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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2LP
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FARO 215LP
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$25.50
PREORDER
RELEASE DATE: 12/13/2019
Far Out Recordings presents the first ever vinyl release of Milton Nascimento's Maria Maria, originally released in 2003 as a double-CD package. Recorded in 1974 and unreleased until almost thirty years later, the album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Milton Nascimento possesses one of the most immediately recognizable voices in Brazilian music: high and sweet and as breathtakingly sublime as that of any soul singer. Along with journalist and song writer Fernando Brant, lyricist Marcio Borges, and his younger brother Lo Borges, Nascimento wrote and produced what would become Milton's milestone album, Clube da Esquina (1972) which shaped the local scene and reflects the essence of "the Nascimento Sound". Milton's religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. This collection also displays his early fascination with evocative, non-verbal, scat-style singing, spare, harmonic guitar work and local folk music, jazz, and rock. In 1976, Milton and Fernando Brant teamed up with a new contemporary dance company called Grupo Corpo, whose Argentinian choreographer Oscar Araiz, would become a collaborator with the two musicians. Together, they conceived a show based on the composite life story of the daughter of a black slave called Maria. Nascimento wrote music to Brant's lyrics and Maria Maria was premiered in the main theatre of the Belo Horizonte Palacio das Artes that year. The music on Maria Maria was performed by an impressive group of young Brazilian musicians, including Naná Vasconcelos (percussion and effects), Toninho Horta (guitars), and Paulo Moura (sax). Several vocalists, including Naná Caymmi, Fafá de Belém, Beto Guedes, and Milton himself, had hits in years to come with reworkings of these songs. On the title track, Maria's story is narrated and translated to music through the use of African Percussion, drums, and metal signifying the field slave tools of the day. "Trabalhos (Works)" runs to work rhythms and whip cracks. "Lília" documents the beating of the slave woman. After "A Chamada" and the triumphant "Era Rei e Sou Escravo", things begin to turn and Milton employs tropical jungle cries to symbolize freedom. "Santos Catholicos x Candomble" represents the battle between African and European religions through the music of both sides. Milton's heavenly falsetto pours into "Francisco" and "Pai Grande" and the outstanding "Eu Sou Uma Preta Velha Aqui Sentada no Sol" conjures images of an old woman sitting deep in the forest, her memories painted in drums, piano, and voices. 180 gram vinyl.
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12"
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JD 047EP
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Celebrating the label's 25th anniversary, Far Out Recordings presents a series of limited-edition vinyl 12"s highlighting its contribution to underground dance music. Including reissues of sought-after floor-fillers, previously unreleased club tools and brand-new productions from some key players in Far Out history, the series begins with Global Communication's "Space Jazz" remix of Azymuth's "Jazz Carnival'. One of the label's most requested reissues, it's a typically timeless effort from the duo comprising Mark Pritchard and Tom Middleton and has stayed relevant within the house/techno canon for over twenty years. The A side presents the original LP version of Azymuth's 1996 redux of their all-time classic, instrumental disco hit "Jazz Carnival", which originally appeared on Azymuth's first full-length venture on Far Out, Carnival (1996). Presented in a special 25th anniversary house bag, the full-length 12-minute version of this all-time classic has been re-mastered from the original DAT and pressed to heavyweight vinyl. 180 gram vinyl.
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2LP
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FARO 214LP
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Double LP version. 180 gram vinyl; includes download code. From Far Out Recordings' in-house producer, Daniel Maunick's debut solo album Macumba Quebrada conjures scenes of collective hedonism from start to finish. Spanning Afro-Brazilian spiritual dance ceremonies, late-80s Detroit techno parties, and jungle and broken beat raves in '90s London, Maunick celebrates our instinctive, age-old desire to come together and lose our sense of self. Daniel Maunick practically grew up behind the mixing desk. As the son of Brit-funk legend Jean-Paul "Bluey" Maunick (of Incognito fame), he found himself immersed in music from an early age, and quickly became involved in London's drum n' bass, acid-jazz, house, broken beat, and soul scenes, releasing his first production at the age of sixteen on Gilles Peterson and Norman Jay's Talkin' Loud label. Since then, he has produced albums by the likes of Azymuth, Marcos Valle, Terry Callier, Incognito, Ivan "Mamao" Conti, and Sabrina Malheiros. Reflecting his dual residence between Rio de Janeiro and East London, Macumba Quebrada features deep house stompers and broken bangers littered with Brazilian rhythms -- in the form of both dusty percussion and Maunick's intricate drum programming. But the album sees Daniel draw inspiration from across the black music continuum, and the rich histories of communal celebration in Detroit techno, Chicago house, London D'n'B, and New York disco. Bringing all this together in explosive peak-time club tracks, moments of eerie ambience, South American swing and tribal earthiness, Macumba Quebrada expands on Maunick's recent vinyl-only EPs A Vicious Circle and Sombra Do Dragao. Taking its title from a syncretism of South American spiritual practices, the cover art is photograph taken by acclaimed French photographer and self-taught ethnographer Pierre Verger, who traveled the world documenting civilizations that would soon be effaced by progress. Settling for good in Salvador, Brazil, Verger became initiated into the Candomblé religion, eventually officiating rituals and ceremonies within the community. Without having become an ordained priest, Daniel Maunick shares both Verger and Far Out Recordings' love for Brazil: its people, its culture, and its music.
