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FAR OUT

Sabrina Malheiros

Clareia Remixes

    Brazilian rhythms have always been foundati onal infl uences on the brokenbeat and future jazz movements, and this EP conti nues to explore these connecti ons, a running theme throughout Far Out’s 23 year history with Seiji, Mark Pritchard, Afronaught, Domu, Da Lata and Jazzanova being just a few of the names to have contributed to this parti cular avenue of the label’s pantheon of dance music.

    The joyful samba-soul in the ti tle track of Sabrina Malheiros’ latest album features the bass and keys of Brazilian Jazz-funk legends Azymuth, and is inspired by the quest for clarity in the face of diffi cult ti mes; Clareia in Sabrina’s own words “means to clear, light, brighten or illuminate”. But this remix EP beauti fully ruptures the ‘clarity’ in style, each craft ing the breezy Brazilian beats into their own disti nct brand of future-thinking club-funk... these beats were made to be broken!

    Eumir Deodato / Os Catedraticos

    Ataque

      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 & Fire, Frank Sinatra, Kool & The Gang, George Benson, Tom Jobim and Bjork, to name a just a few.

      But 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 Catedraticos.

      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 given an extra dose of cool from the inimitable drums of Wilson Das Neves and Ruebens Bassini on percussion.

      One of Brazil’s most prolific artists, Eumir 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.

      Itibere Orquestra Familia

      Pedra Do Espia

        Itibere 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, Itibere led a workshop at Villa Lobos School of Music, with twenty-nine of Rio de Janeiro’s most exceptionally talented young musicians. The result was Pedra do Espia, an Amazonian orchestral masterpiece which is as difficult to categorise as it is fun to listen to. The record harnesses the pure creativity of youth and nature, creating a magical sense of innocence amongst the striking compositions and astonishing musicianship. Bringing the album to vinyl for the first time, alongside a full 16 track CD and digital release, Far Out Recordings are honoured to present this overlooked masterpiece from one of the greatest minds in Brazilian instrumental music. 

        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. As his natural talents became obvious, the young prodigy quickly outgrew his father’s instruction. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, “he completely blew my mind, I’d never seen anything like it but I knew that’s what I wanted to do with a piano”. 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. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer. Hugo Medeiros joined, and the Amaro Freitas Trio was born. Following his critically acclaimed debut album Sangue Negro (black blood), the title of his second 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.
        Preferring to see the piano as a though it were a drum with 88 unique tones, Amaro’s intelligence and emotion intertwine on every track, from album opener ‘Dona Eni’: a scorching reconstruction of the baiao rhythmic structure, played in seven measures instead of two, to the serene homage to the coastal reef and its ecosystems on the title track ‘Rasif’. ‘Aurora’ is a suite of three parts, representing the sun’s journey from the light and soft of the rise, to the aggressive dissonance at its midday zenith and descending chromatic cadences as the sun sets. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.

        Throughout his astounding six-decade career, infiltrating pop, bossa nova, samba, delicate psychedelia, jazz and funk, Marcos Valle has consistently shown a dogged determination to transcend the traditions and structures of bossa nova, whilst never veering away from the movement’s inherent, fundamental spirit.

        Nova Bossa Nova was unveiled at the peak 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 dance-floor 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’. Twenty years since the original release, the album remains a landmark for Far Out Recordings and Brazilian music in general.

        FORMAT INFORMATION

        LP includes MP3 Download Code.

        Sean Khan's third album for Far Out Recordings. The London based multiinstrumentalist and one of Europe’s finest saxophonists 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 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 institutionalisation 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. A true maverick whose ingenuity and freedom from conventional restraints is so great that he has essentially conceived his own musical language, made him the dream collaboration for Sean.

        "Moment of Collapse" is Sean’s poetic study on the uncertainties of modern day western civilisation, 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 of Milton Nascimento & 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 boss Joe Davis in the summer of 2016, which also saw the sessions for Azymuth’s "Fenix" and a forthcoming album from Uruguayan fusion legend Hugo Fattoruso.


        Far Out Monster Disco Orchestra returns with "Black Sun", its 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 throw-back - with disco music firmly entrenched in the modern club vernacular - Black Sun is ecstatic dance music at its finest.

        Ivan Conti

        Azul (Max Graef, Contours & Glenn Astro Remixes)

        With Ivan ‘Mamao’ Conti's new solo LP on the cards for next year, the Azymuth drummer allows three of the new jazz-house fraternity loose on his wild stems for a seriously funky set of remixes that should serve as a primer for the album proper in 2018. The second 12” of the series, it sees local lad Contours joined by Germany's Max Graef and Glenn Astro. All three tracks are ridiculously good expansions on the jazz standard as well as forays into hybrids of house and beatdown. Contours' contribution more than hold its own; a smoked out vibe permeating through soft bass, brilliantly stylized drums and fluttering organ chords taking the mood deep and bluesy. Glenn Astro's drunkard, wobbly leads characterize his take on "Azul", as a rambunctious 4/4 struggles to keep in line, tumbling through the scales and passages with carefree abandon. Max Graef keeps things chilled and wavy on his version; spewing luminous synth guys on another syncopated and well compressed MPC-style beat construction. Expert stuff here most enjoyable. 

