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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LP
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FARO 233LP
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$24.00
PREORDER
RELEASE DATE: 3/17/2023
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.
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LP
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FARO 235LP
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$29.50
PREORDER
RELEASE DATE: 3/3/2023
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...
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CD
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FARO 235CD
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$13.50
PREORDER
RELEASE DATE: 3/3/2023
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...
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CD
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FORDIS 007CD
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$14.50
PREORDER
RELEASE DATE: 2/10/2023
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).
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LP
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FORDIS 007LP
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$26.00
PREORDER
RELEASE DATE: 2/10/2023
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).
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12"
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JD 054EP
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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.
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12"
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PINKY 003EP
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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.
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LP
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FARO 234LP
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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.
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CD
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FARO 234CD
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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.
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LP
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FARO 200X-LP
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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
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CD
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FARO 233CD
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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.
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FARO 194X-LP
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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
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12"
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JD 053EP
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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.
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LP
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FARO 231LP
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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.
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2LP
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FARO 230LP
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Double LP version. Between producing landmark albums with the likes of Azymuth, Marcos Valle, and Sabrina Malheiros, recent years have seen Daniel Maunick flourishing as a solo artist with acclaimed releases on Eglo Records, Mother Tongue, Visions, AKO Beatz (under his Dokta Venom alias), and of course, Far Out Recordings. His sophomore solo album Persistence is an exemplary culmination of the momentum Maunick has built since his 2019 debut Macumba Quebrada (FARO 214CD/LP), which earned support from Moodymann, Benji B, Gilles Peterson, Ron Trent, Palms Trax, Derrick Carter, and Moxie, to name just a few. Since collaborating with Shy FX for his first ever release at the age of fifteen (a now impossible to find single sided jungle acetate), Maunick has remained embedded in the fabric of the culture, from early work for the legendary Talkin' Loud label to notching credits with Terry Callier, Paul Weller, Ski Oakenfull, Brenda Russell, and his father's legendary brit-funk outfit Incognito. And for almost two decades he's served as producer for a long string of classic and future-classic Far Out albums, most recently Alex Malheiros' Tempos Futuros (FARO 228CD/LP). As on his previous Far Out opuses (most recently the Musica Encantada EP (JD 050EP)), Persistence sees Maunick continue to playfully use foundations of traditional Afro-Brazilian rhythms, heard in the sultry samba swing of "Arraiá", the pulsating batucada enveloping the bassy synth stabs in "Remnants of Joy", and spectral cuicas throughout the blissfully bumping "Illusions". But going beyond his trademark nods to Brazil, he reflects on his jungle-ist roots with the emotionally charged "Love Is Gone", and flexes his deep house muscles with the late-night magic of "Just Deserts" and "Addicted". The sheer variety on show is testament to the wide scope of influences and experiences Maunick has accumulated and absorbed in his career to date. It's also evident that after years spent with jazz funk masters like Azymuth and Incognito, as well as hitmakers like Marcos Valle, Maunick has reached a new caliber with his compositional prowess alongside his astoundingly accomplished studio skills. Persistence is a modern classic by a veteran at the peak of their powers.
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LP
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FARO 232LP
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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.
