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Fabiano Do Nascimento

Mundo Solo

    Recorded at his home studio in Los Angeles (2020) the album is fundamentally the sound of a man alone with his instruments.
    Utilizing a variety of guitars, including 6, 7 and 10 strings, Oktav guitar and electric baritone guitar, alongside a host of pedals and synthesizers, Fabiano tracked imagined landscapes with expressive, expansive improvisations, which tend toward the more ambient and atmospheric reaches of his recent output.

    Adopting Hermeto Pascoal's concept of Universal Music, a rejection of nationalistic tendencies in order to express all of one's musical influences all at once, Fabiano avoided leaning too heavily on any particular musical language, without denying his own musical roots.

    After studying classical piano as a child, the Rio de Janeiro native discovered the guitar aged 10. Studying under his late uncle, Lucio Nascimento, he eventually left Brazil for LA, where he soon became an in- demand player for his distinct and authentic sound. He has since released seven albums under his own name and collaborated with renowned Brazilian artists including Arthur Verocai and Airto Moreira, as well as experimental US saxophonist Sam Gendel.

    Mundo Solo (Do Nascimento's eighth), was recorded in one take per track, with occasional overdubs and a few appearances from collaborators and friends Julien Canthelm (drums on Etude 1), Ajurina Zwarg, (percussion on CPMV) and Gabe Noel (Bass on Curumim).

    Fabiano Do Nascimento's consummate mastery of his instrument has afforded him a freedom of expression few can claim. Blending the emotional with the elemental, Mundo Solo is a stunning snapshot of solitude and the beauty which can blossom within it.


    A1. Abertura
    A2. Curumim 2
    A3. Paperstrings
    A4. Agua De Estrellas
    A5. Bari
    A6. Etude 1
    A7. Meianoite
    A8. Reflections
    A9. Coisa
    B1. Coisa 2
    B2. CPVM
    B3. Txaii
    B4. Tempo
    B5. De Manha
    B6. Dormenor

    Hermeto Pascoal


      While it was Hermeto's frst album released under his own name, he had spent the decade or so prior making a name for himself in Brazil and internationally as a composer, arranger and instrumentalist with groups including Sambrassa Trio, Quarteto Novo and Brazilian Octopus, before going on to work with (amongst countless others) Edu Lobo, Antonio Carlos Jobim, Donald Byrd, Airto Moreira and Miles Davis, who allegedly called Hermeto "one of the most important musicians on the planet".

      With Hermeto's otherworldly orchestral arrangements, ghostly vocal performances from Flora Purim and Googie Coppola, and the inimitable drumming and percussion stylings of Airto Moreira, Hermeto easily rivals some of the oft- celebrated MPB albums of the early 1970s, sitting somewhere between the string-heavy magic of Arthur Verocai's 1972 debut and the unplacable early experimentalism of Pedro Santos' 1968 album Krishnanda.

      With his phenomenal natural musical genius and a ceaseless sense of creative freedom, Hermeto is widely known for using unconventional objects to make music. In the album's sleeve notes, Airto highlights the track "Velório (Mourning)" explaining how Heremto filled 36 apple juice bottles with different amounts of water and tuned them to precise pitches in order to create the beguiling harmonies heard.

      The reissue of Hermeto Pascoal's Hermeto, follow's Far Out's recent unveiling of a previously unheard Hermeto Pascoal live concert Planetario da Gavea from 1981, and 2017's release of Hermeto Pascoal's lost 1976 studio album: Viajando Com O Som.


