club-funk.
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LP
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LPA 003LP
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Far Out Recordings present the first vinyl reissue of Antonio Adolfo's Viralata, originally released in 1979. Far Out Recordings are working again with master composer, arranger, and pianist, Antonio Adolfo for the first time since releasing his Destiny album in 2007 (FARO 121CD). This time the label present his era-defining Viralata album: An essential album from Brazil's majorly progressive heyday of late seventies jazz-funk. Viralata is a sacred artefact of Brazilian music, which Antonio himself describes as "a product of my hybrid musical influences that joins together flavors of marchinhas de carnaval, frevo, toada, classical, baião, mpb and jazz, etc." The album's first track "Cascavel" is the emotionally charged, celebratory dance anthem, which became a London jazz-dance classic in the early '90s after Far Out Recordings label boss Joe Davis discovered a handful of copies in a second hand shop in Sao Paulo and brought them back to London to sell to DJs like Gilles Peterson and Patrick Forge. In recent years the track has been played out by the likes of Floating Points, Mr Scruff, and Andrew Ashong, it was also the last song ever to play on the hallowed soundsystem of London's beloved club Plastic People. Sean McAuliffe of Plastic People & NTS Radio on its play at the club: "Saturday nights at Plastic People wouldn't have been the same without this album. 'Cascavel' was such an important track for the club, it was the last tune we played there before the doors were closed forever." Viralata sits comfortably on the same pedestal as Azymuth's 1979 album Light As A Feather (FARO 170CD) and Joao Donato's Quem É Quem (1973), which is no coincidence. All three keystone LPs were recorded and engineered by Toniniho, considered by many to be "the Brazilian Rudy Van Gelder", whose magic touches in the studio also helped to produce Marcos Valle's Previsão Do Tempo (1973) and Joyce's Água E Luz (1981), among many other holy grails and unassailable classics of soulful Brazilian music. Antonio's work has been widely performed by his legendary Brazilian contemporaries including Sergio Mendes, Emilio Santiago, and Erasmo Carlos, but also by platinum-selling American icons including Stevie Wonder, Herb Alpert, and Dionne Warwick. Following an early '70s spell of studying jazz in the USA, Viralata's release in 1979 arrived at the height of a flourishing period of Antonio's career. With his late '60s and '70s output following through on his influences of Tropicalia, funk, MPB, and easy listening, the almost entirely instrumental Viralata marked an apex for Brazilian jazz. Comes on 180 gram vinyl.
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CD
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FARO 199CD
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Having made her mark on Brazil's rich musical legacy with three best-selling albums to date, Rio's original nu-bossa queen returns with a tour de force of golden-era Brazilian soul music. From the spiritual swing of the early pioneers of modern samba, to the dizzying hedonism of Brazil's eighties disco/boogie craze, Clareia is a life-affirming journey through the rich and varied sounds of Sabrina Malheiros. For her most up-lifting and danceable album to date, Sabrina has (as always) enlisted her father Alex Malheiros -- bassist of samba jazz-funk legends Azymuth -- and visionary London based producer Daniel Maunick (aka Dokta Venom), son of Incognito's Bluey. With her debut album Equilibria (2005), Sabrina arrived on a wave of instant acclaim. Sabrina's innovative nu-bossa sound would continue on her sophomore album 2008's New Morning (FARO 131CD), declared the "best album of summer 2008" by Evening Standard, before 2011's Dreaming (FARO 161CD/LP). Six years on, Sabrina returns with Clareia. "It means to clear, light, brighten or illuminate, which, after seeing Brazil and the rest of the world go through some very difficult times, is exactly what the writing of this album brought to my life." Packed out with high-octane swinging samba-soul, like the title-track and "Salve O Mar", the album also features some bottom-heavy Brazilian boogie cuts, like rejoicing album opener "Celebrar" which harks back to some of Marcos Valle's cult '80s disco output, and "Sol Ceu E Mar", a Tania Maria-esque future classic of scorching Latin-funk. Mellower moments are found in "Em Paz", on which Sabrina's beguiling harmonies find an anchor in the rhythmic acoustic guitar of Ze Carlos', who Sabrina heralds as being "the best guitarist I have ever worked with". Azymuth's keyboardist Kiko Continentino's deft Rhodes, piano, organ, and synth playing, add ever more textures of distinctly Brazilian brilliance throughout, while tropical brass and flute arrangements on cool bossa-jazz movers "Vai Maria" and "Sandore", come from Brazilian saxophone legend Leo Gandleman, a man who has worked with everyone from Gal Costa to Gilberto Gil. The rhythm section combines Daniel Maunick's seamless drum programming and the organic polyrhythms of Brazilian percussion legend Jakare, all punctuated by Alex Malheiros's inimitable (occasionally slapped) jazz-funk bass, giving the album its irresistibly danceable pulse. Clareia is an inter-generational masterclass of Brazil's soulful spectrum, led by a pioneering voice of today's scene on the very top of her game.
