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.
|
|
|
viewing 1 To 25 of 184 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
FARO 222LP
|
$23.50
PREORDER
RELEASE DATE: 4/30/2021
LP version. First of two LPs. Far Out Recordings present Mora! and Mora! II. Mexican-American percussionist and former member of the Sun Ra Arkestra, Francisco Mora Catlett originally recorded and released his debut solo LP as a private press in 1987, but the sequel he recorded over the course of the next few years was shelved for decades to follow. A pan-American melting pot of hypnotic Afro-Cuban rhythms, frenetic batucadas, and fiery sambas, Mora! I & II are holy grails of Latin jazz, masterminded by an unsung hero of the genre. Mora grew up in Mexico City where he began working as a session musician for Capitol Records in 1968, before moving to study at Berklee Music College in Boston, MA in 1970. He very briefly returned to Mexico City with the best intentions of cultivating an avant-garde movement in the city, but when the Sun Ra Arkestra came to perform, Mora ended up leaving with the band to tour. Settling in Detroit, Francisco set to work on his self-titled debut, gathering an ensemble of musicians including keyboardist Kenny Cox, founder of the legendary Strata Records, bassist Rodney Whitaker (Roy Hargrove Quintet) and percussionists Jerome Le Duff, Alberto Nacif, and Emile Borde. The album openly embraces and unites the broad spectrum of improvisation, rhythm, and jazz that has thrived throughout the American continents for centuries. In Mora's own words the album intended to "manifest the African heritage presence in the American continent." Epitomizing this outlook, album opener "Afra Jum" deploys a melody based on Haitian, African, and Native American motifs, which is expanded upon by the soulful excellence of the Detroit veterans Cox and Whitaker, amidst a backdrop of Afro-Cuban inspired percussion. The sequel Mora! II was recorded shortly after with an expanded line-up that included trumpet legend Marcus Belgrave, famed for his work with Ray Charles, Charles Mingus, and others. Continuing the concept of the first album, the follow up moves deeper into South America with the samba jazz dance belter "Amazona", led by the rich vocals of Francisco's wife Teresa Mora. The "Afra Jum" concept is further explored, with the original motifs beefed up by the additional horns, and interspersions of Sun Ra inspired rumbling free improvisations. This follow up album remained shelved until 2005, when Mora put it out as a now obscure CD titled River Drum.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 223LP
|
$23.50
PREORDER
RELEASE DATE: 4/30/2021
LP version. Second on two LPs. Far Out Recordings present Mora! and Mora! II. Mexican-American percussionist and former member of the Sun Ra Arkestra, Francisco Mora Catlett originally recorded and released his debut solo LP as a private press in 1987, but the sequel he recorded over the course of the next few years was shelved for decades to follow. A pan-American melting pot of hypnotic Afro-Cuban rhythms, frenetic batucadas, and fiery sambas, Mora! I & II are holy grails of Latin jazz, masterminded by an unsung hero of the genre. Mora grew up in Mexico City where he began working as a session musician for Capitol Records in 1968, before moving to study at Berklee Music College in Boston, MA in 1970. He very briefly returned to Mexico City with the best intentions of cultivating an avant-garde movement in the city, but when the Sun Ra Arkestra came to perform, Mora ended up leaving with the band to tour. Settling in Detroit, Francisco set to work on his self-titled debut, gathering an ensemble of musicians including keyboardist Kenny Cox, founder of the legendary Strata Records, bassist Rodney Whitaker (Roy Hargrove Quintet) and percussionists Jerome Le Duff, Alberto Nacif, and Emile Borde. The album openly embraces and unites the broad spectrum of improvisation, rhythm, and jazz that has thrived throughout the American continents for centuries. In Mora's own words the album intended to "manifest the African heritage presence in the American continent." Epitomizing this outlook, album opener "Afra Jum" deploys a melody based on Haitian, African, and Native American motifs, which is expanded upon by the soulful excellence of the Detroit veterans Cox and Whitaker, amidst a backdrop of Afro-Cuban inspired percussion. The sequel Mora! II was recorded shortly after with an expanded line-up that included trumpet legend Marcus Belgrave, famed for his work with Ray Charles, Charles Mingus, and others. Continuing the concept of the first album, the follow up moves deeper into South America with the samba jazz dance belter "Amazona", led by the rich vocals of Francisco's wife Teresa Mora. The "Afra Jum" concept is further explored, with the original motifs beefed up by the additional horns, and interspersions of Sun Ra inspired rumbling free improvisations. This follow up album remained shelved until 2005, when Mora put it out as a now obscure CD titled River Drum.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 222CD
|
$15.50
PREORDER
RELEASE DATE: 4/30/2021