        Hermeto Pascoal & Grupo Vice Versa

        Viajando Com O Som (The Lost 76 Vice Versa Studio Sessions)

          There have been few musicians to ever reach the stature of Hermeto Pascoal. A true maestro and a cultural icon, he represents the highest level of musical evoluti on; as a multi -instrumentalist, as a composer and as an arranger. Once described by Miles Davis as "the most impressive musician in the world".

          For the label's 200th release, Far Out Recordings proudly presents a previously unreleased album by Hermeto Pascoal and his 'Grupo Vice Versa': Viajando Com O Som (the lost '76 Vice Versa Studio Sessions). Recorded in just two days in 1976, at Rogério Duprat's Vice Versa Studios, São Paulo, the sessions featured Hermeto's go-to 'Paulista' rhythm secti on of the day: Zé Eduardo Nazario (drums), Zeca Assumpção (bass) and Lelo Nazario (electric piano), as well as saxophonists Mauro Senise, Raul Mascarenhas and Nivaldo Ornelas, guitarist Toninho Horta and vocalist Aleuda Chaves.

          Recorded at an especially experimental period in Hermeto's career, it's a compelling insight into the incredible eff orts of this group, who under Hermeto's revoluti onary vision, created a unique musical language which would have a profound infl uence on countless arti sts to come.

          Nowadays, the 1970s is indeed considered a golden age of Brazilian music, but it's oft en forgott en how desperately hard it was for arti sts to get their music past the military dictatorship's censorship eff orts throughout the decade. Yet in 1976, despite the oft en musically radical nature of Hermeto Pascoal's compositi ons, he was in a typically producti ve phase of his career. The year before the release of his seminal album Slaves Mass, '76 saw Hermeto amass performance credits on Flora Purim's 'Open Your Eyes You Can Fly', OPA's 'Goldenwings' and Cal Tjader's 'Amazonas' to name just a few.

          The release of Viajando Com O Som re-writes the already remarkable story of one of the world's most supernaturally talented musicians, whilst illuminati ng a truly magical, yet hitherto lost and forgott en, moment of Brazilian musical history.

          “One of the greatest of all Brazilian musicians, fi le next to Sun Ra and all those great ahead of their ti me all-rounders. Far Out have done it yet again. Brilliant stuff ”. - Gilles Peterson (BBC 6 Music/ Worldwide FM)

          Having made her mark on Brazil's rich musical legacy with three best-selling albums to date, Rio's original nu-bossa queen returns with a tour de force of golden-era Brazilian soul music. From the spiritual swing of the early pioneers of modern Samba, to the dizzying hedonism of Brazil's eighties disco/boogie craze, "Clareia" is a life-affirming journey through the rich and varied sounds Sabrina Malheiros has been immersed in since she can remember. For her most up-lifting and danceable album to date, Sabrina has (as always) enlisted her father Alex Malheiros - bassist of samba jazz-funk legends Azymuth – and visionary London based producer Daniel Maunick (aka Dokta Venom), son of Incognito's Bluey.
          Sabrina's unmistakable voice has never sounded better. Packed out with high-octane swinging samba-soul, like the title-track and 'Salve O Mar', the album also features some bottom-heavy Brazilian boogie cuts, like rejoicing album opener 'Celebrar' which harks back to some of Marcos Valle's cult '80s disco output, and 'Sol Ceu E Mar' is a Tania Maria-esque future classic of scorching latin-funk. Mellower moments are found in 'Em Paz', on which Sabrina's beguiling harmonies find an anchor in the rhythmic acoustic guitar of Ze Carlos', who Sabrina heralds as being "the best guitarist I have ever worked with".
          Azymuth's keyboardist Kiko Continentino's deft Rhodes, piano, organ and synth playing, add ever more textures of distinctly Brazilian brilliance throughout, while tropical brass and flute arrangements on cool bossa-jazz movers 'Vai Maria' and 'Sandore', come from Brazilian saxophone legend Leo Gandleman, a man who has worked with everyone from Gal Costa to Gilberto Gil. The rhythm section combines Daniel Maunick's seamless drum programming and the organic polyrhythms of Brazilian percussion legend Jakare, all punctuated by Alex Malheiros' inimitable (occasionally slapped) jazz-funk bass, giving the album its irresistibly danceable pulse.