      1. Coalhada (Yogurt)
      2. Hermeto
      3. Guizos (Bells)
      4. Flor Do Amor
      5. Alicate (Pliers)
      6. Velório (Mourning)
      7. As Marianas (The Marianas)
      8. Fabiola


      Maiposa / Alone

        Continuing to shine a light on John Rocca & co's pioneering early 80s music, Far Out proudly presents the first ever 12" release of Freeez's monster brit-funk classic "Mariposa", along with the equally heavy and hard to find 12" mix of "Alone"

        The limited Mariposa/Alone 12" release follows Far Out's reissues of Freeez's first two 12" single releases "Keep In Touch" and "Stay/ Hot Footing it", which saw support from Kenny Dope, Greg Wilson, Gilles Peterson, Shuya Okino and Harvey Sutherland. Slightly more refined, but no less groovy and mysterious, "Mariposa" and "Alone" are the pinnacle of the sound Rocca and Peter Maas began developing in an East London basement in the early 80s.

        Released on Freeez's debut album Southern Freeez in 1980, "Mariposa '' is fearsomely funky, high-tempo, melodic jazz-funk featuring Paul Morgan's lighting drum fills, Peter Maas's slapping and popping, Andy Stennett's top- drawer keys and John Rocca's percussion and otherworldly Spanish vocals. Pure dance-floor body music, "Mariposa" typified the group's feel-good sound and has torn up club floors throughout the 80s and beyond.

        With the same core line- up, with the exception of new drummer; Light Of The World's Everton McCalla, "Alone", originally released as the B-side to Freeez's "One to One" single in 1982, is a cool, heady boogie stepper, and this elusive extended 12" mix is a no brainer for any discerning jazz/funk boogie jock.

        In the mid-80s Rocca would go onto craft underground cult classics like 'Melodies of Love' and 'India' as Pink Rhythm, before foraying into the world of electro, collaborating with legendary US producer Arthur Baker.


        Matt says: Galvanized slap bass, dazzling keys, frenetic drums, soulful vox - Freeez got it all man! Feverishly collected by Brit funk devotees and boogie aficionados across the globe, these two cuts have been painfully hard to get on 12" for some time. Don't sleep!


        Alone (12" Version)

        Alex Malheiros

        Tempos Futuros

          As one third of legendary trio Azymuth, Alex Malheiros has pioneered a
          unique fusion of space-funk, samba and jazz since the early seventies. His
          playing can be heard on the records of Jorge Ben, Milton Nascimento,
          Roberto Carlos, Marcos Valle, and Mark Murphy (to name a few), and he's
          performed and toured with everyone from Stevie Wonder to Chick Corea.

          Written and recorded in Niterói, Brazil, overlooking Guanabara and the beaches, mountains and forests of Rio de Janeiro, Tempos Futuros has deep roots in Brazilian soil. The rhythms of Malheiros' homeland have always permeated his music. But just like the Oscar Niemeyer designed Niterói Contemporary Art Museum which stands spaceship-like over the water, Tempos Futuros – while inspired by terrestrial forms, reaches out, deep into the great unknown.

          Produced by acclaimed London-based producer Daniel Maunick, who has
          worked with Marcos Valle, Azymuth, Terry Callier, and Ivan Conti, the funk
          comes full circle. Daniel's father Jean-Paul "Bluey" Maunick and Alex Malheiros shared a reciprocal stream of influence throughout the 80s, between London and Rio; Azymuth and Incognito; brit-funk and samba-funk. But just as with Azymuth's music, you can also hear the influence of stateside jazz-funk masters like Roy Ayers, Weather Report, Lonnie Liston Smith, Mtume and Pleasure.

          Tempos Futuros features Alex's daughter, a Brazilian star in her own right,
          vocalist Sabrina Malheiros, Brazilian percussion master Sidinho Moreira,
          London based saxophonist Sean Khan, Marcos Valle's go-to drummer Massa,
          and Brazilian keyboard player Dudu Viana. Featuring the late Azymuth
          keyboard maestro Jose Roberto Bertami on Fender Rhodes, the title track "Tempos Futuros" was originally recorded as a demo in 1995. On this finished version, Alex Malheiros used Bertami's original keyboard take, explaining the
          posthumous release.