Far Out Recordings present Mora! and Mora! II. Mexican-American percussionist and former member of the Sun Ra Arkestra, Francisco Mora Catlett originally recorded and released his debut solo LP as a private press in 1987, but the sequel he recorded over the course of the next few years was shelved for decades to follow. A pan-American melting pot of hypnotic Afro-Cuban rhythms, frenetic batucadas, and fiery sambas, Mora! I & II are holy grails of Latin jazz, masterminded by an unsung hero of the genre. Mora grew up in Mexico City where he began working as a session musician for Capitol Records in 1968, before moving to study at Berklee Music College in Boston, MA in 1970. He very briefly returned to Mexico City with the best intentions of cultivating an avant-garde movement in the city, but when the Sun Ra Arkestra came to perform, Mora ended up leaving with the band to tour. Settling in Detroit, Francisco set to work on his self-titled debut, gathering an ensemble of musicians including keyboardist Kenny Cox, founder of the legendary Strata Records, bassist Rodney Whitaker (Roy Hargrove Quintet) and percussionists Jerome Le Duff, Alberto Nacif, and Emile Borde. The album openly embraces and unites the broad spectrum of improvisation, rhythm, and jazz that has thrived throughout the American continents for centuries. In Mora's own words the album intended to "manifest the African heritage presence in the American continent." Epitomizing this outlook, album opener "Afra Jum" deploys a melody based on Haitian, African, and Native American motifs, which is expanded upon by the soulful excellence of the Detroit veterans Cox and Whitaker, amidst a backdrop of Afro-Cuban inspired percussion. The sequel Mora! II was recorded shortly after with an expanded line-up that included trumpet legend Marcus Belgrave, famed for his work with Ray Charles, Charles Mingus, and others. Continuing the concept of the first album, the follow up moves deeper into South America with the samba jazz dance belter "Amazona", led by the rich vocals of Francisco's wife Teresa Mora. The "Afra Jum" concept is further explored, with the original motifs beefed up by the additional horns, and interspersions of Sun Ra inspired rumbling free improvisations. This follow up album remained shelved until 2005, when Mora put it out as a now obscure CD titled River Drum.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 220LP
|
$22.00
PREORDER
RELEASE DATE: 4/2/2021
LP version. Beyond their highly sought-after 1978 album Festa Para Um Novo Rei -- home to the mystical jazz-funk classic "Vidigal" and released on Philips' iconic Musica Popular Brasileira Contemporanea series (MPBC) -- little is known about Marcos Resende & Index, even to aficionados of obscure Brazilian music. Far Out Recordings present their previously unreleased self-titled debut album from 1976, contributing a crucial missing work from the glory days of progressive Brazilian instrumental music. Born in Cachoeiro de Itapemirim, Brazil in 1947, Marcos Resende was a prodigious musical child. In spite of his immense musical potential, he travelled to Lisbon in the '60s to study medicine. Yet continuing to explore his musical passion on the side, he formed a trio which went on to open for Dexter Gordon at the Cascais Jazz Festival in 1971. From here he formed the electronic oriented prog-jazz group Status, who opened shows for the likes of Elton John, Phil Woods, Stan Getz, Art Blakey & The Jazz Messengers, but in spite of their relative live success they have no known recordings. Now established as a highly regarded keyboardist, composer, and innovative electronic musician, Resende returned home to Brazil following Portugal's Revolução dos Cravos in 1974. Inspired by US jazz and British progressive rock he'd experienced while residing in Europe, Resende went all out acquiring a keyboard arsenal to be reckoned with, which included the Prophet 5, Yamaha CP-708, and Mini Moog. Determined to integrate his newfound inspirations with Brazilian rhythms and jazz traditions, he formed a new quartet with Rubão Sabino (bass), Claudio Caribé (drums) and the late great Oberdan Magalhães, of Banda Black Rio and Cry Babies fame. Marcos Resende & Index recorded their self-titled debut at Sonoviso Studios with the legendary sound engineer Toninho Barbosa, known as the "Brazilian Rudy Van Gelder". Marcos Resende & Index has both the timeless ethereal qualities as well as the progressive and futuristic ideals of Light As A Feather. Marcos kept the tapes from the Sonoviso sessions safe and presented them to Far Out's Joe Davis at his home in Lisbon in 2018, but only after 25 years of Joe pleading to hear them. Marcos has worked closely with Far Out towards restoring these recordings over the last two years, but tragically passed away after a battle with stomach cancer on November 12th, 2020 at the age of 73.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 221CD
|
$14.00
PREORDER
RELEASE DATE: 4/2/2021
