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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!

    Edu Passeto & Gui Tavares

    Noite Que Brincou De Lua

      As a label guided by the mission of sharing the lesser heard sounds of Brazil with the world, Far Out Recordings are delighted to present t he first official vinyl reissue of Edu Passeto & Gui Tavares’ Noite Que Brincou De Lua: a super rare and largely unheard masterwork of MPB, originally released in 1981.

      Disciples of the Clube Da Esquina movement, pioneered by Milton Nascimento and Lo Borges, Edu & Gui mixed psychedelic folk, jazz, bossa, and rock for an album of soulful, dreamy Brazilian pop, with stunning arrangements and lush vocal harmonies.

      Prior to recording, Edu and Gui had to tread carefully with their lyrics, which had to be submitted to the federal censorship authorities before release. Their first application was rejected after the lyrics were deemed to contain too much direct social criticism. ‘Profome’ (translated “Pro-hunger”), a song characteristically bittersweet in tone, was initially a matter of fact portrayal of the desperately poor social conditions many people in Brazil faced at the time. Back to the drawing board, Edu and Gui, like many persecuted artists from this era had to refine their lyrics to convey their message more subtly.

      It took the best part of a year to complete the album, with Edu and Gui saving every cent they could spare from gigging and hitchhiking the 100km to each session from their home in Campinas, so that they’d have enough money to pay for studio time in Abertura Studios, Sao Paulo. Although the album gained a respectable amount of radio play in the years that followed, it’s remained in relative obscurity, despite its spellbinding qualities, evident on tracks like ‘Sabi na Palmeira’, a sweet Brazilian rare-groove with shades of Leroy Hutson, and the psych-folk tinged ‘Seguir’, which harks to the dreamiest moments of Milton Nascimento and Marcos Valle.

      Edu and Gui called time on their musical partnership in 1986 when Gui moved to Rio De Janeiro, but they remained close friends until Edu sadly passed away in 2008 after a series of health complications. There is a street named after him in his home city of Campinas, Sao Paulo. Today, Gui Tavares lives in London, still making music and working within a plethora of Brazilian music projects which include the direction of his own choirs Cantar Vocal Ensemble and Nossa Voz, as well as working with Creative Brazil, who conduct Brazilian music workshops in schools

      This limited-edition official reissue has been remastered from the original inch tapes and pressed to heavyweight 180g vinyl.

      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).

      AD Bourke & Raiders Of The Lost Arp

      Raw (Ron Trent & Original Mix)

      Far Out Recordings presents a huge peak time space-funk excursion from Italian duo Ad Bourke & ROTLA (Raiders of the Lost Arp), with a remix from Chicago deep-house demigod Ron Trent adding extra intensity to the aptly titled "Raw". Having confirmed themselves as Rome’s premiere polymaths for all things electronic and funky (with releases on Space Dimension Controller’s Basic Rhythm, Five Fold, Cinite, Tusk Wax and Really Swing) AD Bourke & ROTLA’s musicality and altogether physical approach to sequencers, samplers, drum machines and synths, has seen plaudits from the likes of Dam Funk, Gilles Peterson, Benji B, Laurent Garnier, Jimmy Edgar, Martyn and Anthony ‘Shake’ Shakir. Even MCR's Full Beam! crew have to take notice of these synth molesters. Taken from their forthcoming album for Far Out, "Raw" gives you huge live drums, seriously deft Rhodes noodling and a galactic ocean of synth layers, making for a hyperkinetic yet altogether refreshingly organic, outer-national future-disco belter that sounds like Azymuth and Pharoah Sanders jamming with MAW whilst super high on tryptamines. Taking a similar approach to that of his recent remix of (coincidently) Azymuth’s "Fenix" (also on Far Out), Ron Trent takes "Raw" into pure house territory, giving it an extra coat of slickness, adding tightened up percussion, deep, echo-laded drum hits and a driving, incendary vibe throughout, layers of instrumentation revealing themselves behind walls of compression or tastefully opened up filters. High end tackle from all involved. Ace. 

      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.



          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.


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

          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! 

          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. 


          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.

          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.


          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.

          "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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