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CD
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FARO 214CD
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From Far Out Recordings' in-house producer, Daniel Maunick's debut solo album Macumba Quebrada conjures scenes of collective hedonism from start to finish. Spanning Afro-Brazilian spiritual dance ceremonies, late-80s Detroit techno parties, and jungle and broken beat raves in '90s London, Maunick celebrates our instinctive, age-old desire to come together and lose our sense of self. Daniel Maunick practically grew up behind the mixing desk. As the son of Brit-funk legend Jean-Paul "Bluey" Maunick (of Incognito fame), he found himself immersed in music from an early age, and quickly became involved in London's drum n' bass, acid-jazz, house, broken beat, and soul scenes, releasing his first production at the age of sixteen on Gilles Peterson and Norman Jay's Talkin' Loud label. Since then, he has produced albums by the likes of Azymuth, Marcos Valle, Terry Callier, Incognito, Ivan "Mamao" Conti, and Sabrina Malheiros. Reflecting his dual residence between Rio de Janeiro and East London, Macumba Quebrada features deep house stompers and broken bangers littered with Brazilian rhythms -- in the form of both dusty percussion and Maunick's intricate drum programming. But the album sees Daniel draw inspiration from across the black music continuum, and the rich histories of communal celebration in Detroit techno, Chicago house, London D'n'B, and New York disco. Bringing all this together in explosive peak-time club tracks, moments of eerie ambience, South American swing and tribal earthiness, Macumba Quebrada expands on Maunick's recent vinyl-only EPs A Vicious Circle and Sombra Do Dragao. Taking its title from a syncretism of South American spiritual practices, the cover art is photograph taken by acclaimed French photographer and self-taught ethnographer Pierre Verger, who traveled the world documenting civilizations that would soon be effaced by progress. Settling for good in Salvador, Brazil, Verger became initiated into the Candomblé religion, eventually officiating rituals and ceremonies within the community. Without having become an ordained priest, Daniel Maunick shares both Verger and Far Out Recordings' love for Brazil: its people, its culture, and its music.
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LP
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FARO 213LP
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LP version. 180 gram vinyl; includes download code. Far Out Recordings present an official reissue of Ana Mazzotti's self-titled album, originally released in 1977. An artist as imaginative and unique as Ana Mazzotti doesn't come around often. Dubbed a "super-musician" by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti's short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti's premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil's Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school's choir, and at twenty-one she led her city's premier chorus, the Coral Bento Goncalves. When rock n' roll hit South America in the '60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1977, Mazzotti took her debut album back to the studio, releasing the album with a new running order and new ethereal cover art, ostensibly another crack at commercial success following the small scale of the independently funded first release. With intimately re-recorded vocals, and the bonus of gorgeous horn arrangements and a new track: the carnivalesque "Eta, Samba Bom", replacing Roberta Flack's hit "Feel Like Making Love", Ana Mazzotti (1977) delivers Mazzotti's refreshingly cool musical style even more effortlessly, while retaining the all magical energy of her debut. A cult Brazilian treasure. Remastered.
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LP
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FARO 212LP
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LP version. 180 gram vinyl; includes download code. Far Out Recordings present an official reissue of Ana Mazzotti's Ninguem Vai Me Segurar. originally released in 1974. An artist as imaginative and unique as Ana Mazzotti doesn't come around often. Dubbed a "super-musician" by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti's short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti's premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil's Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school's choir, and at twenty-one she led her city's premier chorus, the Coral Bento Goncalves. When rock n' roll hit South America in the '60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer, and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1974, Mazzotti recorded her first album Ninguem Vai Me Segurar, enlisting the in-demand arrangement talents of Azymuth's original keyboard maestro Jose Roberto Bertrami. It also features Azymuth's bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it's no wonder the samba jazz-funk pioneer's distinctive aesthetic is present throughout, and Mazzotti's sensational compositions are made even more beautiful for it. Kicking off with the swirling samba-jazz-dance masterpiece "Agora Ou Nunca Mais", the album hosts several groove-heavy Brazilian cult-classics. Deeper moments come in the form of the alluring future soul synth sounds on "Bairro Negro" and "Sou", and Mazzotti's tender, hallucinatory version of "Feel Like Making Love" (made famous by Roberta Flack). Remastered.