From samba and bossa nova through to baile funk, with carioca expressions of jazz, rock, and hip-hop in between, the sound of Rio de Janeiro, while continually evolving, has always held an unnamable quality which reflects the magic and mystique of the city itself. Multi-instrumentalist and arranger Antonio Neves is the city's newest trailblazer: the enfant-terrible of Rio's music scene, leading a vital and diverse constellation of both emerging and well-known artists advancing the city's musical legacy. "It all started one sleepless night, after watching a Quincy Jones documentary." Inspired by the legendary music magnate, Neves began writing a list of artists residing in Rio de Janeiro "people that I admire, that I consider geniuses of their instruments, who share with me affinities, anxieties and projects." The list included some of Brazil's most revered living musicians who Neves has worked with in recent years: Hamilton de Holanda, Leo Gandelman, and Dorival Caymmi. Neves also called on some of Brazil's most exciting emerging talents including Alice Cayymii and Ana Frango Eletrico. A Pegada Agora É Essa (The Sway Now) is Neves's second album: a vibrant portrait of the current Brazilian music scene. From the regional to universal, popular to erudite, samba to rap, Latin rhythms to jazz, MPB and pop to good old rock n' roll, Neves walks with fluency and mastery amongst all the musical genres that Brazil has to offer. "My offer to the musicians was complete freedom to express themselves through the songs I proposed -- classics like 'Summertime', 'Luz Negra', and 'Noite de Temporal', and compositions of my own -- creating a space of authorship for the band and the guests. A space for inventions, purges, delusions, laughter. The idea was to bring the freedom of jazz crossed by Brazilian rhythms, such as the traditionals "Partido Alto" ("A Pegada Agora É Essa") and "Jongo" ("Jongo no Feudo" and "Luz Negra"); rhythms of African-Brazilian religions like Candomblé ("Noite de Temporal") and Umbanda ("Forte Apache"); and a tribute to newest Rio de Janeiro's contribution to Brazilian music, the funk Carioca ("Simba"). Features Leda, Esguleba, Alice Caymmi, Ana Frango Elétrico, Hamilton de Holanda, Leo Gandelman, and Edu Neves.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 221LP
|
$22.00
PREORDER
RELEASE DATE: 4/2/2021
LP version. From samba and bossa nova through to baile funk, with carioca expressions of jazz, rock, and hip-hop in between, the sound of Rio de Janeiro, while continually evolving, has always held an unnamable quality which reflects the magic and mystique of the city itself. Multi-instrumentalist and arranger Antonio Neves is the city's newest trailblazer: the enfant-terrible of Rio's music scene, leading a vital and diverse constellation of both emerging and well-known artists advancing the city's musical legacy. "It all started one sleepless night, after watching a Quincy Jones documentary." Inspired by the legendary music magnate, Neves began writing a list of artists residing in Rio de Janeiro "people that I admire, that I consider geniuses of their instruments, who share with me affinities, anxieties and projects." The list included some of Brazil's most revered living musicians who Neves has worked with in recent years: Hamilton de Holanda, Leo Gandelman, and Dorival Caymmi. Neves also called on some of Brazil's most exciting emerging talents including Alice Cayymii and Ana Frango Eletrico. A Pegada Agora É Essa (The Sway Now) is Neves's second album: a vibrant portrait of the current Brazilian music scene. From the regional to universal, popular to erudite, samba to rap, Latin rhythms to jazz, MPB and pop to good old rock n' roll, Neves walks with fluency and mastery amongst all the musical genres that Brazil has to offer. "My offer to the musicians was complete freedom to express themselves through the songs I proposed -- classics like 'Summertime', 'Luz Negra', and 'Noite de Temporal', and compositions of my own -- creating a space of authorship for the band and the guests. A space for inventions, purges, delusions, laughter. The idea was to bring the freedom of jazz crossed by Brazilian rhythms, such as the traditionals "Partido Alto" ("A Pegada Agora É Essa") and "Jongo" ("Jongo no Feudo" and "Luz Negra"); rhythms of African-Brazilian religions like Candomblé ("Noite de Temporal") and Umbanda ("Forte Apache"); and a tribute to newest Rio de Janeiro's contribution to Brazilian music, the funk Carioca ("Simba"). Features Leda, Esguleba, Alice Caymmi, Ana Frango Elétrico, Hamilton de Holanda, Leo Gandelman, and Edu Neves.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 220CD
|
$14.00
PREORDER
RELEASE DATE: 4/2/2021
Beyond their highly sought-after 1978 album Festa Para Um Novo Rei -- home to the mystical jazz-funk classic "Vidigal" and released on Philips' iconic Musica Popular Brasileira Contemporanea series (MPBC) -- little is known about Marcos Resende & Index, even to aficionados of obscure Brazilian music. Far Out Recordings present their previously unreleased self-titled debut album from 1976, contributing a crucial missing work from the glory days of progressive Brazilian instrumental music. Born in Cachoeiro de Itapemirim, Brazil in 1947, Marcos Resende was a prodigious musical child. In spite of his immense musical potential, he travelled to Lisbon in the '60s to study medicine. Yet continuing to explore his musical passion on the side, he formed a trio which went on to open for Dexter Gordon at the Cascais Jazz Festival in 1971. From here he formed the electronic oriented prog-jazz