Review: First released in 1979 during the heyday of Brazil's jazz-funk movement, Antonio Adolfo's Viralata has long been considered an era-defining release by those who know. Given that original Brazilian copies are frustratingly hard to come by, this official reissue from Far Out Recordings - who previously worked with Adolfo on his 2007 set Destiny - should be an essential purchase for all those who dig Brazilian music. A little more jazz-focused than albums by contemporaries such as Azymuth, much of "Viralata" is slick, polished and incredibly well produced, with notable samba influences amongst the unashamed tributes to leading American artists. As you'd perhaps expect, the musicianship is astonishing.
Review: Agustin Pereyra Lucena's 1980 album La Rana was recorded in Oslo and is a wonderful exhibition of his exceptional guitar interpretations of compositions by Ivan Lins, Antonio Carlos Jobim and his friend Baden Powell, all alongside his own original works including the 15-minute masterpiece 'Encuentro De Sombras.' Featuring bassist Guillermo Reuter, flautist Ruben Izarrualde and drummer Finn Sletten, La Rana blends South American rhythms with Norwegian landscapes and reflects Agustin's warmth, humility, and joyful connection to music and life and the title track is a standout that offers a unique rendition of Joao Donato's 'A Ra' from his 1973 album Quem E Quem.
Review: Not that it's any surprise to us, but London's Far Out imprint is really smashing it at the moment, putting out some Brazilian fire left, right and centre. This week, along with an excellent reissue from Baiano & Os Novos Caetanos, we have 1975's Azambuja & Cia, another unforgettable gem from the Golden Era of South American funkin'! Although there are plenty of moments worth a dance on here, this album is a much gentler, more soulful number which often spans into the livelier end of the jazz spectrum. In fact, this is the vibe right here, with fat basslines coming meandering amid mild-mannered beats and the group's inimitable vocal swagger. It's another Brazilian gem, and one worth copping as a reissue. Magnificent stuff.
Review: Far Out takes a second deep dive into the previously unheard early demos of Brazilian jazz-funk greats Azymuth, offering up more unpolished gems recorded during the years as one of Brazil's most sought-after session bands. Interestingly, much of the material is closer in tone and style to their subsequent releases, though some of the rhythms, solos and basslines are arguably a little wilder and more experimental. Highlights include the fizzing opener "Duro De Roer", the sweaty and percussive brilliance of "Bateria Do Mamao", the Blaxploitation influenced spy-chase madness of "Quem Tem Medo" and the surprisingly smooth "Manha", the demo that eventually earned Azymuth a recording contract.
Last Summer In Rio (feat Jean Paul 'Bluey' Maunick) (8:36)
Review: It has been a full half a century since legendary Brazilian outfit Azymuth made their debut and their new album, Marca Passo, reaffirms their place as legends of jazz-funk. It was recorded in Rio and produced by Daniel Maunick and is the group's first album since drummer Ivan "Mamao" Conti's passing, with bassist Alex Malheiros now the sole founding member. He's joined by Kiko Continentino and new drummer Renato Massa to continue Azymuth's tradition of blending samba soul, funk and cosmic jazz. Highlights include a tribute to Conti, 'Samba Pro Mamao,' and a refreshed take on 'Last Summer In Rio.' The album is a vital, heartfelt continuation of Azymuth's enduring legacy.
Last Summer In Rio (feat Jean Paul 'Bluey' Maunick) (8:36)
Review: Released 50 years after their self-titled debut, Azymuth's Marca Passo feels less like a comeback and more like a confident continuation, with the legendary Brazilian outfit carrying its past into the present with all the same vigour that marked their winding career. The formula remains intact: Brazilian jazz-funk, dreamy synths, and loose but locked-in rhythm. There's something moving in how naturally the trio i with Alex Malheiros still at the helm i navigates loss, memory and legacy without turning sentimental. 'Samba Pro Mamao' is a tender nod to Ivan Conti, but the record never lingers in nostalgia. Daniel Maunick's production keeps things warm and fluid, and there's joy in hearing Incognito's Bluey drop in on the rework of Last Summer in Rio. Not flashy or forced. Just a deep, grooving reminder that Azymuth's music still flows from somewhere timeless.
Last Summer In Rio (feat Jean Paul 'Bluey' Maunick) (8:36)
Review: Tonal treasures and "three-man orchestra" Azymuth mark fifty years of service to the progosphere with Marca Passo, largely a conduit through which to reflect on the of loss of their founding drummer Ivan "Mamao" Conti in 2023. Now with only bassist Alex Malheiros as the last surviving original member, and joined by longtime keyboardist Kiko Continentino and new drummer Renato Massa, the new record deepens Azymuth's signature blend of samba, jazz-funk and 70s MPB studio textures. A rework of 'Last Summer In Rio' is an especial great, as it brings in Incognito's Bluey as a nod to Bertrami, while 'Samba Pro Mamao' honours Conti.