          1. The Razor's Edge
          2. Prece (feat. Sabrina Malheiros)
          3. Telegramas Para Arp
          4. Retrato (feat. Sean Khan)
          5. Requiem For A Storm
          6. Alto Verão (feat. Sabrina Malheiros)
          7. O Temporal
          8. Marcinha
          9. Kuarup

          Ricardo Bomba

          Eu Sei / Flutuando

          Written and recorded in 1978 by pianist, composer, sound engineer, studio owner and former amateur skateboarding champion Ricardo Bomba, ‘Eu Sei’ and ‘Flutuando’ were almost doomed to total obscurity when the master tapes were binned following a ruthless studio clear out. Luckily Bomba kept a cassette tape copy from which Far Out has remastered the release for 7” vinyl/ digital.

          Throughout a varied career, which included a four year stint as bandleader of Jorge Ben’s live show (78-82), Ricardo Bomba had a string of idiosyncratic, underground pop hits throughout the 80s, including ‘Voc Vai Se Lembrar’ which recently featured on Soundway’s Onda De Amor (Synthesized Brazilian Hits That Never Were 1984-94) compilation, as well as his then award-winning, now obscure solo album Ultralight (1988).

          With the stunning vocals of Mariana Couto (the first wife of Chicago percussionist Laudir de Oliveira), legendary drummer Peninha who has recorded with the likes of Jorge Ben, Quarteto Em Cy, Lincoln Olivetti, Tony Bizarro and Gal Costa, and Brazilian guitarist Blimba Buarque, “Eu Sei” and “Flutuando” truly are lost gems of the late ‘70s Rio de Janeiro MPB scene.

          *Disclaimer! This release was mastered from cassette tape, so the sound quality may differ from other releases on Far Out Recordings. We advise listening to sound clips before buying where possible... The music was simply too good to not release!

          Credits: Ricardo Bomba - Piano, Soprano saxophone, Vocals Roberto Lee - Bass, Vocals Peninha - Drums Mariana Couto - Vocals on “Eu Sei” Blimba - Guitar Compositions by Ricardo Bomba Produced by Ricardo Bomba

          Recorded at Transam rica Studios in 1978 Engineered by Vanderlei Loureiro and Toninho Barbosa


          Eu Sei

          Amaro Freitas


            Like all Amaro’s albums, Sankofa has taken around two years to make, with the trio spending eight hours a day, four days a week in the studio. “We treasure the creative process. We know it takes time to reach a different place, and then it takes time to understand that place, to translate it. When we want to leave our comfort zone, the most important factors are time, dedication, discipline and wisdom. Months pass and ideas start falling into place. Time is the most important thing. We cannot make it to where we want to be without it. So, I also want to transmit this message to future generations: Let’s slow down, let’s give ourselves more time, let’s do deeper things. Let’s stop swimming in the surface, let’s dive.” From the slums of Recife in Brazil’s North-East to international jazz icon, Amaro Freitas has worked tirelessly to become the artist he is today. Gaining international attention for “an approach to the keyboard so unique that it’s startling” (Downbeat), his debut and second albums Sangue Negro (2016) and Rasif (2018) arrived on a wave of instant acclaim. His new album Sankofa - a spiritual quest into the forgotten stories, ancient philosophies and inspirations.

            TRACK LISTING

            Vila Bela

            After years of trying to track him down (with many twists and turns along the way), Far Out Recordings finally brings us, with the blessing of the man himself, the long-awaited release of José Mauro’s forgotten masterpiece "A Viagem Das Horas", featuring three previously unreleased and unheard tracks from the original studio sessions. Recorded in 1970 at Odeon studios in Rio de Janeiro: the same time and place as all the music he ever recorded, José Mauro’s A Viagem Das Horas wasn’t released until six years later, when label owner and producer Roberto Quartin licensed the tracks to fellow Brazilian label Tapecar, who curiously released the album with several tracks already released on Obnoxius. Finally, over half a century on, A Viagem Das Horas will be released with three never before heard tracks, “Rua Dois”, “Moenda’’ and “Variação Sobre Um Antigo Tema”, as Mauro and Quartin had originally intended.

