Far Out Recordings was founded in 1994 by London DJ and record producer Joe Davis whose longstanding and insatiable passion for Brazilian music led him to become the UK's foremost authority on Brazilian music. The label's aim has been to bring the sound of Brazil to the world -- to showcase the history and culture of a land bursting with creativity and energy -- from the classic to the cutting edge. There have been numerous releases from both new and established Brazilian artists including legends such as Azymuth, Joyce, Marcos Valle, Arthur Verocai, The Ipanemas, Sabrina Malheiros, Clara Moreno and Binario, to name a few. Alongside Brazilian music, the label is also well known for its longstanding association with underground dance music, having collaborated with some of the most acclaimed and accomplished electronic producers of our times. This had led to a rich plethora of pioneering and innovative dance and beats music, forging a future for the oft-neglected role of Brazil and its rhythms in the complex dance music diaspora of the UK and US, with 12" remixes and original productions from the likes of Theo Parrish, Mark Pritchard, 4hero, Dego, Andres, Marcellus Pittman, Kirk Degiorgio, Nicola Conte, A.D. Bourke, Henry Wu and Rick Willhite among many others.
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FARO 208CD
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$14.00
PREORDER
RELEASE DATE: 2/15/2019
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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$21.00
PREORDER
RELEASE DATE: 2/15/2019
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 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 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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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 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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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 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 022X-LP
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LP version. 180 gram vinyl; Includes download code. Up until Nova Bossa Nova, Marcos Valle's first release for Far Out Recordings originally released in 1997, Marcos Valle hadn't released an album for well over a decade. After 1983, he resented the way the music industry had changed with commercialization and new demands curtailing his creative freedom. This was until 1994 when Marcos met Far Out Recordings boss Joe Davis and they recorded a track for Far Out's first Friends From Rio album. This new collaborative partnership resulted in a new solo album, which commenced recording in 1996. Nova Bossa Nova brought Marcos bouncing back into the '90s, slotting nicely in place alongside the acid jazz movement as well as a voracious new demand for Brazilian music on dancefloors from London to Tokyo. It was witnessing the London club scene's growing appetite for Brazilian music, as well as a lack of new sounds coming out of Brazil at the time, that a young Joe Davis put in a proposal to record a new album with one of his musical idols. Joe wanted to facilitate an album which would combine the latest technologies and production techniques, with live to analog tape recording: a Marcos Valle album tailor-made for London's clubs. Always open to modern influences and possibilities, Marcos agreed to the project, and Joe and his production partner Roc Hunter flew to Rio in '96. The record wasn't released until '98, as the original ½ inch tapes were stolen from Far Out's London studio, meaning parts of the album had to be re-recorded. Nova Bossa Nova was unveiled at the peak of the of the Brazilian movement, the record would also prove to be something of a revolution, inspiring a new generation of artists like Bebel Gilberto, Sabrina Malheiros, Da Lata, and Bossacucanova, who continued to fuse Brazilian influences with modern electronic sounds. The album takes a panoramic view of Valle's career, which was so fundamental in defining the standard of bossa back in the sixties and continues to do so to this day. "Nova Bossa Nova", the album's title track is an update on Marcos's trademark style, developing a more modern, funkier sound. Other gems include the dancefloor ready re-work of his 1970 hit "Freio Aerodynamico", and the smooth instrumentals "Bar Ingles", a jazz fusion looper, and the sun-soaked samba "Nordeste".