group Status, who opened shows for the likes of Elton John, Phil Woods, Stan Getz, Art Blakey & The Jazz Messengers, but in spite of their relative live success they have no known recordings. Now established as a highly regarded keyboardist, composer, and innovative electronic musician, Resende returned home to Brazil following Portugal's Revolução dos Cravos in 1974. Inspired by US jazz and British progressive rock he'd experienced while residing in Europe, Resende went all out acquiring a keyboard arsenal to be reckoned with, which included the Prophet 5, Yamaha CP-708, and Mini Moog. Determined to integrate his newfound inspirations with Brazilian rhythms and jazz traditions, he formed a new quartet with Rubão Sabino (bass), Claudio Caribé (drums) and the late great Oberdan Magalhães, of Banda Black Rio and Cry Babies fame. Marcos Resende & Index recorded their self-titled debut at Sonoviso Studios with the legendary sound engineer Toninho Barbosa, known as the "Brazilian Rudy Van Gelder". Marcos Resende & Index has both the timeless ethereal qualities as well as the progressive and futuristic ideals of Light As A Feather. Marcos kept the tapes from the Sonoviso sessions safe and presented them to Far Out's Joe Davis at his home in Lisbon in 2018, but only after 25 years of Joe pleading to hear them. Marcos has worked closely with Far Out towards restoring these recordings over the last two years, but tragically passed away after a battle with stomach cancer on November 12th, 2020 at the age of 73.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 122X-LP
|
2020 repress. Heavyweight vinyl. Far Out Recordings present the ten-year anniversary of Arthur Verocai's Encore, originally released in 2007. Encore features 11 original compositions from Arthur Verocai with guest musicians including Azymuth, Ivan Lins, and a nine-piece string section. The highly anticipated follow-up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combines Brazilian influences with his take on American soul and cinematic experimentation, and shows that Arthur's sound is as poignant as it ever was. In the mid-2000s, following on from Marcos Valle, Joyce, and of course Azymuth, Arthur Verocai joined the long-line of Brazilian musicians whose music was to be introduced to a whole new legion of fans by Far Out Recordings. The story of Encore begins with Joe Davis, Far Out Recordings' head honcho who stumbled upon Arthur's debut in a dusty record store in downtown Rio in the late '80s. At the time of its release in 1972, critics panned Arthur's debut and both the album and artist subsequently vanished into obscurity. Fast forward to winter 2004 and Joe's at the studio of Far Out Recording artists Harmonic 313 -- aka production duo Mark "Troubleman" Pritchard and Dave Brinkworth -- playing them some of his favorite Brazilian albums. Dave recalls the moment Joe put on Arthur's debut, "As soon as the needle hit the record and we heard the fantastic arrangements, songs and sounds, Arthur completely blew our minds." Three months later and Dave was in Brazil with Arthur Verocai, and the plans for what was to become Encore were being laid down. Produced by Dave, Encore sees Arthur on incredible form, the 35 plus years between the recording of his debut and this the follow-up just melting away as Arthur picked up the (conductor's) baton once again to create 11 epic tracks of stirring samba-soul and experimental cinematic movements that sees him creating a record to rival his debut.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 218LP
|
LP version. 180 gram vinyl. In 2018, Far Out Recordings signed a record deal with Brooklyn born, nomadic producer Jneiro Jarel. Having just put the finishing touches to the recordings, Jarel suffered an ischemic stroke while living and working in Costa Rica and his wife Indigo was forced to set up a crowd fund to cover special medical transport back to the states to receive treatment. The release was put on hold, but thanks to the generosity of friends and fans around the world, Jarel was able to get the care he needed and is now on the long road to recovery. Far Out Recordings are overjoyed to announce the release of Jneiro Jarel's After A Thousand Years. Throughout a career that has spanned over twenty years and seen collaborations with MF DOOM, Thom Yorke, Damon Albarn, BadBadNotGood, Portishead's Beth Gibbons, Kimbra, and Khujo Goodie (Dungeon Family), Jneiro Jarel's consistently distinctive, forward thinking productions, as well as his love for the music of Brazil, made his partnership with Far Out a perfect fit. Recorded between New York, New Orleans, Miami, and Costa Rica, After A Thousand Years features legendary multi-instrumentalist Bill Summers, famed for his work with Herbie Hancock, Quincy Jones, and Eddie Henderson. The album also features Malawian-American guitarist Masauko Chipembere who has worked with the likes of RZA from Wu-Tang Clan and Ladybug Mecca from Digable Planets. Permeating the Brazilian music and Latin jazz Jarel has loved and drawn inspiration from, as well as the stateside jazz, soul, and funk, Jarel grew up around, the influence of Africa and its musical history, on both North and South America, is key to the album's sound. On lead