          Nomade Orquestra return from the stratosphere via Brazil with their second offering: "Entremundos (Between Worlds)". Gazing outward through a kaleidoscope from the heart of Sao Paulo’s jazz scene, the collective consciousness of the ten-man orquestra has dreamt up an adventurous amalgam of earth’s most far reaching musical cultures. Recorded at Red Bull Studios, Sao Paulo, Entremundos is like a cosmic musical playground where Ethio-jazz, Indian classical and Oriental sounds dance around Afro-Brazilian roots rhythms and Northern hemisphere jazz, funk, soul, library music and hip-hop influences. The sheer vastness of the album is astounding, Nomade Orquestra have quite literally conquered the world in sound. Nomade Orquestra are some the most accomplished musicians in their city. They’re also avid record collectors, citing the coming-together of their expansive musical knowledges as key to their unique sound. Album opener ‘Jardim de Zaira’ - a tribute to the neighbourhood on the outskirts of the famous ABC region, where the band meet and rehearse - hosts a playful unison of vibraphone, guitar, horns and keyboards reminiscent of Stereolab’s funkiest late ‘90s output. ‘Felag Mengu’ lies somewhere between the groovy, brooding ethio-jazz of Mulatu Astatke and Tinariwen’s hazy desert Rock, and ‘Olho do Tempo’ is another enchanting incarnation of the band’s impossible to define brand of global roots music. The album’s wildest moment comes from the roaring off-road, big-band joy-ride ‘Rinoceronte Blues’ with hill-billy harmonica, soulful organ stabs and soaring horn arrangements further highlighting the depths of Nomade Orquestra’s endless span of influences.

          Rivaling their legendary output from the 70’s onwards, Brazilian jazz-funk pioneers Azymuth’s latest album "Fênix" saw the band on top form, with their trademark samba doido (crazy samba) sounding as slick as ever. Since then, Far Out Recordings has commissioned a special one-off remix for the project from Chicago legend Ron Trent, who has long cited Azymuth as musical heroes and one of his biggest influences. With a toughened groove and gorgeous swirls of synth and pad, Ron’s remix takes Azymuth’s futurist disco into the house party and gives it a brand new audience in the process. I couldn't think of anyone more capable than big Ron to remix this track. His ear for blending organic instrumentation with electronic production is second to none, with his output possessing a natural radiance that's more in tune with the soul of disco and other 'human' dance musics than any of the bland, soulless mechanized computer beats that house music is more that guilty of, well, housing! Here we get a tastefully executed extension and embellishment, skillfully showing off the musician's undeniable talents whilst adding a bit more dancefloor energy, making for a climax of jazz-funk / house fusion! So good! Comes with the original album version too... very handy! 

          The 3rd release in the series (following albums by Jose Mauro and Victor Assis Brasil) is Piri's Vocês Querem Mate, a highly sought after jewel of twisted psychedelic MPB.Vocês Querem Mate?, the first recording by the relatively unknown singer songwriter Piry Reis is dreamy and ethereal, groovy Brazilian psych-folk at its finest.

          Reis has collaborated with greats like Egberto Gismonti and Robertinho Silva, and had his music performed by Celia, Charlie Haden and Jan Garbarek. His four solo albums are all rare as hens' teeth and have been known to fetch a hefty bounty, but none higher than his debut, and for good reason. Instantly captivating from its first second, the lone trembling piano in 'Reza Breva' builds a tremendous tension before bursting into the joyously funky Tropicalista folk jam that keeps up throughout the album. Flying the Brazilian freak flag high are percussion kings Juquina and Wilson Das Neves along with Paulinho Jobim and Danilo Caymmi on flutes. It's a dazzling, lucid piece of escapism, as necessary today as it was when released into the tumultuous political climate of 1970s Brazil.

          Victor Assis Brasil

          Toca Antonio Carlos Jobim

          Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato, Quarteto Em Cy, Baden Powell and Vinicius De Moraës. 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, with "Victor Assis Brasil Plays Antonio Carlos Jobim" and the "Obnoxious". These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard. Unlike Jose Mauro, whose biography is almost completely shrouded in mystery, Victor Assis Brasil's tragically short life is a better known story. He passed away aged just thirty-five, but by this point his status was already cemented as one of Brazil's top players. Gifted his first saxophone by his aunt at the age of fourteen, his debut LP was recorded just four years later, alongside some mercurial greats of Brazilian jazz, Tenorio Jr and Edson Lobo. Following the release of his first two albums, Victor was granted a place to study at Berklee College of Music, and it was during this period he recorded toca antonio carlos jobim upon returning to Brazil in the summer of 1970. At a time in Brazil when the smooth n' easy groove of the bossa beat no longer reflected the inflamed politics of a nation under the cosh of military dictatorship, Victor Assis Brasil morphed Jobim's soothing originals into raw, deep jazz cuts, with the help of Brazilian legends Edison Lobo, Helio Delmiro and Edison Machado. The album's influences spans 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. Like all Far Out reissues, the album has been remastered from the original tapes, and pressed to high quality heavyweight vinyl.