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LP
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FARO 199LP
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LP version. 180 gram vinyl. Having made her mark on Brazil's rich musical legacy with three best-selling albums to date, Rio's original nu-bossa queen returns with a tour de force of golden-era Brazilian soul music. From the spiritual swing of the early pioneers of modern samba, to the dizzying hedonism of Brazil's eighties disco/boogie craze, Clareia is a life-affirming journey through the rich and varied sounds of Sabrina Malheiros. For her most up-lifting and danceable album to date, Sabrina has (as always) enlisted her father Alex Malheiros -- bassist of samba jazz-funk legends Azymuth -- and visionary London based producer Daniel Maunick (aka Dokta Venom), son of Incognito's Bluey. With her debut album Equilibria (2005), Sabrina arrived on a wave of instant acclaim. Sabrina's innovative nu-bossa sound would continue on her sophomore album 2008's New Morning (FARO 131CD), declared the "best album of summer 2008" by Evening Standard, before 2011's Dreaming (FARO 161CD/LP). Six years on, Sabrina returns with Clareia. "It means to clear, light, brighten or illuminate, which, after seeing Brazil and the rest of the world go through some very difficult times, is exactly what the writing of this album brought to my life." Packed out with high-octane swinging samba-soul, like the title-track and "Salve O Mar", the album also features some bottom-heavy Brazilian boogie cuts, like rejoicing album opener "Celebrar" which harks back to some of Marcos Valle's cult '80s disco output, and "Sol Ceu E Mar", a Tania Maria-esque future classic of scorching Latin-funk. Mellower moments are found in "Em Paz", on which Sabrina's beguiling harmonies find an anchor in the rhythmic acoustic guitar of Ze Carlos', who Sabrina heralds as being "the best guitarist I have ever worked with". Azymuth's keyboardist Kiko Continentino's deft Rhodes, piano, organ, and synth playing, add ever more textures of distinctly Brazilian brilliance throughout, while tropical brass and flute arrangements on cool bossa-jazz movers "Vai Maria" and "Sandore", come from Brazilian saxophone legend Leo Gandleman, a man who has worked with everyone from Gal Costa to Gilberto Gil. The rhythm section combines Daniel Maunick's seamless drum programming and the organic polyrhythms of Brazilian percussion legend Jakare, all punctuated by Alex Malheiros's inimitable (occasionally slapped) jazz-funk bass, giving the album its irresistibly danceable pulse. Clareia is an inter-generational masterclass of Brazil's soulful spectrum, led by a pioneering voice of today's scene on the very top of her game.
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12"
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JD 039EP
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Rivaling their legendary output from the '70s onwards, Brazilian jazz-funk pioneers Azymuth's latest album Fênix (FARO 194CD/LP, 2016) saw the band on top form, with their trademark samba doido (crazy samba) sounding as slick as ever. Since then, Far Out Recordings has commissioned a special one-off remix for the project, from Chicago deep-house legend Ron Trent, who has long cited Azymuth as musical heroes and one of his biggest influences. With a toughened groove and gorgeous swirls of synth and pad embellishments, Ron's remix takes Azymuth's futurist disco even deeper.
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