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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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LP
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FARO 170LP
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$22.00
PREORDER
RELEASE DATE: 10/5/2018
Far Out Recordings present a reissue of Azymuth's Light As A Feather, originally released in in 1979. Azymuth's career-defining LP Light As A Feather returns. Home to their worldwide disco/fusion hit single "Jazz Carnival", the samba-doido staple "Partido Alto", and the proto-deep house masterpiece "Avenida Das Mangueiras", this album typifies the trio's tireless innovation in the fields of jazz, funk, samba, and cosmic music perhaps more so than any of their other ground-breaking records from its era. Their first release on Milestone Records in 1979, it quickly became one of the best-selling LPs of the year, staying in the UK Top 20 for eight straight weeks with more than half a million copies sold. An incredibly well thought out album both in pace, song selection, and musicality, Light As A Feather marked a maturing of the band as they began to rightfully utilize the studio as an instrument itself, embracing numerous mixing, and recording techniques not yet common for the time, as well as pioneering the use of the Big Muff and Dolby System to great effect. The result is an album that endures to this day as a samba/jazz-funk masterpiece. First reissued in 2012, the Far Out Recordings edition of this seminal recording was remixed and re-mastered from the original 16-track tapes, which were given to Joe Davis by Azymuth. This latest version is the first ever issue to be complete with a download card that that gives access to previously unreleased tracks, including the incredible full-length version of "Jazz Carnival", Credits: José Roberto Bertrami - keyboards including Fender Rhodes, Arp 2600, Hammond B3 Organ, Mini Moog, Arp Omni, Vocoder, Oberheim 8 voice, vocals, percussion; Alex Malheiros - bass, guitar, vocals; Ivan "Mamaõ" Conti - drums, ARP 2600; Aleuda - percussion. 180 gram vinyl; Includes download card which includes remixes from house stalwarts Theo Parrish, Ashley Beedle, and Mark E.
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JD 043LP
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South London producer Ben Hauke takes a sonic excursion to South America via Lewisham for a new seven-track release for Far Out Recordings, Only Old. While littered with Afro-Latin percussion, and samples of obscure Brazilian, Cuban, and Colombian records, Only Old stays true to Ben's distinctly London identity, with a record that fluctuates between house, broken beat, and instrumental hip-hop. Having collaborated with the likes of Nubya Garcia and Joe Armon Jones, Ben Hauke stands at the electronic end of London's new jazz movement. Currently working on new releases with more of a focus on live instrumentation, Ben titled the release Only Old as it leans more heavily on his foundational approach to music making: an idiosyncratic, almost brazen sampling style in productions bursting with personality. Always full of character and style, Hauke's productions have seen him likened to Theo Parrish and Madlib, with an altogether physical approach to sound. Title track "Only Old" is moody broken beat with eerie sampled vocals and piano. "Get Up To Get Down" is a light n' breezy summer house stepper, while Brazil-inspired "Runners" sounds as if it was made for MF Doom. 180 gram vinyl. Sleeve design by fellow South London based artist Samuel Lloyd. "Digi Luv" features Eggrum.
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FORDIS 004LP
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Far Out Recordings present a reissue of the 1975 self-titled debut album from Brazilian vocalist and bossa nova luminary Emilio Santiago. Nicknamed "the Nat King Cole of Brazil", Santiago was a master bossa balladeer and a top-class crooner. But he is known equally for his Brazilian funk, soul, and boogie classics. One of his best know is album opener "Bananeira", a party-starting version of the song originally written by João Donato and Gilberto Gil. "Brother" is a smooth-grooving killer with great horn arrangements and a huge backing choir, while "La Mulata" is a soulful, swinging salsa stepper. Originally released on the CID label, the album showcases the full range of Emilio's talents, while paying homage to some of Brazil's greatest composers, including Jorge Ben, Marcos and Sergio Valle, and Ivan Lins, among others. The credits on the album are a "who's who" of Brazil's greats, with João Donato on keys, Wilson das Neves, Ivan "Mamão" Conti and Paulinho on drums, Durval Ferreira, Carlos Roberto Rocha and Helio Delmiro on guitar, Ariovaldo, Orlandivo and Chacal on percussion, Danilo Caymmi on flute, a brass section featuring Victor Assis Brasil, Edson Maciel and Jesse Sadoc, and backing vocals from Jaime & Nair, Lúcia Lins, Jurema and Marcio Lott.
