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NOW AGAIN

Listening to this remarkable album for the first time you’ll surely be struck first by the deep, soul-piercing voice of that great Brazilian singer, Seu Jorge. Yes: he’s a singer first and foremost. Many may know him as an actor for his screen-stealing performances in the likes of Wes Anderson’s The Life Aquatic and Fernando Meirelles’ City Of God but Seu has known since he was a child that we was destined to sing. He’s a Brazilian singer who speaks the truth through samba, to paraphrase a well-known Seu Jorge quote. But this project is about a band: Almaz. Drummer Pupillo and guitarist Lucio Maia from the stalwart Nação Zumbi; bassist and composer Antonio Pinto from the soundstages of movies starring Seu Jorge.

They came together naturally to record a song for a Walter Salles film; they enjoyed the experience so much that they recorded an entire album of music that inspired them. Songs famous within the Brazilian diaspora (Tim Maia, Jorge Ben) mesh with classic American (Roy Ayers, Michael Jackson) and European (Kraftwerk, Cane and Abel) soul songs begging for a bit of psychedelic samba. They enlisted producer and fellow Brazileiro Mario C. (Beastie Boys, Jack Johnson) to put the finishing touches on the project. Their album is both warm and dark; psychedelic and yet grounded, uplifting but at times somber. To listen to it is to join them in the studio, where the only bandleader is the music and the only agenda is to follow your heart. “No nation is currently hotter than Brazil when it comes to cinema and music. And currently, no Brazillian artist is attracting more heat than Seu Jorge”

STAFF COMMENTS

Millie says: Silky voiced favourite Seu Jorge, strikes again, hazy funk filled beats create a swooning album of soul and samba.

World's Experience Orchestra

Beginning A New Birth

The essence of Underground, Spiritual Jazz, figuratively and literally: their first album was recorded in a Boston, Mass. church’s basement. Both World’s Experience Orchestras albums were recorded in and around Boston, Massachusetts in the mid to late 1970s and committed to vinyl in miniscule press runs by a visionary, bassist / composer / arranger John Jamyll Jones. Jones is a magical type, who communicates with his instrument, his ensembles, and jazz’s ancient lineage in a manner so profound that his late-‘70s album are out of time with jazz’s trajectory, but timeless when presented today. By the late ’90s the music of World’s Experience Orchestra was circulating throughout the collections of esoteric jazz fans, the likes of Gerald “Jazzman” Short and Gilles Peterson, who played “The Prayer” for those, the Coltrane-enthralled searching for something new, something different. Something spiritual and honest. Peterson first offered to reissue “The Prayer,” as part of an anthology he was putting together with Los Angeles reissue label Ubiquity Records and that, to date, is the only official issue of any of Jones’ music. This set is the definitive catalog of Jones’ ensembles’ released work. “I knew it was going to happen, but I didn’t know when,” says Jones of the road to seeing his music re-issued. “It’s 35 years or more now, and I’ve been waiting for this, and I’m quite sure I’m not the only one.”

Fabiano Do Nascimento

Tempo Dos Mestres

"Tempo dos Mestres" (Time of the Masters) is the second album from the tireless, young Brazilian guitarist Fabiano Do Nascimento. It finds its roots in the depths of the Amazon rainforest, passed down through generations of Native Brazilians, and is imbibed by the Afro-Brazilian culture that arose after Portuguese colonization. This blend is not new in Brazil, and is represented musically by great Brazilian musicians both known and celebrated - the guitarist Baden Powell and catalyst Hermeto Pascoal, both direct influences on Do Nascimento - and less exposed, like the experimentalist Carioca, one of Do Nascimento’s mentors, and the Brazilian psychedelic pioneer Lula Cortes, whose album Paebiru rewrote Brazilian rock’s history in 1975. It is the third Brazilian album released on Now-Again, following Seu Jorge and Almaz and Do Nascimento’s debut "Dança dos Tempos". Do Nascimento's is joined on Tempo dos Mestres by his long time percussionist, Ricardo "Tiki" Pasillas on trap drums and percussion, and Sam Gendel on saxophone and flute. Vocals are performed by Thalma de Freitas and Carla Hasset. These tracks were recorded live in the studio with no overdubs, straight to 2” analog-tape, and only sparingly mastered to focus on the subtleties of the performances. 

STAFF COMMENTS

Patrick says: Less acoustic than its predecessor, "Tempo Dos Mestres" sees Do Nascimento embrace a fuller, more rhythmic sound on this follow up, treating us to a well rounded taste of Brazil.

FORMAT INFORMATION

LP includes MP3 Download Code.

Isaac Hayes And The Bar-Kays

Do Your Thing

    The full 33-minute, unreleased, psychedelic funk jam session by Memphis rhythm kingpins the Bar-Kays, mixed directly from the original tapes. Contains bonus rhythm section instrumental and booklet detailing the history of this never-before-heard version of one of Isaac Hayes’ most famous songs by Hayes historian Bill Dahl.

    Hayes was already a cutting-edge funk master at Stax Records when he accepted the unprecedented assignment of creating a soundtrack for the 1971 action flick Shaft. At a time when R&B songs routinely timed out at three minutes and under, Hayes’ albums for Stax’s Enterprise imprint had been breaking new ground since 1969. His masterpiece Hot Buttered Soul consisted of only four tracks, two songs on The Isaac Hayes Movement clocked in at a hair under 12 minutes, and one selection on his …To Be Continued stretched to 15:33.

    But his epic “Do Your Thing,” one of the cornerstones of the two-LP Shaft soundtrack, outdid them all. Occupying nearly the entire last side of the set, it concluded after 19-and-a-half grooving minutes with the overdubbed sound of a needle scratching violently across a piece of vinyl. No one knew that jarring ending masked the existence of another 13 minutes of “Do Your Thing.” Consigned to the vaults, those improvisatory extensions—somewhere in between free-jazz and psychedelic rock—were seemingly destined never to be heard. Until now.


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