            TRACK LISTING

            A Viagem Das Horas
            Escada De Ferro
            A Oitava Morada
            Varia O Sobre Um Antigo Tema
            Morango Encantado
            Luz Lil S
            Rua Dois
            O Cavaleiro De Antonina
            O Ninho

            Francisco Mora Catlett

            Mora! II

            Part two of this incredible Francisco Mora Catlett piece sees wife Teresa Mora on vocals and trumpet legend Marcus Belgrave. “Mora I & II” are holy grails of Latin jazz, masterminded by an unsung hero of the genre. Born in Washington DC, 1947, Francisco Mora Jr is the eldest child of two highly prominent Mexican artists, Francisco Mora Sr and Elizabeth Catlett, to whom this project was dedicated. Being born into a mixed heritage bohemian family provided Mora Jr with what he called a ‘creative, progressive, and healthy arts environment’, building the foundations for a fascinating career journey ahead.

            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. Once he’d completed his studies in 1973, 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 the world for the next seven years, a decent innings within a group famous for its constantly evolving line up.

            Settling in Detroit after his years with the Arkestra, Francisco set to work on his selftitled debut, gathering an ensemble of musicians that included keyboardist Kenny Cox, founder of the legendary Strata Records, esteemed bassist Rodney Whitaker of the 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.’

            TRACK LISTING

            Afra Jum
            Amazona Prelude
            Samba Conga Do Amor
            Por Que Paro 
            Afra Jum 
            Old Man Joe 
            El Morro

            Ivan "Mamao" Conti


              Though it was recorded and mixed in the same sessions, ‘Katmandu’ was mysteriously omitted by Mam o from the Poison Fruit album, either accidentally or on purpose, he’s not quite sure. What is for sure is that it’s one of the most potent poison grooves of them all. The original mix, produced by Daniel Maunick, accompanies remixes from three of mainland Europe’s finest DJ/producer combos, prolific German nu-jazz collective Jazzanova, MCDE Recordings & Faces Records’ Pablo Valentino, and Croatian house veteran Eddy Ramich with assistance from Zagreb duo Jan Kinl & Regis Kattie. This EP is the second in a series of limited edition dance 12”s celebrating 25 years of Far Out Recordings and is housed in a special sleeve which uses the label’s original semiquaver logo from 1994.

              TRACK LISTING

              Katmandu (Original Mix)
              Katmandu (Pablo Valentino Remix)
              Katmandu (Jazzanova Remix)
              Katmandu (Eddy Ramich Feat. Jan Kinl & Regis Kattie Remix)

              Ricardo Richaid

              Traesseiro Feliz

                On his debut album Travesseiro Feliz (Happy Pillow) Rio de Janeiro based dreamer and new Far Out Recordings signing 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. As well as being heavily influenced by Brazil’s fabled Tropicalia movement, Richaid is the grandson of Brazilian actor, singer and Disney star Aurora Miranda (Carmen Miranda’s younger sister), so tropicalism is in his blood. Describing his sound as ‘Industrial Tropicalism’, Richaid’s music is undoubtedly a product of his environment. Just like Rio, it’s warm, hazy and beautiful. But reflecting the current mood of his homeland, there’s an ominous smog looming amongst its charm. Lamenting the political, economic and ecological crisis he sees engulfing Brazil, Richaid’s obscure, poetic lyrics touch on drugs, drones and darkness, emphasizing the importance of art to bring light in troubled times.

                Singlehandedly composing, producing and mixing everything himself, Richaid recalls the endless nights he spent working on the album, often sleeping on the studio floor. Travisseiro Feliz features a host of notable names from across Rio’s music spectrum, including percussion sensation Marcos Suzano (Gilberto Gil), experimental pop artist Ana Frango Eletrico, and vocalist and multi-instrumentalist Jose Ibarra, who has been lauded for his recent performances as part of Milton Nascimento’s touring group. On interlude track ‘Formigas’ we also hear a few verses of Ricardo singing together with his 7-year-old daughter, Nina Richaid. Carrying forward the Tropic lia torch, the album’s cinematic opener “Maracas Enterprise/ Frio Da Manh “ 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.