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FARO 204LP
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LP version. 180 gram vinyl. Far Out Recordings venture further out to Uruguay to record a new album with fusion legend Hugo Fattoruso. After a twenty-year search for the man behind the cult '70s jazz-funk group Opa, Far Out Recordings present Barrio Opa: a new work from Fattoruso and his team of world-class musicians, including the sensational Candombe drumming of the renowned Silva brothers. Recorded at Sondor Studios, Montevideo, the album is the natural development of the original Opa sound, fusing Afro-Uruguayan rhythms, jazz harmony, and heavy funk attitude, under Hugo's unique musical vision. Hugo Fattoruso went from playing in his family band at street festivals around Uruguay, to fronting Los Shakers: South America's answer to the Beatles. At the end of the '60s Fattoruso was looking to broaden his musical horizons, and in 1969 he moved to New York where he formed Opa and went on to rub shoulders with the likes of Ron Carter and Creed Taylor. Fusing Candombe (traditional rhythm of Uruguay) with rock, jazz, funk, and other Latin American rhythms, Opa created a distinctive Afro-Uruguayan voice within the global jazz vernacular, influencing a generation of musicians throughout the seventies and beyond. During the '80s Fattoruso moved to Brazil, where he continued to work and record with Brazilian artists including Milton Nascimento, with whom he composed the World Music Grammy winning Nascimento album in 1997. Fattoruso also collaborated extensively with Airto Moreia. Recorded at Sondor Studios in Montevideo's iconic Barrio Sur district, the album features some of the world class musicians at the forefront of today's Uruguayan jazz scene, including Hugo's son Francisco Fattoruso on bass, Tato Bolognini on drums, Albana Barrocas on percussion, and Nicolás Ibarburu on electric guitar. The album also features the Candombe drumming of the legendary Silva brothers, Mathías, Guillermo Diaz, and Wellington, who give the album its Afro-Uruguayan identity. In Hugo's own words "this is the sound of Opa today." The stripped back yet equally rip-roaring trio piece "Botijas" is led by Hugo's virtuosic piano playing and hypnotic wordless vocals, and backed by an inventive, heavy grooving fusion of Latin rhythms from Tato Bolognini on drums. The shining moments for the Silva brothers' Tambor playing are "Candombelek" -- a beautifully moody Afro-Uruguyan groove with characterful Rhodes and vocal harmonies -- and "Candombe Alto", a carnivalesque track, awash with soaring synth lead, wah-wah guitar, and pulsating keys.
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FARO 204CD
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Far Out Recordings venture further out to Uruguay to record a new album with fusion legend Hugo Fattoruso. After a twenty-year search for the man behind the cult '70s jazz-funk group Opa, Far Out Recordings present Barrio Opa: a new work from Fattoruso and his team of world-class musicians, including the sensational Candombe drumming of the renowned Silva brothers. Recorded at Sondor Studios, Montevideo, the album is the natural development of the original Opa sound, fusing Afro-Uruguayan rhythms, jazz harmony, and heavy funk attitude, under Hugo's unique musical vision. Hugo Fattoruso went from playing in his family band at street festivals around Uruguay, to fronting Los Shakers: South America's answer to the Beatles. At the end of the '60s Fattoruso was looking to broaden his musical horizons, and in 1969 he moved to New York where he formed Opa and went on to rub shoulders with the likes of Ron Carter and Creed Taylor. Fusing Candombe (traditional rhythm of Uruguay) with rock, jazz, funk, and other Latin American rhythms, Opa created a distinctive Afro-Uruguayan voice within the global jazz vernacular, influencing a generation of musicians throughout the seventies and beyond. During the '80s Fattoruso moved to Brazil, where he continued to work and record with Brazilian artists including Milton Nascimento, with whom he composed the World Music Grammy winning Nascimento album in 1997. Fattoruso also collaborated extensively with Airto Moreia. Recorded at Sondor Studios in Montevideo's iconic Barrio Sur district, the album features some of the world class musicians at the forefront of today's Uruguayan jazz scene, including Hugo's son Francisco Fattoruso on bass, Tato Bolognini on drums, Albana Barrocas on percussion, and Nicolás Ibarburu on electric guitar. The album also features the Candombe drumming of the legendary Silva brothers, Mathías, Guillermo Diaz, and Wellington, who give the album its Afro-Uruguayan identity. In Hugo's own words "this is the sound of Opa today." The stripped back yet equally rip-roaring trio piece "Botijas" is led by Hugo's virtuosic piano playing and hypnotic wordless vocals, and backed by an inventive, heavy grooving fusion of Latin rhythms from Tato Bolognini on drums. The shining moments for the Silva brothers' Tambor playing are "Candombelek" -- a beautifully moody Afro-Uruguyan groove with characterful Rhodes and vocal harmonies -- and "Candombe Alto", a carnivalesque track, awash with soaring synth lead, wah-wah guitar, and pulsating keys.