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CD
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FARO 213CD
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Far Out Recordings present an official reissue of Ana Mazzotti's self-titled album, originally released in 1977. An artist as imaginative and unique as Ana Mazzotti doesn't come around often. Dubbed a "super-musician" by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti's short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti's premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil's Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school's choir, and at twenty-one she led her city's premier chorus, the Coral Bento Goncalves. When rock n' roll hit South America in the '60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1977, Mazzotti took her debut album back to the studio, releasing the album with a new running order and new ethereal cover art, ostensibly another crack at commercial success following the small scale of the independently funded first release. With intimately re-recorded vocals, and the bonus of gorgeous horn arrangements and a new track: the carnivalesque "Eta, Samba Bom", replacing Roberta Flack's hit "Feel Like Making Love", Ana Mazzotti (1977) delivers Mazzotti's refreshingly cool musical style even more effortlessly, while retaining the all magical energy of her debut. A cult Brazilian treasure. Remastered.
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CD
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FARO 212CD
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Far Out Recordings present an official reissue of Ana Mazzotti's Ninguem Vai Me Segurar. originally released in 1974. An artist as imaginative and unique as Ana Mazzotti doesn't come around often. Dubbed a "super-musician" by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti's short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti's premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil's Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school's choir, and at twenty-one she led her city's premier chorus, the Coral Bento Goncalves. When rock n' roll hit South America in the '60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer, and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1974, Mazzotti recorded her first album Ninguem Vai Me Segurar, enlisting the in-demand arrangement talents of Azymuth's original keyboard maestro Jose Roberto Bertrami. It also features Azymuth's bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it's no wonder the samba jazz-funk pioneer's distinctive aesthetic is present throughout, and Mazzotti's sensational compositions are made even more beautiful for it. Kicking off with the swirling samba-jazz-dance masterpiece "Agora Ou Nunca Mais", the album hosts several groove-heavy Brazilian cult-classics. Deeper moments come in the form of the alluring future soul synth sounds on "Bairro Negro" and "Sou", and Mazzotti's tender, hallucinatory version of "Feel Like Making Love" (made famous by Roberta Flack). Remastered.
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LP
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FORDIS 005LP
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Sold out, repress available in mid-Oct. Far Out Recordings presents a reissue of the first and only album from the mysterious Brazilian vocal sensation Dila (pronounced "Jee-la"). Having reportedly died in a car crash shortly after the album's release in 1971, there is very little known about the woman behind the voice. But the joyous music Dila left behind gives us a picture as good as any, of a powerful feminine soul at the top of her game. The liner notes on the elusive original LP, written by composer Arnoldo Medeiros attest: "Friend, look out! Because when this girl starts to sing, you're in trouble. Hold the railing so you don't fall down the stairs, because she's coming this way and shaking up everything." Arranged and produced by Durval Ferreira, alongside his studio band affectionately known as Os Grillos (The Crickets), Dila is a rare glimpse into the authentic soulful samba sound of Rio's favelas in the late sixties and early seventies. A blast of funky, percussive Brazilian breaks, scorching hot brass, and swing-laden piano, the music is as iconic as the album's stark cover, as is clear on opener "Inez," composed by The Crickets bassist Romildo. There's a fantastic interpretation of the Ivan Lins classic "Madalena" (made famous by Elis Regina), a moving version of the Tom Jobim and Vinicius De Moraes classic "O Morro Não Tem Vez," and a number of sunny original compositions by Madeiros, whose other writing credits include music for Marcos Valle, Wanderlea, Evinha, and Dom Salvador. With original LPs extremely hard to come by, this rare treasure of Brazilian soul, which fans of Gal Costa, Celia, Evinha and Elis Regina will love, gets a much-deserved official reissue. Personnel: Durval Ferreira - guitar; Sidney Marzullo - piano; Romildo - bass; Fernando - drums; Horacio - percussion; Christ - brass. 180 gram vinyl.