single "Banana Peel", Jarel's outernational perspective makes for a track that is almost impossible to place geographically: you can hear the swing of Jarel's native New Orleans jazz, the vibrance of Costa Rican rainforests as well as the influence of Jarel's vast collection of Brazilian records. "Viberian Waves 1 & 2" is equally nonconformist, morphing from funky Baroque-flavored instrumental hip hop into a bossa inspired, percussive jam. Taking its inspiration from the biblical prophecies foretelling the fully realized, physical and spiritual restoration of the earth and mankind after the thousand year reign of the Messianic Kingdom, After A Thousand Years contemplates and celebrates a world where everlasting love, peace, and harmony abound under a sovereign, divine rulership. Also features Scott Burton, Dr Who Dat?, Capitol Peoples, Café, and Micröclimate.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
JD 050EP
|
Daniel Maunick returns with a new EP, Musica Encantada EP via Far Out Recordings. Continuing the theme of his debut album Macumba Quebrada (FARO 214CD/LP, 2019) -- which saw support from the likes of Moodymann, Ron Trent, Gilles Peterson, and Benji B -- Maunick draws on the deep-rooted Brazilian influences from the many years he has spent in the country, producing records with Azymuth, Marcos Valle, Sabrina Malheiros, and Ivan "Mamão" Conti. The bossa-jazz house smash "Black Magic" stays exclusive to the vinyl, while the percussive deep-house roller "A Chance To See Again", the tight and groovy "Hurt Feelings", and the slow-mo Brazilian Balearic "Africana" will all see a limited vinyl release.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 218CD
|
In 2018, Far Out Recordings signed a record deal with Brooklyn born, nomadic producer Jneiro Jarel. Having just put the finishing touches to the recordings, Jarel suffered an ischemic stroke while living and working in Costa Rica and his wife Indigo was forced to set up a crowd fund to cover special medical transport back to the states to receive treatment. The release was put on hold, but thanks to the generosity of friends and fans around the world, Jarel was able to get the care he needed and is now on the long road to recovery. Far Out Recordings are overjoyed to announce the release of Jneiro Jarel's After A Thousand Years. Throughout a career that has spanned over twenty years and seen collaborations with MF DOOM, Thom Yorke, Damon Albarn, BadBadNotGood, Portishead's Beth Gibbons, Kimbra, and Khujo Goodie (Dungeon Family), Jneiro Jarel's consistently distinctive, forward thinking productions, as well as his love for the music of Brazil, made his partnership with Far Out a perfect fit. Recorded between New York, New Orleans, Miami, and Costa Rica, After A Thousand Years features legendary multi-instrumentalist Bill Summers, famed for his work with Herbie Hancock, Quincy Jones, and Eddie Henderson. The album also features Malawian-American guitarist Masauko Chipembere who has worked with the likes of RZA from Wu-Tang Clan and Ladybug Mecca from Digable Planets. Permeating the Brazilian music and Latin jazz Jarel has loved and drawn inspiration from, as well as the stateside jazz, soul, and funk, Jarel grew up around, the influence of Africa and its musical history, on both North and South America, is key to the album's sound. On lead single "Banana Peel", Jarel's outernational perspective makes for a track that is almost impossible to place geographically: you can hear the swing of Jarel's native New Orleans jazz, the vibrance of Costa Rican rainforests as well as the influence of Jarel's vast collection of Brazilian records. "Viberian Waves 1 & 2" is equally nonconformist, morphing from funky Baroque-flavored instrumental hip hop into a bossa inspired, percussive jam. Taking its inspiration from the biblical prophecies foretelling the fully realized, physical and spiritual restoration of the earth and mankind after the thousand year reign of the Messianic Kingdom, After A Thousand Years contemplates and celebrates a world where everlasting love, peace, and harmony abound under a sovereign, divine rulership. Also features Scott Burton, Dr Who Dat?, Capitol Peoples, Café, and Micröclimate.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
JD 049EP
|
Following 2019's release of Azymuth's Demos (1973-75) (FARO 210CD, FARO 210-1LP, FARO 210-2LP), two more home-recorded demo tracks by the Brazilian psychedelic jazz-funk masters have surfaced from a tape in drummer Ivan Conti's private archive. These five-decade old recordings by the young band show the maturity, musicianship and distinctive style that saw Azymuth become one of the most important groups in Brazilian history. Featuring an instrumental take on Roberto and Erasmo Carlos' 1969 Jovem Guarda hit "As Curvas da Estrada de Santos", and spacey psych-folk oddity "Zé e Paraná", the new 7" release via Far Out Recordings shines yet more light on this critical period for Azymuth.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP/7"
|
|
FARO 208X-LP
|