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LP
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FORDIS 003LP
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Far Out Recordings present a reissue of Baiano & Os Novos Caetanos's self-titled album, originally released in 1974. Baiano & Os Novos Caetanos was a band formed by prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues. Satirizing Brazil's tropicalia movement in the 1970s, the duo took a friendly crack at the likes of Caetano Veloso and psychedelic rockers Novos Baianos, with their righteous tropicalista alter-egos "Baiano" and "Paulinho Boca de Profeta" poetically denouncing the dictatorship while simultaneously mocking those who took themselves too seriously. Jazz funk legends Azymuth play backing band with keyboard maestro Jose Roberto Bertrami also responsible for the arrangements on the album. Azymuth's free and funky psych sounds combine with accordion, harmonica, brass, and plenty of rural Brazilian rhythms, for a hugely varied album drawing on MPB, funk, and soulful samba rock. The album also features Orlandivo who co-wrote many of the songs, and renowned multi-instrumentalist and producer Durval Ferreira. 180 gram vinyl.
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LP
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FORDIS 002LP
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Far Out Recordings present a reissue of Azambuja & Cia's self-titled album, originally released in 1975. In 1975, the prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues recorded an album based on the protagonist of one of their most celebrated TV series. Sporting a dodgy moustache and an equally troubling haircut, Carioca conman Paulo Maurício Azambuja (played by Anysio) would flog his own mother's leg if he could, and his ever-ridiculous scams are inevitably always destined to fail. This soundtrack/musical reimagining of the series combines jazz-funk with samba soul and MPB, with the help of cult Brazilian trio Azymuth, keyboard maestro Jose Roberto Bertrami, who arranged the album alongside renowned conductor and composer Jose Menezes, elevates the groovy odd-ball sound to another dimension, with his set up including Fender Rhodes, Arp Strings, Arp Omni, Clavinet, and Hammond organ. Remaining Azymuth members Ivan Conti (drums) and Alex Malheiros (bass) provide the signature Azymuth foundation, and saxophone prodigy Victor Assis Brasil and legendary multi-instrumentalist producer Durval Ferreira also feature. As well as its distinctly comedic character, what makes the music so special is the coming together of traditional samba roots, and Azymuth's ahead-of-its-time psychedelic funk influence. Each side ends with a comedy monolog, complete with live audience laughter, but before that you get seven tracks of weird and wonderfully emotive Brazilian groove music. 180 gram vinyl.