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CD
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FARO 211CD
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The original Rio beach boy returns in style, with a new record of unabashedly feel-good Brazilian party music. Featuring Azymuth bassist Alex Malheiros, a horn section including Valle's go-to high-trumpeter Jesse Sadoc, and percussion master Armando Marcal, Sempre has all the masterful composition, exceptional musicality, and forward-thinking ideas you'd expect from the Brazilian titan. Updating Marcos Valle's seminal boogie-era sound, Sempre spans ecstatic disco, cosmic samba, and late-night jazz-funk, drawing obvious comparisons to some of Valle's late-seventies and early-eighties output. But lyrically the new album is more closely reminiscent of Valle's progressive early '70s releases. Heralding love, tolerance, and living in the present, while satirizing political corruption, Sempre recalls a time in which Valle, together with his brother Paulo Sergio, was writing subtly subversive lyrics in order to bypass the censorship imposed by the military dictatorship, which ruled over Brazil between 1964 and 1985. The album marries compositional genius with pure pop perfection. From the blistering brass arrangements on up-tempo disco hit "Olha Quem Tá Chegando" and the infinitely classy "Vou Amanhã Saber", to the nine-minute synth heavy instrumental funk stepper "Odisséia", which gradually morphs into an interplanetary samba jam, the songs are tightened and given an extra coat of gloss by London based producer Daniel Maunick. More moments of boogie delight come in the form of "Minha Roma" and the sunshine anthem title-track. Translating as "Ever", Sempre is a testament to the continual drive for development and reinvention that has defined Marcos Valle's astounding six-decade career. Ever changing, ever moving forward, he began as one of the second-wave of early bossa nova composers in the '60s, writing the world famous bossa standard "Summer Samba (So Nice)" for his sophomore album Samba 68. After a brief stint in the States, Valle returned to Brazil, and the early '70s saw the release of four ground-breaking Valle albums. These albums would see Valle work alongside a number of hugely influential Brazilian bands, including Milton Nascimento's backing band Som Imaginaro, the prog-rock band O Terco, and jazz funk legends Azymuth. Returning back to the US in '75, Valle resided in LA, writing music for the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn, and Leon Ware, before returning to Brazil once more. Since the mid-nineties, Valle has been experiencing a renaissance with Far Out Recordings. Sempre is his fifth album for the label, following 2010's critically acclaimed Estatica (FARO 153CD).
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LP
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FARO 211LP
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LP version. 180 gram vinyl; includes download code. The original Rio beach boy returns in style, with a new record of unabashedly feel-good Brazilian party music. Featuring Azymuth bassist Alex Malheiros, a horn section including Valle's go-to high-trumpeter Jesse Sadoc, and percussion master Armando Marcal, Sempre has all the masterful composition, exceptional musicality, and forward-thinking ideas you'd expect from the Brazilian titan. Updating Marcos Valle's seminal boogie-era sound, Sempre spans ecstatic disco, cosmic samba, and late-night jazz-funk, drawing obvious comparisons to some of Valle's late-seventies and early-eighties output. But lyrically the new album is more closely reminiscent of Valle's progressive early '70s releases. Heralding love, tolerance, and living in the present, while satirizing political corruption, Sempre recalls a time in which Valle, together with his brother Paulo Sergio, was writing subtly subversive lyrics in order to bypass the censorship imposed by the military dictatorship, which ruled over Brazil between 1964 and 1985. The album marries compositional genius with pure pop perfection. From the blistering brass arrangements on up-tempo disco hit "Olha Quem Tá Chegando" and the infinitely classy "Vou Amanhã Saber", to the nine-minute synth heavy instrumental funk stepper "Odisséia", which gradually morphs into an interplanetary samba jam, the songs are tightened and given an extra coat of gloss by London based producer Daniel Maunick. More moments of boogie delight come in the form of "Minha Roma" and the sunshine anthem title-track. Translating as "Ever", Sempre is a testament to the continual drive for development and reinvention that has defined Marcos Valle's astounding six-decade career. Ever changing, ever moving forward, he began as one of the second-wave of early bossa nova composers in the '60s, writing the world famous bossa standard "Summer Samba (So Nice)" for his sophomore album Samba 68. After a brief stint in the States, Valle returned to Brazil, and the early '70s saw the release of four ground-breaking Valle albums. These albums would see Valle work alongside a number of hugely influential Brazilian bands, including Milton Nascimento's backing band Som Imaginaro, the prog-rock band O Terco, and jazz funk legends Azymuth. Returning back to the US in '75, Valle resided in LA, writing music for the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn, and Leon Ware, before returning to Brazil once more. Since the mid-nineties, Valle has been experiencing a renaissance with Far Out Recordings. Sempre is his fifth album for the label, following 2010's critically acclaimed Estatica (FARO 153CD).
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CD
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FARO 210CD
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Since their debut in 1975 (FARO 117X-LP), Azymuth have risen to rank alongside the world's greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock 'n' roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature "Samba Doido" (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid. Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan 'Mamão' Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Azymuth's name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti, and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music -- from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward; these previously unheard recordings took place between 1973-75 at Bertrami's home studio. At the time of recording, there was nothing in Brazil, less the world, that sounded anything like them, so it's unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, told in effect that the music was 'wrong'. When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Beginning a long and fruitful relationship, "Prefacio" would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996). Only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form. On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros, and Conti were realizing at the time. Fifty years on, Azymuth's earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.