Last copies, RSD 2020 release. Far Out Recordings present a special "poisoned vinyl" edition of Ivan "Mamão" Conti's critically acclaimed Poison Fruit album. The 180 gram, splattered color LP is accompanied by an exclusive bonus 7" with a previously unreleased track from the original Poison Fruit sessions "Katmandu", and "Ninho", a track never before released on vinyl. 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.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
FARO 217LP
|
Last available copies, RSD 2020 release. Following the release of Milton Nascimento's Maria Maria (FARO 215LP), Far Out Recordings present Nascimento's 1980 follow-up. With the success of Maria Maria in 1976 behind them, Nascimento reunited with his writing partner Fernando Brant in 1980 to produce another ballet, Ultimo Trem (Last Train). This time, they chose to tackle a more contemporarily relevant subject, the impact of the closure of a train line that connected certain towns and cities in the North East of Minas Gerais to the coast. "The military government shut down the route and the whole region began to fade away," explains Milton. "I love train rides" adds the composer, "But today there are almost no trains to Brazil..." Featuring much of the same all-star line-up as Maria Maria -- including legendary Brazilian musicians Naná Vasconcelos, João Donato, Paulinho Jobim, and members of Som Imaginário, amongst many others, like Maria Maria, the album holds what Milton himself considers to be the definitive versions of some of his most beloved tracks, including "Saídas E Bandeiras" and "Ponte de Areia". The title track, "Ultimo Trem" -- performed exquisitely by Zezé Mota with a choir and piano -- is a mournful lament about the human consequences of the axed line. "A Viagem (The Trip)", launched with a train's steam whistle, sees Milton's guitar moving to a train's rhythm. "Bicho Homen (Beastly Man)" and "Decreto (Degree)" are atypically upbeat and funky, their vocals a mesh of wordless male voices resembling the then fashionable Swingles Singers' renderings of Bach. "E Daí? (And So What?)", and "Olho d'Agua (Water's Eye)" were both drawn from Clube Da Esquina (1972). The unusual "O Velho (The Old Man)" conjures up an image of an old shaman singing alone into the wind against the cries of nature. Perhaps the most affecting songs are Nascimento's "Itamarandiba" and "Oração (Prayer)". The latter is a cry for a change in the situation whilst "Itamarandiba" ends with an upbeat, whirling Hammond organ and guitar timepiece. The closing track "Ponta de Areia (Sand Edge)", was based on one of Fernando's newspaper stories and became one of Milton's most famous pieces, covered by musicians such as Wayne Shorter and Earth, Wind and Fire. After 27 years of being locked inside contracts and record company legalities, these sublime songs were finally released in 2003 as a double-CD package, along with Maria Maria. This is the first ever vinyl release, on limited edition red vinyl, for Ultimo Trem.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 219CD
|
Far Out Recordings present a reissue of Manfredo Fest's Brazilian Dorian Dream, originally released in 1976. Legally blind from birth, Brazilian keyboard player, composer, and bandleader Manfredo Fest learnt to read music in braille and began studying classical music at a young age. By 17 he had fallen in love with jazz (particularly the music of fellow blind pianist George Shearing) before becoming swept up in Rio's emergent bossa nova movement in the sixties. Moving to the States in 1967 where he would go on to work with fellow countryman Sergio Mendes, Fest recorded and self-released Brazilian Dorian Dream in 1976, enlisting Thomas Kini (bass), Alejo Poveda (drums, percussion), and Roberta Davis (vocals). Like a turbo-powered, intergalactic elevator ride, Brazilian Dorian Dream builds on the principle of the modal diatonic scales of the Dorian mode, with influences of Brazilian rhythms, North American jazz and funk, and music of the European baroque and romantic era. The coming together of these intergenerational and intercontinental styles coupled with Fest's visionary use of the Fender Rhodes, Clavinet, Arp, and Moog synthesizers (plus a whole load of effects units), makes for an album light-years ahead of its time. The miraculous wordless vocals of American jazz singer Roberta Davis are nailed so tightly alongside Manfredo's keys and mind-bending synths that it sounds almost alien. On the album's liner notes, Fest preaches Davis's ability highlighting how hard it is to sing such precise intervals so accurately. One of the tracks on which the vocals shine brightest is space funk stepper "Jungle Cat", which features hard funky drums, freaky synth lines and expert Rhodes comping. The track builds up and up before releasing into the unmistakable scat melody in the chorus. A few years after releasing Brazilian Dorian Dream, Fest recorded and released his Manifestations album in 1979, featuring "Jungle Kitten": a new dancefloor focused variation on "Jungle Cat". At around 140 BPM "Jungle Kitten" was possibly deemed too fast for statside dance floors, which explains why it never got a US 12" release. But the track became something of an underground hit at jazz dance clubs and all-dayers across the UK in the '80s and as a result it has probably become Fest's most well-known track since. Brazilian Dorian Dream is almost impossible to find on vinyl. Remastered.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 219LP