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LP
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FARO 203LP
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LP version. 180 gram vinyl. For his third album for Far Out Recordings, London-based multi-instrumentalist and one of Europe's finest saxophonists Sean Khan ventures to Rio de Janeiro to collaborate with iconic Brazilian polymath Hermeto Pascoal. Taking its title from the escaped slave settlement "Palmares" in the Northeast of Brazil during the 1600s, Palmares Fantasy is Khan's utopian jazz message for the world, and it features Azymuth drummer Ivan "Mamao" Conti, bassist Paulo Russo, guitarist Jim Mullen, and guest vocals from Brazilian chanteuse Sabrina Malheiros, and Cinematic Orchestra frontwoman Heidi Vogel. Like Hermeto Pascoal, Sean Khan is a self-taught musician. Never able to afford his original dream of studying at Berklee and having been turned away from Guildhall School of Music for being "too raw", he became disillusioned with what he saw as the exclusivity, elitism, and dangerous institutionalization of the jazz world. Yet Sean's love for music and the drive to create never faltered. Hermeto Pascoal, the man Miles Davis once dubbed "the most impressive musician in the world", is a similarly independent artist. by the 17th century settlement of Palmares in Brazil's Alagoas region, which was free from the Portuguese crown's murderous exploitation of South America for a century, Khan notes his fascination with the fact that while made up mostly of escaped African slaves, many deserter conquistadors also joined the settlement. Hearing the deep-grooving title track with this history in mind, the listener is transported to a futuristic musical eden, with Mamao's insatiable 10/8 rhythm back-boning Hermeto's wild improvised vocals, Rhodes, and whistles, while Sean's harmonically brilliant sax and flute add more layers of moody, characterful expression. "Moment of Collapse" is Sean's poetic study on the uncertainties of modern day western civilization, delicately presented by the gorgeous vocals of Heidi Vogel and drenched in lugubrious strings and Alice Coltrane-esque harp. The two covers on the album are of Hermeto's own "Montreux" (on which Hermeto plays solos on a teapot and a pint of water), and an uplifting soulful jazz-funk take on Milton Nascimento and Lo Borges MPB classic "Tudo Que Voce Podia Ser" featuring the vocals of pioneering nu-bossa voice Sabrina Malheiros. The recording sessions for the album were part of an intensive and hugely productive eight-week excursion to South America for Far Out Recordings boss Joe Davis in the summer of 2016.
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12"
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FOMDO 015EP
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Hot off the back of the second full length Far Out Monster Disco Orchestra LP Black Sun (FARO 202CD/LP, 2018), the orchestra's prolific remix series, which has so far included reworks from the likes of Theo Parrish, DJ Spinna, Andres, and Dego, rolls on. John Morales's massive "M&M Main Mix" of "Step Into My Life" featuring Arthur Verocai gets a reissue, alongside a brand new remix of "The Two Of Us" from Al Kent, who highlights the hypnotic backing vocals of Brazilian psych-folk master Mauricio Maestro, for an emotionally charged Balearic anthem, complete with heavy dub mix.
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CD
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FARO 203CD
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For his third album for Far Out Recordings, London-based multi-instrumentalist and one of Europe's finest saxophonists Sean Khan ventures to Rio de Janeiro to collaborate with iconic Brazilian polymath Hermeto Pascoal. Taking its title from the escaped slave settlement "Palmares" in the Northeast of Brazil during the 1600s, Palmares Fantasy is Khan's utopian jazz message for the world, and it features Azymuth drummer Ivan "Mamao" Conti, bassist Paulo Russo, guitarist Jim Mullen, and guest vocals from Brazilian chanteuse Sabrina Malheiros, and Cinematic Orchestra frontwoman Heidi Vogel. Like Hermeto Pascoal, Sean Khan is a self-taught musician. Never able to afford his original dream of studying at Berklee and having been turned away from Guildhall School of Music for being "too raw", he became disillusioned with what he saw as the exclusivity, elitism, and dangerous institutionalization of the jazz world. Yet Sean's love for music and the drive to create never faltered. Hermeto Pascoal, the man Miles Davis once dubbed "the most impressive musician in the world", is a similarly independent artist. by the 17th century settlement of Palmares in Brazil's Alagoas region, which was free from the Portuguese crown's murderous exploitation of South America for a century, Khan notes his fascination with the fact that while made up mostly of escaped African slaves, many deserter conquistadors also joined the settlement. Hearing the deep-grooving title track with this history in mind, the listener is transported to a futuristic musical eden, with Mamao's insatiable 10/8 rhythm back-boning Hermeto's wild improvised vocals, Rhodes, and whistles, while Sean's harmonically brilliant sax and flute add more layers of moody, characterful expression. "Moment of Collapse" is Sean's poetic study on the uncertainties of modern day western civilization, delicately presented by the gorgeous vocals of Heidi Vogel and drenched in lugubrious strings and Alice Coltrane-esque harp. The two covers on the album are of Hermeto's own "Montreux" (on which Hermeto plays solos on a teapot and a pint of water), and an uplifting soulful jazz-funk take on Milton Nascimento and Lo Borges MPB classic "Tudo Que Voce Podia Ser" featuring the vocals of pioneering nu-bossa voice Sabrina Malheiros. The recording sessions for the album were part of an intensive and hugely productive eight-week excursion to South America for Far Out Recordings boss Joe Davis in the summer of 2016.