          STAFF COMMENTS

          Patrick says: Beguiling and brilliant, this third LP from Victor Assis Brasil is a masterclass in deep Latin jazz, packing each and every groove with pure expression and feeling.

          Continually pushing the boundaries of jazz, funk, electronic music and disco, all expressed through their signature samba swing, Brazilian mavericks Azymuth have recreated the energy of those spellbinding seventies' sessions which would launch them into international recognition and confirm their status as one of Brazil's most successful bands. Since the passing of keyboard maestro Jose Roberto Bertrami in 2012, remaining members Ivan Conti and Alex Malheiros have worked tirelessly to keep the spirit of Azymuth alive, and to continue the legacy of Bertrami's genius. But Fênix also marks a new era as the Azymuth trio is complete once again, by special guest keyboardist Kiko Continentino. A hugely talented pianist, composer and arranger, Kiko has worked with the likes of Milton Nascimento, Gilberto Gil and Djavan, and the fresh energy and inspiration he has brought to the group is undeniable. The album also features Brazilian percussion legend Robertinho Silva, one of Brazil's most important and influential players. From the disco-carnival title track to sunny jazz-funk head-nodder "Orange Clouds", through to the deep-space samba "Corumbá", Azymuth have drawn upon five decades of consummate craftsmanship - which coupled with their endless desire for experimentation and improvisation - has resulted in a 10-track journey encapsulating the full spectrum of Azymuth's brilliantly coloured expressionist fusion. With all the cosmic energy and masterful musicianship you'd expect from the three-man orchestra, Azymuth rise from the ashes!

          Azymuth

          Azimuth

            Far Out reissue of the legendary 1974 / 1975 debut recording from Brazil's original samba mavericks – Azymuth. Previously unreleased outside of Brazil, "Azimuth" is the band's definitive work - a raw stew of psychedelic guitar fuzz, tripped-out space funk and lush jazz soundscapes. Jose Roberto Bertrami, Ivan Conti, Alex Malheiros and Ariovaldo formed the band in the late 60s just as Os Mutantes released their debut record. Whilst Mutantes were honing a psychedelic 'Amazonian' version of western pop music Azymuth were creating a futuristic, electric interpretation of US jazz - also driven by the same rootsy Brazilian 'swing' that Mutantes had harnessed.

            FORMAT INFORMATION

            Ltd LP Info: Far Out have given 'Azimuth' the LP gatefold heavyweight vinyl treatment.

            Azymuth have recorded six studio albums for Far Out Recordings and the majority of the tracks on "Pure" (all now remastered) come from the first four: "Carnival" (1996), "Woodland Warrior" (1998), "Pieces Of Ipanema" (1999) and "Before We Forget" (2000) which are all now deleted, plus there's an extra exclusive new track "Morning". This release also features a bonus remix CD with sought-after reworks by 4hero, Jazzanova, Mark Pritchard, London Elektricity and Roni Size taken from Far Out's legendary 'Misturada' series.

            "The First Phase" is a forwards-backwards looking collection of new exclusives, early tracks and hard to find remixes from Mark Pritchard, aka Troubleman, Harmonic 33, Global Communications and Jedi Knights. Opening with the title track, a downtempo dubbed out instrumental head nodder that could come from his Harmonic 33 work, the album moves through the atmospheric breaks of "The Otherness", before heading into the electro nu-jazz (or not if you check the run out groove!) of "The Switch". Pritchard's remixing talent also shines through here, with his awesome and hard to find 2000 rework of Azymuth's "Carambola" included, and 1998 take on Stereo People's "Stereo".

            This is the debut album from Troubleman AKA Mark Pritchard (Jedi Knights, Global Communication, Harmonic 33), and I reckon it's set to be a future nu-latin classic! He presents us with a selection of sweet home listening acoustic mellowness and 60s inspired easy-bossa ("Paz", Lonely Girl", "Toda Hora" etc) set against the tougher, upbeat dancefloor slayers ("Change Is What We Need" and CD only "Strikehard"). Guest vocals come from Da Lata's Nina Miranda, Eska and Steve Spacek.

            Grupo Batuque

            Rhythmix - Reluque Batuque

            A fantastic LP of remixes of this Brazilian percussion collective. So this latino / nu-jazz / deep house fusion includes Osunlade, 4 Hero, Zero dB, Masters At Work, Da Lata, Fauna Flash etc on the mix. All the mixes are top notch, with no fillers - this is a must buy!


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