|
LP version. 180 gram vinyl. Far Out Recordings present a reissue of Manfredo Fest's Brazilian Dorian Dream, originally released in 1976. Legally blind from birth, Brazilian keyboard player, composer, and bandleader Manfredo Fest learnt to read music in braille and began studying classical music at a young age. By 17 he had fallen in love with jazz (particularly the music of fellow blind pianist George Shearing) before becoming swept up in Rio's emergent bossa nova movement in the sixties. Moving to the States in 1967 where he would go on to work with fellow countryman Sergio Mendes, Fest recorded and self-released Brazilian Dorian Dream in 1976, enlisting Thomas Kini (bass), Alejo Poveda (drums, percussion), and Roberta Davis (vocals). Like a turbo-powered, intergalactic elevator ride, Brazilian Dorian Dream builds on the principle of the modal diatonic scales of the Dorian mode, with influences of Brazilian rhythms, North American jazz and funk, and music of the European baroque and romantic era. The coming together of these intergenerational and intercontinental styles coupled with Fest's visionary use of the Fender Rhodes, Clavinet, Arp, and Moog synthesizers (plus a whole load of effects units), makes for an album light-years ahead of its time. The miraculous wordless vocals of American jazz singer Roberta Davis are nailed so tightly alongside Manfredo's keys and mind-bending synths that it sounds almost alien. On the album's liner notes, Fest preaches Davis's ability highlighting how hard it is to sing such precise intervals so accurately. One of the tracks on which the vocals shine brightest is space funk stepper "Jungle Cat", which features hard funky drums, freaky synth lines and expert Rhodes comping. The track builds up and up before releasing into the unmistakable scat melody in the chorus. A few years after releasing Brazilian Dorian Dream, Fest recorded and released his Manifestations album in 1979, featuring "Jungle Kitten": a new dancefloor focused variation on "Jungle Cat". At around 140 BPM "Jungle Kitten" was possibly deemed too fast for statside dance floors, which explains why it never got a US 12" release. But the track became something of an underground hit at jazz dance clubs and all-dayers across the UK in the '80s and as a result it has probably become Fest's most well-known track since. Brazilian Dorian Dream is almost impossible to find on vinyl. Remastered.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 216CD
|
On his debut album Travesseiro Feliz (Happy Pillow), Rio de Janeiro based artist Ricardo Richaid melds his tropical heritage with his love for psychedelic music, jazz, and rock. He also takes inspiration from the many Brazilian greats -- Caetano Veloso, Arthur Verocai, Ivan Lins, Joyce, Hermeto Pascoal, Marcos Valle, and Azymuth (to name a few) -- who he has worked with as an engineer, assistant, and producer, in Rio's former RCA studio, Cia dos Tecnicos. Heavily influenced by Brazil's fabled Tropicalia movement, Richaid is also the grandson of Brazilian actor, singer, and Disney star Aurora Miranda (Carmen Miranda's younger sister). Describing his sound as "Industrial Tropicalism", Richaid's music is undoubtedly a product of his environment: warm, hazy and beautiful, but reflective of the current mood of his homeland, lamenting the political, economic, and ecological crisis. The unconventional time signatures and sunny jazz-folk meets post-punk aesthetic are adorned by Richaid's studio smarts. Travisseiro Feliz features notable names from across Rio's music spectrum, including percussion sensation Marcos Suzano (Gilberto Gil), experimental pop artist Ana Frango Eletrico, and vocalist/multi-instrumentalist Jose Ibarra (Milton Nascimento's touring group). On interlude track "Formigas" you also hear a few verses of Ricardo singing with his seven-year-old daughter, Nina. Carrying forward the Tropicália torch, the opener "Maracas Enterprise/Frio da manhã" is a two-part journey through Richaid's sonic approach, weaving together interlocking horns, chorus drenched guitar, and fuzzed-up synth stabs. A perfect example of Richaid's industrial tropicalism, "Largado Nu" mixes soft, acoustic guitar, and flutes with harder-edged synths and electric guitars, while "O Velho Cai" is beautiful jazz-infused folk, with fretless bass and saxophone singing around the vocal harmonies of Richaid and Liza Machado. Living with his grandmother Aurora Miranda until the age of seventeen (featured in Walt Disney's Three Caballeros film, and happens to be the first human being to kiss Donald Duck), Ricardo would listen to his father playing chromatic scales and bossa nova melodies on the saxophone; his mother's Brazilian classical piano; or his punk rock brother slamming the drums. This eclectic musical upbringing led a teenage Ricardo to learning his trade as the bassist in a short-lived hard rock band, which disbanded when Ricardo began to dig deeper. Alongside engineering some of his musical heroes in Brazil, Richaid has played in bands like Mara Rúbia and nitú, from Rio's underground experimental psych and jazz scenes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 216LP
|