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2LP
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FARO 202LP
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Double LP version. 180 gram vinyl. Far Out Monster Disco Orchestra returns with Black Sun, their second full-length album of 100% original, unadulterated disco sophistication, featuring all three original members of pioneering Brazilian jazz-funk trio Azymuth; a full orchestra with arrangements split between Arthur Verocai and Azymuth's late maestro Jose Roberto Bertrami; plus, members of the legendary Rio funk group Banda Black Rio, Since its critically acclaimed self-titled debut album in 2014, the FOMDO imprint has released a string of remixes by some all-time greats of dance music, including John Morales, Theo Parrish, Mark Pritchard, Marcellus Pittman, Andres, Dego, Volcov, Kirk Degiorgio, and Al Kent. To huge effect in clubs and festivals around the globe, some of the more recent remixes teased the new album material, which for the first time, is presented in its original, soul-heavy incarnation, alongside instrumental versions highlighting the album's stunning arrangements and compositional brilliance. Far from a throwback -- with disco music firmly entrenched in the modern club vernacular -- Black Sun is ecstatic dance music at its finest.
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CD
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FARO 202CD
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Far Out Monster Disco Orchestra returns with Black Sun, their second full-length album of 100% original, unadulterated disco sophistication, featuring all three original members of pioneering Brazilian jazz-funk trio Azymuth; a full orchestra with arrangements split between Arthur Verocai and Azymuth's late maestro Jose Roberto Bertrami; plus, members of the legendary Rio funk group Banda Black Rio, Since its critically acclaimed self-titled debut album in 2014, the FOMDO imprint has released a string of remixes by some all-time greats of dance music, including John Morales, Theo Parrish, Mark Pritchard, Marcellus Pittman, Andres, Dego, Volcov, Kirk Degiorgio, and Al Kent. To huge effect in clubs and festivals around the globe, some of the more recent remixes teased the new album material, which for the first time, is presented in its original, soul-heavy incarnation, alongside instrumental versions highlighting the album's stunning arrangements and compositional brilliance. Far from a throwback -- with disco music firmly entrenched in the modern club vernacular -- Black Sun is ecstatic dance music at its finest.