                Alongside engineering some of his musical heroes in Brazil, Richaid has played in bands like Mara R bia and nit , from Rio’s underground experimental psych and jazz scenes.

                TRACK LISTING

                Maracas Enterprise
                Frio Da Manh
                S Na Darkzera
                VIP Xuxa 
                Largado Nu
                Ave Apoena
                O Velho Cai
                Drone / Formigas

                Milton Nascimento

                Maria Maria

                  Milton Nascimento’s "Maria Maria" was recorded in 1974 and was 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. Raw, atmospheric and emotionally charged, "Maria Maria" reveals one of Brazil’s greatest ever songwriters at his creative peak. Featuring an all-star cast of fellow Brazilian legends including Nana Vasconcelos, Joao Donato, Paulinho Jobim, and members of Som Imaginario, Maria Maria holds what Milton considers to be the definitive versions of some of his classic songs, including "Os Escravos De Jó" and "Maria Maria".

                  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. It was this voice that the legendary Brazilian singer Elis Regina fell in love with back in 1964, having heard Milton perform his song "Can o do Sal (Sultry Song)" at a private party in Sao Paulo. Ellis went on to record the song in 1967 -giving Milton his first hit in Brazil and beginning a career that has spanned over 50 years.

                  Born in Rio on the 26th October 1942, Milton moved with his adoptive parents at the age of 18 months to Tres Pontas, a rural town in the state of Minas Gerais, 500 miles north of Rio. Milton became part of a local network of musicians, film makers, dancers, theatre directors and writers that included the journalist and song writer Fernando Brant as well as lyricist Marcio Borges and his younger brother Lo Borges. Milton’s religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. His love of this genre of music is apparent in both his celestial falsetto and vocal choral arrangements. 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.

                  TRACK LISTING

                  LP 1:
                  Maria Maria
                  Pilar (Do Pila)
                  Trabalhos (Essa Voz)
                  A Chamada
                  Era Rei E Sou Escravo
                  Os Escravos De Jo
                  Tema Dos Deuses

                  LP 2:
                  Santos Catholicos X Candomble
                  Pai Grande
                  Sedu O
                  Maria Solid Ria
                  De Repente Maria Sumiu
                  Eu Sou Uma Preta Velha Aqui Sentada No Sol
                  Boca A Boca
                  Maria Maria

                  Marcos Valle


                    The original Rio beach boy returns in style, with a new record of unabashedly feel-good Brazilian party music. Featuring Azymuth bassist Alex Malheiros (responsible for some of Brazil’s all-time funkiest low-end licks), a horn section including Valle’s go-to high-trumpeter Jesse Sadoc, and percussion master Armando Marcal, Sempre has all the masterful composition, exceptional musicality, and forward-thinking ideas you’d expect from the Brazilian titan, and it’s fresher than a fruity caipirinha in the Copacabana sunshine.

                    Updating Marcos Valle’s seminal boogie-era sound, "Sempre" spans ecstatic disco, cosmic samba, and late-night jazz-funk, drawing obvious comparisons to some of Valle’s late-seventies and early-eighties output. ‘Estrelar’ (1983), for example, an ode to the joy of exercise, has become one of the biggest Brazilian disco hits of all time. But lyrically the new album is more closely reminiscent of Valle’s progressive early seventies’ releases. Heralding love, tolerance and living in the present, while satirising political corruption, the new release recalls a time in which Valle, together with his brother Paulo Sergio, was writing subtly subversive lyrics in order to bypass the censorship imposed by the military dictatorship, which ruled over Brazil between 1964 and 1985.