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CD
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FARO 230CD
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Between producing landmark albums with the likes of Azymuth, Marcos Valle, and Sabrina Malheiros, recent years have seen Daniel Maunick flourishing as a solo artist with acclaimed releases on Eglo Records, Mother Tongue, Visions, AKO Beatz (under his Dokta Venom alias), and of course, Far Out Recordings. His sophomore solo album Persistence is an exemplary culmination of the momentum Maunick has built since his 2019 debut Macumba Quebrada (FARO 214CD/LP), which earned support from Moodymann, Benji B, Gilles Peterson, Ron Trent, Palms Trax, Derrick Carter, and Moxie, to name just a few. Since collaborating with Shy FX for his first ever release at the age of fifteen (a now impossible to find single sided jungle acetate), Maunick has remained embedded in the fabric of the culture, from early work for the legendary Talkin' Loud label to notching credits with Terry Callier, Paul Weller, Ski Oakenfull, Brenda Russell, and his father's legendary brit-funk outfit Incognito. And for almost two decades he's served as producer for a long string of classic and future-classic Far Out albums, most recently Alex Malheiros' Tempos Futuros (FARO 228CD/LP). As on his previous Far Out opuses (most recently the Musica Encantada EP (JD 050EP)), Persistence sees Maunick continue to playfully use foundations of traditional Afro-Brazilian rhythms, heard in the sultry samba swing of "Arraiá", the pulsating batucada enveloping the bassy synth stabs in "Remnants of Joy", and spectral cuicas throughout the blissfully bumping "Illusions". But going beyond his trademark nods to Brazil, he reflects on his jungle-ist roots with the emotionally charged "Love Is Gone", and flexes his deep house muscles with the late-night magic of "Just Deserts" and "Addicted". The sheer variety on show is testament to the wide scope of influences and experiences Maunick has accumulated and absorbed in his career to date. It's also evident that after years spent with jazz funk masters like Azymuth and Incognito, as well as hitmakers like Marcos Valle, Maunick has reached a new caliber with his compositional prowess alongside his astoundingly accomplished studio skills. Persistence is a modern classic by a veteran at the peak of their powers.
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CD
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FARO 232CD
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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.
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CD
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FARO 231CD
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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.
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2CD
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FARO 229CD
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On a balmy Brazilian night in February, 1981, a crowd gathered in Rio de Janeiro's Gávea neighbourhood under the iconic dome of the city's Planetário (Planetarium). Alongside musicians like Helio Delmiro and Milton Nascimento (who were in the audience that night), they were there to see the great "Bruxo" (sorcerer) Hermeto Pascoal live in concert, with his new band formation which would become known simply as "O Grupo" (The Group). On the Planetário Da Gávea recordings, Hermeto is cast as the "sorcerer" or the "cosmic emissary", exhibiting an intuitive sense of harmony and melody beyond that of our own world. "Tudo e Som" (All is Sound). It's an understanding of the universe as being in a state of constant movement, forever vibrating at the quantum level, like the string of a guitar, or a saxophone's reed. The series of concerts at the Planetário marked the birth of "O Grupo" which would last with the same line-up (apart from Zé Eduardo Nazário) for the next eleven years. Every member of O Grupo was a phenomenal musician in their own right. It was one of saxophonist/flautist Carlos Malta's first gigs with the group, and the concert unusually featured two drummers, Zé Eduardo Nazário and Marcio Bahia. Nazário, from São Paulo, had played with Hermeto during the mid-70s. Acclaimed keyboard player Jovino Santos Neto was on keyboards, piano and organ, and the great Itiberê Zwarg, played bass. Rounding the group off was the percussionist Pernambuco. During this period (up until the early '90s) the group would rehearse for hours on end, virtually seven days a week, with a total dedication to music and Hermeto's musical vision. Most of the compositions performed that night at the Planetário had never been recorded before, and many are unique to this album. The show also features the first recorded performances of "Era Pra Ser e Não Foi" and "Ilza na Feijoada" (inspired by Hermetos' wife Ilza's famed black bean and meat stew), which Hermeto later recorded on his 1984 studio album Lagoa Da Canoa Município De Arapiraca. Dubbed by Miles Davis as "one of the most important musicians on the planet", a Hermeto Pascoal live show was (and still is) an experience like no other. Across the recording of the Planetário concert, wild improvisation meets groovy, virtuosic vamping on progressive, extended psychedelic jams. The tracks are generally built around a beautiful, transcendent melody; instantly recognizable as being Hermeto's, and for the most part, the musicians then solo over extended two chord vamps. There's a plethora of powerfully delivered rhythms, wild solos and the performances are punctuated by Hermeto's unpredictable, at times comical sonic antics.