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LP
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FORDIS 001LP
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Far Out Recordings present the first official vinyl reissue of Edu Passeto and Gui Tavares's Noite Que Brincou De Lua: a super rare and largely unheard masterwork of MPB, originally released in 1981. Disciples of the Clube da Esquina movement, pioneered by Milton Nascimento and Lô Borges, Edu and Gui mixed psychedelic folk, jazz, bossa, and rock for an album of soulful, dreamy Brazilian pop, with stunning arrangements and lush vocal harmonies. Having first met performing on the music festival circuits of São Paulo and Minas Gerais, it wasn't long before Edu and Gui struck up a thriving song writing partnership and close friendship. The duo's motivation stemmed from a desire for social and political change, during what turned out to be the final years of the Brazilian military dictatorship. Prior to recording, Edu and Gui had to tread carefully with their lyrics, which had to be submitted to the federal censorship authorities before release. Their first application was rejected after the lyrics were deemed to contain too much direct social criticism. "Profome" (translated "Pro-hunger"), a song characteristically bittersweet in tone, was initially a matter of fact portrayal of the desperately poor social conditions many people in Brazil faced at the time. Back to the drawing board, Edu and Gui, like many persecuted artists from this era had to refine their lyrics to convey their message more subtly. It took the best part of a year to complete the album, with Edu and Gui saving every scent they could spare from gigging and hitchhiking the 100km to each session from their home in Campinas, so that they'd have enough money to pay for studio time in Abertura Studios, São Paulo. Although the album gained a respectable amount of radio play in the years that followed, it's remained in relative obscurity, despite its spellbinding qualities, evident on tracks like "Sabiá Na Palmeira", a sweet Brazilian rare-groove with shades of Leroy Hutson, and the psych-folk tinged "Seguir", which harks to the dreamiest moments of Milton Nascimento and Marcos Valle. Edu and Gui called time on their musical partnership in 1986 when Gui moved to Rio De Janeiro, but they remained close friends until Edu sadly passed away in 2008 after a series of health complications. Remastered from the original ½-inch tapes. 180 gram vinyl.
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LP
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FARO 201LP
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Far Out Recordings present a second album from Victor Assis Brasil from the treasure trove of the Quartin Records catalog, Esperanto, originally released in 1976. Over the course of the 1960s, Roberto Quartin released more than 20 albums in Brazil on his label Forma. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade's first year. These singular gems in Brazilian music, difficult to categorize, yet compellingly beautiful, have for too long gone unheard. Gifted his first saxophone by his aunt at the age of fourteen, only four years later the determined young musician, Victor Assis Brasil recorded his debut album, with a second to follow only a year later. The prodigious young carioca was subsequently granted a place to study at Berklee College of Music, where he played alongside the likes of Dizzy Gillespie, Clark Terry, Chick Corea, and Ron Carter. It was also during this period he recorded Esperanto and 1970's Toca Antonio Carlos Jobim (FARO 195LP) with Roberto Quartin, upon returning to Brazil in the summer of 1970. Recorded in the same sessions as the Toca Antonio Carlos Jobim album, Esperanto consists of five deep jazz cuts: original compositions except for a heavy-swinging Latin-jazz cover of Jimmy Heath's "Ginger Bread Boy", alongside more moments of wild frenetic jazz, like "Quarenta Graus A Sombra", amongst more melancholic, but no less captivating compositions like "Marilia" and "Ao Amigo Quartin". Esperanto's influences span both American continents, finding a meeting point for Latin jazz and North American post-bop, with Roberto Quartin's perfectionist approach to sound elevating the already incandescent music to divine new heights. The band consists of some mercurial greats of Brazilian music: Dom Salvador (bass), Edison Machado (drums), Helio Delmiro (guitar), and Edson Lobo (Bass). Victor Assis Brasil passed away aged just thirty-five, due to a rare circulatory disease, but by this point his status was already cemented as one of the most talented musicians in Brazil's history. Victor Assis Brasil passed away aged just thirty-five, due to a rare circulatory disease, but by this point he was already considered one of the most talented musicians in Brazil's history. Features a track previously unreleased on vinyl, "Children". Remastered from the original 2" tapes. 180 gram vinyl.
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12"
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JD 042EP
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A huge peak time space-funk excursion from Italian duo Ad Bourke & ROTLA (Raiders of the Lost Arp), with a remix from Chicago deep-house architect Ron Trent. "RAW" gives you huge live drums, seriously deft Rhodes noodling, and a galactic ocean of synth layers, making for a hyperkinetic yet altogether refreshingly organic, outer-national future-disco belter. Taking a similar approach to that of his recent remix of Azymuth's Fênix (FARO 194CD/LP), Ron Trent takes "RAW" into harder territory, giving it an extra coat of slick, stripping back and tightening the original before adding his own layers of kaleidoscopic synth-lines and pad progressions.
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