                    The album marries compositional genius with pure pop perfection. From the blistering brass arrangements on up-tempo disco hit ‘Olha Quem ta Chegando’ and the infinitely classy ‘Vou Amanhã Saber’, to the nine-minute synth heavy instrumental funk stepper ‘Odiss ia’, which gradually morphs into an interplanetary samba jam, the songs are tightened and given an extra coat of gloss, by London based producer Daniel Maunick (son of Incognito frontman Bluey). More moments of boogie delight come in the form of ‘Minha Roma’ (a musical nod to the famed ‘Estrelar’), and the sunshine anthem title-track ‘Sempre’. Translating as ‘Ever’, Sempre is a testament to the continual drive for development and reinvention that has defined Marcos Valle’s astounding six-decade career.

                    Since the mid-nineties, Marcos Valle has been experiencing a renaissance with London based label Far Out Recordings, where his approach to music has remained, as always; decidedly open to new influences, possibilities and technologies. Sempre is Marcos Valle’s fifth album for the label, following 2010’s critically acclaimed Estatica.

                    TRACK LISTING

                    Olha Quem Tá Chegando
                    Minha Romã
                    Alma / É Você**
                    Vou Amanhã Saber
                    Aviso Aos Navegantes |
                    Alma (Instrumental)**
                    Minha Romã (Instrumental)**

                    **CD ONLY

                    Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid. Before they became Azymuth, Jose Roberto Bertrami (keyboards), Ivan ‘Mamao’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil.

                    Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropic lia on home turf - the energetic young group were inspired and ready to move forward.

                    These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’. When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.”

                    TRACK LISTING

                    Volume 1:
                    Castelo (Version 1)
                    Mel Da Cuica
                    Equipe 68
                    Unknown Jam
                    Unknown Song For Mario Telles

                    Volume 2:
                    Duro De Roer
                    Tempos Do Paranha
                    Bateria Do M Mao
                    Quem Tem Medo
                    Juntos Mais Uma Vez
                    Castelo (Version 2)

                    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. 

                      TRACK LISTING


                      Disc 1:
                      Na Carioca
                      Bota Para Quebrar
                      De Cora O Aberto
                      Forr NoEncontro Dos Rios
                      Arco-iris De Som
                      No Varal
                      Toada Cigana

                      Disc 2:
                      Vale De Luz
                      De Repente
                      Muito Natural
                      Ao P Da Lareira
                      Hora Da Prece
                      17 De Janeiro
                      Pedra Do Espia


                      Na Carioca
                      17 De Janeiro
                      Forro No Encontro Dos Rios
                      No Var L
                      Vale De Luz
                      Bota Para Quebrar
                      Muito Natural
                      Ao P Da Lareira

                      Eumir Deodato / Os Catedraticos


                        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.

                        TRACK LISTING

                        Os Grilos
                        Bom Parar...
                        Feitinha P’ro Poeta
                        Terra De Ningu M
                        Raz O De Viver
                        Samba Do Dom Natural
                        O Sol Nascera (A Sorrir)
                        Samba De Rei
                        At De Cavaquinho
                        Porque Somos Iguais

                        Far Out Monster Disco Orchestra

                        Black Sun

                          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.

                          TRACK LISTING

                          Step Into My Life
                          Black Sun
                          Flying High
                          Give It To Me
                          The Two Of Us
                          Walking Bass (In The Street)
                          Where Do We Go From Here
                          Step Into My Life (Instrumental)
                          Black Sun (Instrumental) 
                          Flying High (Instrumental)
                          Give It To Me (Instrumental)
                          Where Do We Go From Here (Instrumental)

                          Victor Assis Brasil


                            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).

                            Nômade Orquestra


                              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.