LP version. 180 gram vinyl. On his debut album Travesseiro Feliz (Happy Pillow), Rio de Janeiro based artist Ricardo Richaid melds his tropical heritage with his love for psychedelic music, jazz, and rock. He also takes inspiration from the many Brazilian greats -- Caetano Veloso, Arthur Verocai, Ivan Lins, Joyce, Hermeto Pascoal, Marcos Valle, and Azymuth (to name a few) -- who he has worked with as an engineer, assistant, and producer, in Rio's former RCA studio, Cia dos Tecnicos. Heavily influenced by Brazil's fabled Tropicalia movement, Richaid is also the grandson of Brazilian actor, singer, and Disney star Aurora Miranda (Carmen Miranda's younger sister). Describing his sound as "Industrial Tropicalism", Richaid's music is undoubtedly a product of his environment: warm, hazy and beautiful, but reflective of the current mood of his homeland, lamenting the political, economic, and ecological crisis. The unconventional time signatures and sunny jazz-folk meets post-punk aesthetic are adorned by Richaid's studio smarts. Travisseiro Feliz features notable names from across Rio's music spectrum, including percussion sensation Marcos Suzano (Gilberto Gil), experimental pop artist Ana Frango Eletrico, and vocalist/multi-instrumentalist Jose Ibarra (Milton Nascimento's touring group). On interlude track "Formigas" you also hear a few verses of Ricardo singing with his seven-year-old daughter, Nina. Carrying forward the Tropicália torch, the opener "Maracas Enterprise/Frio da manhã" is a two-part journey through Richaid's sonic approach, weaving together interlocking horns, chorus drenched guitar, and fuzzed-up synth stabs. A perfect example of Richaid's industrial tropicalism, "Largado Nu" mixes soft, acoustic guitar, and flutes with harder-edged synths and electric guitars, while "O Velho Cai" is beautiful jazz-infused folk, with fretless bass and saxophone singing around the vocal harmonies of Richaid and Liza Machado. Living with his grandmother Aurora Miranda until the age of seventeen (featured in Walt Disney's Three Caballeros film, and happens to be the first human being to kiss Donald Duck), Ricardo would listen to his father playing chromatic scales and bossa nova melodies on the saxophone; his mother's Brazilian classical piano; or his punk rock brother slamming the drums. This eclectic musical upbringing led a teenage Ricardo to learning his trade as the bassist in a short-lived hard rock band, which disbanded when Ricardo began to dig deeper. Alongside engineering some of his musical heroes in Brazil, Richaid has played in bands like Mara Rúbia and nitú, from Rio's underground experimental psych and jazz scenes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FORDIS 006LP
|
Far Out Recordings present the first ever vinyl reissue of Cry Babies' self-titled debut album, originally released in 1969. An early formation of Brazilian funk greats Banda Black Rio, Cry Babies took inspiration from the iconic US soul records of James Brown, The Isley Brothers, and Kool & The Gang, all of whom are covered on their first and only album. Pioneering Brazil's funk fascination, Cry Babies paved the way for the likes of Jorge Ben, Dom Salvador, Trio Mocotó, and Azymuth: with fat, funky drum breaks, big round bass, touches of psychedelic Brazilian surf, and the kind of hazy soulful arrangements that could only emerge from Rio de Janeiro. Produced by one of Brazil's most prolific musical minds, Durval Ferreira -- whose songwriting and production credits also include Sergio Mendes, Deodato, Emilio Santiago, Ed Lincoln, Joao Bosco, Quarteto Em Cy, and Dila -- the Cry Babies sound, while distinctly North American in influence, carries all the sunshine warmth of the samba jazz and bossa nova records that were coming out of Brazil at the time. With saxophonist Oberdan Magalhães responsible for the album's arrangements, it's no surprise that when Warner Music established themselves in Brazil in the mid-seventies, Magalhães was the man they asked to form a group (Banda Black Rio) to develop this new merging of stateside soul and Brazilian influences. Yet while Banda Black Rio's tight, groove-heavy sound has awarded them cult status amongst lovers of instrumental Brazilian music, their first formation as Cry Babies is a lesser-known story. Since its first and only release, the original record has remained impossibly expensive and hard to find. This first ever vinyl reissue has been remastered and pressed to 180 gram vinyl, with a high-quality replica sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
FARO 215LP
|
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.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
JD 047EP
|
Repressed. 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.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
FARO 214LP
|
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.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 214CD
|
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.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 213LP
|
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.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 212LP
|
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.
|
viewing 1 To 25 of 184 items
Next >>
|
|