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2LP
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FARO 229LP
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Double LP version. On a balmy Brazilian night in February, 1981, a crowd gathered in Rio de Janeiro's Gávea neighbourhood under the iconic dome of the city's Planetário (Planetarium). Alongside musicians like Helio Delmiro and Milton Nascimento (who were in the audience that night), they were there to see the great "Bruxo" (sorcerer) Hermeto Pascoal live in concert, with his new band formation which would become known simply as "O Grupo" (The Group). On the Planetário Da Gávea recordings, Hermeto is cast as the "sorcerer" or the "cosmic emissary", exhibiting an intuitive sense of harmony and melody beyond that of our own world. "Tudo e Som" (All is Sound). It's an understanding of the universe as being in a state of constant movement, forever vibrating at the quantum level, like the string of a guitar, or a saxophone's reed. The series of concerts at the Planetário marked the birth of "O Grupo" which would last with the same line-up (apart from Zé Eduardo Nazário) for the next eleven years. Every member of O Grupo was a phenomenal musician in their own right. It was one of saxophonist/flautist Carlos Malta's first gigs with the group, and the concert unusually featured two drummers, Zé Eduardo Nazário and Marcio Bahia. Nazário, from São Paulo, had played with Hermeto during the mid-70s. Acclaimed keyboard player Jovino Santos Neto was on keyboards, piano and organ, and the great Itiberê Zwarg, played bass. Rounding the group off was the percussionist Pernambuco. During this period (up until the early '90s) the group would rehearse for hours on end, virtually seven days a week, with a total dedication to music and Hermeto's musical vision. Most of the compositions performed that night at the Planetário had never been recorded before, and many are unique to this album. The show also features the first recorded performances of "Era Pra Ser e Não Foi" and "Ilza na Feijoada" (inspired by Hermetos' wife Ilza's famed black bean and meat stew), which Hermeto later recorded on his 1984 studio album Lagoa Da Canoa Município De Arapiraca. Dubbed by Miles Davis as "one of the most important musicians on the planet", a Hermeto Pascoal live show was (and still is) an experience like no other. Across the recording of the Planetário concert, wild improvisation meets groovy, virtuosic vamping on progressive, extended psychedelic jams. The tracks are generally built around a beautiful, transcendent melody; instantly recognizable as being Hermeto's, and for the most part, the musicians then solo over extended two chord vamps. There's a plethora of powerfully delivered rhythms, wild solos and the performances are punctuated by Hermeto's unpredictable, at times comical sonic antics.
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CD
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FARO 228CD
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Stargazing from the sands of the Niterói beach, Tempos Futuros is low-end-led Brazilian futurism from one of Brazil's most prolific and influential bassmen. As one third of legendary trio Azymuth, Alex Malheiros has pioneered a unique fusion of space-funk, samba and jazz since the early seventies. His playing can be heard on the records of Jorge Ben, Milton Nascimento, Roberto Carlos, Marcos Valle, and Mark Murphy (to name a few), and he's performed and toured with everyone from Stevie Wonder to Chick Corea. Written and recorded in Niterói, Brazil, overlooking Guanabara and the beaches, mountains and forests of Rio de Janeiro, Tempos Futuros has deep roots in Brazilian soil. The rhythms of Malheiros' homeland have always permeated his music. But just like the Oscar Niemeyer designed Niterói Contemporary Art Museum which stands spaceship-like over the water, Tempos Futuros - while inspired by terrestrial forms, reaches out, deep into the great unknown. Produced by acclaimed London-based producer Daniel Maunick, who has worked with Marcos Valle, Azymuth, Terry Callier, and Ivan Conti, the funk comes full circle. Daniel's father Jean-Paul "Bluey" Maunick and Alex Malheiros shared a reciprocal stream of influence throughout the '80s, between London and Rio; Azymuth and Incognito; brit-funk and samba-funk. But just as with Azymuth's music, you can also hear the influence of stateside jazz-funk masters like Roy Ayers, Weather Report, Lonnie Liston Smith, Mtume and Pleasure. Tempos Futuros features Alex's daughter, a Brazilian star in her own right, vocalist Sabrina Malheiros, Brazilian percussion master Sidinho Moreira, London based saxophonist Sean Khan, Marcos Valle's go-to drummer Massa, and Brazilian keyboard player Dudu Viana. Featuring the late Azymuth keyboard maestro Jose Roberto Bertami on Fender Rhodes, the title track "Tempos Futuros" was originally recorded as a demo in 1995. On this finished version, Alex Malheiros used Bertami's original keyboard take, explaining the posthumous release.