                              TRACK LISTING

                              Jardins De Zaira
                              Estrada Para Camomila
                              Felag Mengu
                              Olho Do Tempo
                              Terra Fértil
                              Rinoceronte Blues
                              Vale De Boca Seca
                              Madame Butterfly

                              A true studio visionary and son of Incognito's Jean-Paul 'Bluey' Maunick, Daniel Maunick virtually grew up behind the mixing desk and worked his way through the scenes of drum n' bass, acid-jazz, disco, samba, deep house and beyond. As Far Out's in-house producer his work is a key component in the consistency and transience of the label's sound, with key albums include Azymuth's Fênix, Marcos Valle's Estatica, Sabrina Malheiros' Dreaming and Far Out Monster Disco Orchestra. His latest credit on the catalogue is the next chapter of his Dokta Venom alias, " "Mood Swings". Each track brings you a visceral dancefloor experience both sonically and structurally. Opener "See The Sun" recalls an elevated, cloudy ether, with each kick drum another step up to the sky. Title track "Mood Swings" deploys components of broken beat, garage, house, IDM and boogie, but shrouds them into a hazy cloak more akin to the futuristic skeches of Joy O & Boddika or Pariah. Whilst keeping the same intensity, "I Owe U Something" ups the tempo and swings the mood. Propulsive percussion blurs the acoustic with the electric, glowing synths and anguished vocals formulate this eruptive full-floor belter that lodges somewhere in between early Pepe Bradock and Azymuth. Finally "Soul Krush" rolls out some 100% authentic deep house tackle for the heads and dancers alike, grooving along with delicate keys, infectious drums and heavy bass. Ace stuff indeed. 

                              STAFF COMMENTS

                              Matt says: Evocative collection of tracks that fall somewhere between 1080p, Mood Hut, 100% Silk and Proibito. Both dreaming and dancing catered for in equal measure.

                              TRACK LISTING

                              See The Sun
                              Mood Swings
                              I Owe U Something
                              Soul Krush

                              Raf Vilar

                              Studies In Bossa

                                The debut album from one of Brazil's most exciting young solo artists. A beautiful bossa inflected record that showcases Vilar's classic songwriting flourish and modern spark. A special talent. The latest addition to Far Out’s growing stable of new Brazilian talents Rafael Vilar fits in perfectly with bossa-influenced close friends Sabrina Malheiros and Clara Moreno. On "Studies In Bossa" Vilar moves between Portuguese and English vocals through tracks that evoke the great bossa nova, folk and samba of 60s and 70s Brazil whilst incorporating global jazz and electronica.

                                Recorded with musician friends in London the relaxed atmosphere allowed Vilar’s beautifully unhurried songs to flourish. Producer and bossa nova enthusiast August Jacobsen, best known as Hunsley & Guz and resident DJ at some of London’s biggest clubs such as Fabric and The Egg, provided the electronic elements especially present in "Solidao", which mixes synthesizers with the accordion. That zestful quirky edge comes out through the album with the sounds of toys, books, keys and coins in the pocket blending perfectly with more traditional instrumentation. "Studies in Bossa" draws on many of the singer-songwriter’s influences; as diverse as Jewel and Tom Waits’ folk; samba from Noel Rosa; and original bossa nova from João Gilberto and Chico Buarque. Raf’s love of jazz came from his uncle Ivan Conti who is the drummer for Far Out legends’ Azymuth, hence his eventual link to the label.

                                With this recording Vilar is unveiled to an international audience. Until now undiscovered, the quality and beauty of these recordings is undoubted: a rare nu-bossa star has arrived.

                                Various Artists

                                Andy Votel Presents Brazilika

                                  Following on from previous "Brazilka" selectors by dance music pioneers Kenny Dope and 4hero, Far Out Recordings decided to peer further down the periscope and brought in Manchester based producer and psychedelic rock librarian Andy Votel for a high octane and nonstop Brazilian block party mix. Votel's twisted tale unearths a vast array of weird and wonderful musical stories. Expertly squeezed, segued and sequenced together, Votel's rapid fire journey ventures into both the fondly remembered Tropicalia period and a period less well known, characterised by obscure acid rock, freak folk and other mutations of Musica Popular Brasileira (MPB).

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