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LP
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FARO 210-1LP
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LP version, Volume 1. 180 gram vinyl; includes download code. Since their debut in 1975 (FARO 117X-LP), Azymuth have risen to rank alongside the world's greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock 'n' roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature "Samba Doido" (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid. Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan 'Mamão' Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Azymuth's name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti, and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music -- from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward; these previously unheard recordings took place between 1973-75 at Bertrami's home studio. At the time of recording, there was nothing in Brazil, less the world, that sounded anything like them, so it's unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, told in effect that the music was 'wrong'. When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Beginning a long and fruitful relationship, "Prefacio" would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996). Only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form. On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros, and Conti were realizing at the time. Fifty years on, Azymuth's earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.
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FARO 210-2LP
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LP version, Volume 2. 180 gram vinyl; includes download code. Since their debut in 1975 (FARO 117X-LP), Azymuth have risen to rank alongside the world's greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock 'n' roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature "Samba Doido" (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid. Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan 'Mamão' Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Azymuth's name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti, and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music -- from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward; these previously unheard recordings took place between 1973-75 at Bertrami's home studio. At the time of recording, there was nothing in Brazil, less the world, that sounded anything like them, so it's unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, told in effect that the music was 'wrong'. When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Beginning a long and fruitful relationship, "Prefacio" would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996). Only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form. On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros, and Conti were realizing at the time. Fifty years on, Azymuth's earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.
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FARO 209LP
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LP version, 180 gram vinyl. Far Out Recordings presents a reissue of Eumir Deodato's Os Catedraticos 73, originally issued in 1973. One of Brazil's most prolific artists, Deodato has participated in the creation of over 450 albums, racked up 16 platinum records, won a Grammy (and received two more nominations), and sold over 250 million records in the USA alone. Over the course of his career, he has written for, arranged music by and played with artists including Frank Sinatra, Tom Jobim, Kool & The Gang, Earth, Wind & Fire, Marcos Valle, Aretha Franklin, and Bjork, among others. At the height of Deodato's productivity in the early 70s, Os Catedraticos 73 was recorded between Rio de Janeiro and New York, featuring a Brazilian rhythm section comprising Azymuth drummer Ivan 'Mamão' Conti, percussion master Orlandivo, and Sergio Barroso on bass, while the horn section features some of the Big Apple's top players from the CTI in-house brass. A firm favorite with rare-groove enthusiasts and fans of Latin jazz alike, Deodato melds the musical sensibility of post-bossa nova Brazilian jazz with North American soul and funk, and the explosive Latin influences of '70s New York. Os Catedraticos 73 certainly swings harder than some of Deodato's earlier releases and opening track "Arranha Ceu" (Skyscrapers) is a euphoric dance floor classic, which has been lighting up clubs for years. With the blessing of Deodato himself, this official Far Out reissue has been remastered. Replica original artwork.
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FARO 209CD
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Far Out Recordings presents a reissue of Eumir Deodato's Os Catedraticos 73, originally issued in 1973. One of Brazil's most prolific artists, Deodato has participated in the creation of over 450 albums, racked up 16 platinum records, won a Grammy (and received two more nominations), and sold over 250 million records in the USA alone. Over the course of his career, he has written for, arranged music by and played with artists including Frank Sinatra, Tom Jobim, Kool & The Gang, Earth, Wind & Fire, Marcos Valle, Aretha Franklin, and Bjork, among others. At the height of Deodato's productivity in the early 70s, Os Catedraticos 73 was recorded between Rio de Janeiro and New York, featuring a Brazilian rhythm section comprising Azymuth drummer Ivan 'Mamão' Conti, percussion master Orlandivo, and Sergio Barroso on bass, while the horn section features some of the Big Apple's top players from the CTI in-house brass. A firm favorite with rare-groove enthusiasts and fans of Latin jazz alike, Deodato melds the musical sensibility of post-bossa nova Brazilian jazz with North American soul and funk, and the explosive Latin influences of '70s New York. Os Catedraticos 73 certainly swings harder than some of Deodato's earlier releases and opening track "Arranha Ceu" (Skyscrapers) is a euphoric dance floor classic, which has been lighting up clubs for years. With the blessing of Deodato himself, this official Far Out reissue has been remastered. Replica original artwork.