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7"
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JD 052EP
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Believed to have been recorded in 1983, O Filho Do Homem is a newly discovered and previously unreleased single by the late Brazilian composer and keyboardist Ana Mazzotti. Though it's her only known studio recording of the decade, O Filho Do Homem is one of several unreleased compositions Mazzotti and her band performed on TV Cultura and Programa MPB during the '80s. These performances showed Mazzotti had transitioned towards a harder edged and more daringly experimental sound in this period, while keeping the core components of samba, jazz and funk that characterized her two studio albums from the 1970s, Ninguem Vai Me Segurar (1974) and the self-titled Ana Mazzotti (1977). This evolved '80s sound had evidently taken a similar path to that of her contemporaries and mentors, like Azymuth, whose keyboardist José Roberto Bertrami arranged her debut album, and Hermeto Pascoal who described her as "a super musician". Following the resurgence in appreciation for Ana's music that arose from the 2019 reissues of her two studio albums, her son Toni Mazzotti was compelled to re-examine the archive of artefacts he'd inherited from his parents. Amongst the LPs, chord sheets, photos and VHS recordings, Toni stumbled upon a mysterious reel of tape, which he swiftly dispatched to the Far Out Recordings office in London. Toni and the Far Out team were delighted to discover the mystery tape was a hazy jazz-funk gem recorded by his mother (and father, drummer Romildo Santos) during the twilight of her short career; Ana Mazzotti sadly passed away in 1988 from lung cancer at the age of just 37. Aside from Ana on keyboards and vocals and Romildo who produced and played drums on all of Ana's recordings, the line-up for the quartet is unknown.
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12"
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PINKY 002EP
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Far Out Recordings present reissues of Brit funk classics. Keep In Touch (PINKY 001EP) and Stay were the first two 12" singles by the iconic Freeez, both self-funded passion projects of its founding member John Rocca, for his own Pink Rhythm imprint. It all started over the counter at Derek's Records on Petticoat Lane, London in the mid-70s. Rocca -- at the time a budding teenage percussionist -- met the prolific guitarist, composer, producer and all round brit funk fixer Jean Paul "Bluey" Maunick (also the father of Far Out producer Daniel Maunick). Best known as the founding member of Light of the World, Incognito, and more recently Str4ta, Bluey's involvement in the origins of Freeez are lesser known, but no less crucial. Bluey invited Rocca to a weekly jam session in an East London basement, where they would develop their craft, form their first band Freeez and develop the idea for "Keep In Touch". Still giddy from the experience of having produced and pressed his first record Keep In Touch at the age of just 19, John set out to do it all again with "Stay" and "Hot Footing", enlisting Bluey & co. once again. This time Rocca attempted to take things to the next level by adding vocals into the mix. Though this new arrangement initially backfired and cost John the deal with Pye / Calibre who weren't feeling the slight change of vibe, original copies of the Stay 12" have become one of the most in demand from the brit funk canon.
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12"
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PINKY 001EP
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Far Out Recordings present reissues of Brit funk classics. Keep In Touch and Stay (PINKY 002EP) were the first two 12" singles by the iconic Freeez, both self-funded passion projects of its founding member John Rocca, for his own Pink Rhythm imprint. It all started over the counter at Derek's Records on Petticoat Lane, London in the mid-70s. Rocca -- at the time a budding teenage percussionist -- met the prolific guitarist, composer, producer and all round brit funk fixer Jean Paul "Bluey" Maunick (also the father of Far Out producer Daniel Maunick). Best known as the founding member of Light of the World, Incognito, and more recently Str4ta, Bluey's involvement in the origins of Freeez are lesser known, but no less crucial. Bluey invited Rocca to a weekly jam session in an East London basement, where they would develop their craft, form their first band Freeez and develop the idea for "Keep In Touch": "Back in the basement there was this one particular track we were playing that I really loved. It had a groove that I thought I could sell" Rocca reminisces. Going against the advice of all the musicians involved, who thought he was mad and set to lose all his money, John decided to go full DIY, hire out a high-end studio in the West End to record "Keep In Touch" and release it as a private press, birthing his now famed Pink Rhythm label. Featuring Bluey on guitar, Peter Maas on bass, Paul Morgan on drums, Jason Wright on keyboards, and John Rocca on percussion, Keep In Touch was a surprise underground hit selling over 5000 copies and reaching #49 in the UK, leading Freeez into a record deal with Pye / Calibre.
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