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FARO 208CD
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From an artist in their seventies, you probably wouldn't expect to hear an album like this. But Brazilian drumming legend Ivan "Mamão" Conti has been experimenting and innovating for the last half a century. As one third of cult Rio jazz-funk trio Azymuth, Mamão was at the root of the group's "samba doido" (crazy samba) philosophy, which warped the traditional samba compass with jazz influences and space age electronics. Even with his lesser-known jovem guarda group The Youngsters, Mamão was experimenting with tapes and delays to create unique, ahead-of-its-time sounds, way back in the sixties. More recently Mamão recorded an album with hip-hop royalty Madlib under the shared moniker Jackson Conti. With his first album in over twenty years, and the first to be released on vinyl since his 1984 classic The Human Factor, Mamão shares his zany carioca character across eleven tracks of roots-y electronic samba and tripped-out jazz, beats, and dance music. Featuring Alex Malheiros and Kiko Continentino on a number of tracks, the Azymuth lifeblood runs deep, but venturing into the modern discotheque (as Mamão would call it), Poison Fruit also experiments with sounds more commonly associated with house and techno, with the help of London-based producer Daniel Maunick (aka Dokta Venom) and Mamão's son Thiago Maranhão. Take a bite of Mamão's psychoactive papaya and join the maestro on a weird and wonderful stroll through the Brazilian jungle. United by a love for the music of Mamão and Azymuth, the CD version also features remixes and dubs from some of today's most forward-thinking producers with a penchant for percussion: IG Culture, the 22a crew (Tenderlonious), Max Graef, Dokta Venom, Reginald Omas Mamode IV, and Glenn Astro.
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FARO 208LP
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LP version. Includes download code. From an artist in their seventies, you probably wouldn't expect to hear an album like this. But Brazilian drumming legend Ivan "Mamão" Conti has been experimenting and innovating for the last half a century. As one third of cult Rio jazz-funk trio Azymuth, Mamão was at the root of the group's "samba doido" (crazy samba) philosophy, which warped the traditional samba compass with jazz influences and space age electronics. Even with his lesser-known jovem guarda group The Youngsters, Mamão was experimenting with tapes and delays to create unique, ahead-of-its-time sounds, way back in the sixties. More recently Mamão recorded an album with hip-hop royalty Madlib under the shared moniker Jackson Conti. With his first album in over twenty years, and the first to be released on vinyl since his 1984 classic The Human Factor, Mamão shares his zany carioca character across eleven tracks of roots-y electronic samba and tripped-out jazz, beats, and dance music. Featuring Alex Malheiros and Kiko Continentino on a number of tracks, the Azymuth lifeblood runs deep, but venturing into the modern discotheque (as Mamão would call it), Poison Fruit also experiments with sounds more commonly associated with house and techno, with the help of London-based producer Daniel Maunick (aka Dokta Venom) and Mamão's son Thiago Maranhão. Take a bite of Mamão's psychoactive papaya and join the maestro on a weird and wonderful stroll through the Brazilian jungle.
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FARO 207LP
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LP version. 180 gram vinyl; Includes download code. Far Out Recordings presents a reissue of Eumir Deodato's Ataque, originally released in 1965. One of Brazil's most prolific artists, Deodato has racked up 16 platinum albums, won a Grammy (and been nominated for two more), and sold over 250 million records in the USA alone. After moving from Rio de Janeiro to New York in the late 60's, Deodato would work as a composer, arranger, producer and keyboardist on nearing 500 records, under his own name and with the likes of Aretha Franklin, Earth Wind, and Fire, Frank Sinatra, Kool & The Gang, George Benson, Tom Jobim, and Bjork, to name a just a few. Before that, a young Deodato had already cemented his status in Brazil as one of the country's top musical minds. In the mid-sixties, when he wasn't working with the likes of Roberto Menescal, Joao Donato, and Marcos Valle, Deodato recorded a string of albums with his lesser known instrumental samba jazz and bossa nova ensemble Os Catedráticos. A masterpiece of hip Brazilian swing, Ataque reflects the deeper, groovier side of that magical, hazy sound of sixties Rio, with monster samba grooves backing big brass arrangements and scorching organ solos. Amongst Deodato's own tracks, there are compositions by Marcos & Paulo Sergio Valle, Baden Powell, and Luiz Bonfa, arranged for a big horn section, which includes trombone player Edson Maciel, and is given an extra dose of cool from the inimitable drums of Wilson Das Neves and Ruebens Bassini on percussion. An elusive album in the canon of killer, groovy Brazilian music, with vinyl copies near-impossible to find for less than three digits, Ataque finally gets the official Far Out reissue treatment in being remastered from the original tapes. Now available for the first time outside of South America. Personnel: Eumir Deodato - leader, arrangements, conductor; Maurílio Santos - trumpet; Walter Rosa - tenor sax; Aurino Ferreira - baritone sax; Edson Maciel - trombone; Ruebens Bassini - congas, pandeiro; Humberto Garin - guiro; Jorginho Arena - congas; Sergio Barroso - baixos; Wilson Das Neves - drums; Geraldinho Vespar - guitar.
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FARO 207CD
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Far Out Recordings presents a reissue of Eumir Deodato's Ataque, originally released in 1965. One of Brazil's most prolific artists, Deodato has racked up 16 platinum albums, won a Grammy (and been nominated for two more), and sold over 250 million records in the USA alone. After moving from Rio de Janeiro to New York in the late 60's, Deodato would work as a composer, arranger, producer and keyboardist on nearing 500 records, under his own name and with the likes of Aretha Franklin, Earth Wind, and Fire, Frank Sinatra, Kool & The Gang, George Benson, Tom Jobim, and Bjork, to name a just a few. Before that, a young Deodato had already cemented his status in Brazil as one of the country's top musical minds. In the mid-sixties, when he wasn't working with the likes of Roberto Menescal, Joao Donato, and Marcos Valle, Deodato recorded a string of albums with his lesser known instrumental samba jazz and bossa nova ensemble Os Catedráticos. A masterpiece of hip Brazilian swing, Ataque reflects the deeper, groovier side of that magical, hazy sound of sixties Rio, with monster samba grooves backing big brass arrangements and scorching organ solos. Amongst Deodato's own tracks, there are compositions by Marcos & Paulo Sergio Valle, Baden Powell, and Luiz Bonfa, arranged for a big horn section, which includes trombone player Edson Maciel, and is given an extra dose of cool from the inimitable drums of Wilson Das Neves and Ruebens Bassini on percussion. An elusive album in the canon of killer, groovy Brazilian music, with vinyl copies near-impossible to find for less than three digits, Ataque finally gets the official Far Out reissue treatment in being remastered from the original tapes. Now available for the first time outside of South America. Personnel: Eumir Deodato - leader, arrangements, conductor; Maurílio Santos - trumpet; Walter Rosa - tenor sax; Aurino Ferreira - baritone sax; Edson Maciel - trombone; Ruebens Bassini - congas, pandeiro; Humberto Garin - guiro; Jorginho Arena - congas; Sergio Barroso - baixos; Wilson Das Neves - drums; Geraldinho Vespar - guitar.
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FARO 206LP
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LP version. Far Out Recordings presents a reissue of Itibere Orquestra Familia's Pedra do Espia, originally released in 2001. Itiberê Zwarg is an award-winning Brazilian bassist and the longest-serving member of Hermeto Pascoal's ground-breaking ensemble O Grupo. Since their first meeting in 1977, the two have been closely collaborating to create a unique musical language: a genre-defying polyharmonic, polyrhythmic music, now widely studied by musicians and musicologists alike, known as "Universal Music". Back in 2001, Itiberê led a workshop at Villa Lobos School of Music, with twenty-nine of Rio de Janeiro's most exceptionally talented young musicians. Employing the principles of Universal Music alongside his long-held belief in the powers of listening and intuition, Itiberê composed and arranged in real time, transcribing the improvisations of the prodigious orchestra while allowing the players total freedom to experiment. The result was Pedra do Espia, an Amazonian orchestral masterpiece which is as difficult to categorize as it is fun to listen to. Named after the beachside viewing point which translates as 'Spy's Rock', where Itiberê would sit as a child, daydreaming and gazing out over the Brazilian coast, the record harnesses the pure creativity of youth and nature, creating a magical sense of innocence amongst the striking compositions and astonishing musicianship. On the original liner notes from the 2001 CD release, Itiberê guarantees the record to be "surprising in its uniqueness, it's harmonic richness, it's exuberant melodies and rhythmic variations like nothing heard before." Bringing the album to vinyl for the first time, Far Out Recordings are honored to present this overlooked masterpiece from one of the greatest minds in Brazilian instrumental music.
"Itiberê Zwarg Orquestra Família make universal music. This family has fallen from the sky. Their music is excellent, a treasure chest full of harmonic, rhythmic and melodic jewels. The name Itiberê Zwarg Orquestra Família exists because they are a family, united by music and the father they share in Itiberê. His children of sound play better than adults. This was exactly the time for a sound like this to appear. I, Hermeto Pascoal, do not mess around, music is my religion. That's why I say this."--Hermeto Pascoal, 2001.
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2CD
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FARO 206CD
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Far Out Recordings presents a reissue of Itibere Orquestra Familia's Pedra do Espia, originally released in 2001. Itiberê Zwarg is an award-winning Brazilian bassist and the longest-serving member of Hermeto Pascoal's ground-breaking ensemble O Grupo. Since their first meeting in 1977, the two have been closely collaborating to create a unique musical language: a genre-defying polyharmonic, polyrhythmic music, now widely studied by musicians and musicologists alike, known as "Universal Music". Back in 2001, Itiberê led a workshop at Villa Lobos School of Music, with twenty-nine of Rio de Janeiro's most exceptionally talented young musicians. Employing the principles of Universal Music alongside his long-held belief in the powers of listening and intuition, Itiberê composed and arranged in real time, transcribing the improvisations of the prodigious orchestra while allowing the players total freedom to experiment. The result was Pedra do Espia, an Amazonian orchestral masterpiece which is as difficult to categorize as it is fun to listen to. Named after the beachside viewing point which translates as 'Spy's Rock', where Itiberê would sit as a child, daydreaming and gazing out over the Brazilian coast, the record harnesses the pure creativity of youth and nature, creating a magical sense of innocence amongst the striking compositions and astonishing musicianship. On the original liner notes from the 2001 CD release, Itiberê guarantees the record to be "surprising in its uniqueness, it's harmonic richness, it's exuberant melodies and rhythmic variations like nothing heard before." Presented here as a 16-track double CD, Far Out Recordings are honored to present this overlooked masterpiece from one of the greatest minds in Brazilian instrumental music.
"Itiberê Zwarg Orquestra Família make universal music. This family has fallen from the sky. Their music is excellent, a treasure chest full of harmonic, rhythmic and melodic jewels. The name Itiberê Zwarg Orquestra Família exists because they are a family, united by music and the father they share in Itiberê. His children of sound play better than adults. This was exactly the time for a sound like this to appear. I, Hermeto Pascoal, do not mess around, music is my religion. That's why I say this."--Hermeto Pascoal, 2001.
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FARO 205CD
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In the sweltering North-Eastern Brazilian state of Pernambuco lies the coastal city of Recife, Amaro Freitas is pioneering the new sound of Brazilian jazz. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, the young pianist's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker, and Monk. As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. He won a place at the prestigious Conservatório Pernambucano de Música but had to drop out as his family could not spare the money for the bus fare. Undeterred, Amaro gigged in bands at weddings and worked in a call center to fund his tuition. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert. Despite not actually owning a piano, Amaro devoted himself to studying day and night. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar, Mingus. He met and begun collaborating with bassist Jean Elton and the found drummer Hugo Medeiros. The Amaro Freitas Trio was born. "I want to show the simplicity of music, to break the stigma that the piano is for a particular social class." Following his critically acclaimed debut album Sangue Negro ("Black Blood"), the title of his sophomore release Rasif is a colloquial spelling of Amaro's home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti, and Moacir Santos. "Dona Eni" is a scorching reconstruction of the baião rhythmic structure, played in seven measures instead of two. Title track "Rasif" is a serene homage to the coastal reef and its ecosystems. "Aurora" is a suite of three parts, representing the sun's journey from the light and soft of the rise. Personnel: Amaro Freitas - piano; Hugo Medeiros - drums and percussion; Jean Elton - double bass; Henrique Albino - baritone sax, flutes, and clarinet. LP version comes on 180 gram vinyl; includes download code.
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FARO 205LP
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LP version. 180 gram vinyl; includes download.In the sweltering North-Eastern Brazilian state of Pernambuco lies the coastal city of Recife, Amaro Freitas is pioneering the new sound of Brazilian jazz. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, the young pianist's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker, and Monk. As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. He won a place at the prestigious Conservatório Pernambucano de Música but had to drop out as his family could not spare the money for the bus fare. Undeterred, Amaro gigged in bands at weddings and worked in a call center to fund his tuition. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert. Despite not actually owning a piano, Amaro devoted himself to studying day and night. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar, Mingus. He met and begun collaborating with bassist Jean Elton and the found drummer Hugo Medeiros. The Amaro Freitas Trio was born. "I want to show the simplicity of music, to break the stigma that the piano is for a particular social class." Following his critically acclaimed debut album Sangue Negro ("Black Blood"), the title of his sophomore release Rasif is a colloquial spelling of Amaro's home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti, and Moacir Santos. "Dona Eni" is a scorching reconstruction of the baião rhythmic structure, played in seven measures instead of two. Title track "Rasif" is a serene homage to the coastal reef and its ecosystems. "Aurora" is a suite of three parts, representing the sun's journey from the light and soft of the rise. Personnel: Amaro Freitas - piano; Hugo Medeiros - drums and percussion; Jean Elton - double bass; Henrique Albino - baritone sax, flutes, and clarinet.
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FARO 022X-CD
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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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