Review: Legendary Brazilian jazz-funk trio Azymuth drop their latest record 'Arabuta', pointing themselves in a new cardinal direction in sound. The limited 7" brings two new mix version of their recently released 'Arabuta' to the fold, both by fellow producer and Azymuth collaborator Daniel Maunick. Part-dancefloor, part-dub, both versions bring preservative tones, fully circling the resinous Brazilwood tree after which the track is named. The Tupi Guarani word for the endangered tree fuses with deft unperturbed jazz licks, despite the sense of urgency in saving the species, underscoring Azymuth's fusion of timeless Brazilian jazz-funk and cosmic futurism. In more ways than one, this record serves as a symbol of both the value and fragility of Brazil's natural beauty.
Review: Before they found fame with their 1975 debut album, Azymuth divided their time between working as backing musicians (attending recording sessions with some of Brazil's top talent) and recording experimental home demos. Recently rediscovered, these demos are finally being given a release thanks to the efforts of Far Out chief Joe Davis. There's much to admire on this first batch (a second volume is also available) of previously unheard early recordings, from the high-octane Brazilian funk insanity of "Prefacio" and Jimmy Smith-esque "Melo De Cuica", to the spacey samba/jazz-funk fusion of "Xingo (Version One)" and the relaxed, slow-burn brilliance of seven minute B-side opener "Laranjeiras".
Review: Together under the starry skies of the 70s, Arnaud Rodrigues and Chico Anysio made some of the most incredible music of that decade, under the name of Baiano & Os Novos Caetanos. Their legendary debut LP from 1974, under their own name, has become a Brazilian funk addict's must-have, not to mention a Holy Grail for contemporary sampling. Until now, it's been difficult to get a hold of it on viny format, so we're super psyched that the irresistibly reliable Far Out label has decided to reissue it. With 11 tracks to marvel at, there is a slice of funk for all walks of life and, of course, there is so much grooving to done! Quite simply, this is feel-good music for feel-good people, and this duo's vibes are just about the best thing we could ask on this June morning. Cop it before it's too late - we wouldn't want you to suffer at the hands of the online sharks, now!
Review: Bruno Berle's No Reino Dos Afetos is a stunning example of modern Brazilian pop, blending heartfelt emotion with a wide range of musical influences. Hailing from Maceio, Berle brings the warmth and beauty of his coastal home into every corner of this album. Released in a vibrant blue vinyl repress in 2024, the album is a journey through soft, intimate compositions that explore love, tenderness, and beauty. Berle's smooth, golden voice is the heart of the record, effortlessly gliding over songs like 'Quero Dizer', where the mix of lo-fi production, kalimba, and guitar creates an irresistible, laid-back groove. His raw emotional power shines in tracks like 'O Nome Do Meu Amor', an acoustic tearjerker brimming with sincerity. Berle's versatility is clear, moving from indie rock on 'E Preciso Ter Amor' to the sun-soaked soul of Joao Menezes's 'Ate Meu Violao', which opens the album with a nostalgic touch of 70s MPB. His take on West African highlife in 'Som Nyame' adds even more richness to the mix. Every note feels personal, capturing both simplicity and depth. This album solidifies Berle as one of Brazil's most exciting young talents.
Review: Caixa Cubo's latest release highlights the trio's effortless blend of samba-jazz, funk and MPB. Rooted in Brazilian traditions, the tracks carry grooves reminiscent of 1970s legends, yet feel distinctly modern. With rich keyboard harmonies, vibrant percussion, and basslines that lock into irresistible rhythms, the group bridges nostalgic warmth with contemporary flair. Each composition reflects a deep understanding of their heritage, drawing from carnaval marches and baiao while infusing experimental touches that keep things fresh.
Review: Since emerging in their home country a decade ago, Caixa Cubo have flitted between labels (most notably Heavenly Recordings and Jazz 'N' Milk) while establishing trademark sound that expands on the jazz-funk-meets-samba-jazz template created by fellow countrymen Azymuth (like that band, they're a trio based around drums, bass and organ/electric piano). Unsurprisingly, they've now found a home on Joe Davis's Brazil-focused Far Out Recordings, a stable that has done much to champion Azymuth in the UK. Modo Avia (air mode) is typically warm, breezy and gently tropical, fusing killer grooves and infectious, off-kilter rhythms with brilliant solos, infectious riffs and far-sighted musical flourishes. It feels like the sort of set that will be talked about in hushed tones in 30 or 40 years, and we can think of no greater praise than that.
Review: Francisco Mora Catlett is a Mexican drummer, composer and educator. He began his musical career in Mexico City where he worked as a session musician for Capitol Records between 1968-1970. He left with Sun Ra in 1973 and worked with him until 1980. While in Detroit in 1987, he released his first album as a leader, the Pan-Afro project "Mora!". Mora II continues the concept of the first album, with wife Teresa Mora on vocals and trumpet legend Marcus Belgrave, This follow up album has finally been given a high quality vinyl reissue by London's Far Out Recordings.
Life Forces (feat Zara McFarlane - Joaquin's Sacred Rhythm version) (6:18)
Life Forces (feat Zara McFarlane - Joaquin's Sacred Rhythm dub) (6:25)
Umoja (Joaquin's Sacred Rhythm version) (7:32)
Umoja (Joaquin's Sacred Rhythm dub) (8:02)
Soul Of The People (feat Bridgette Amofah - Joaquin's Sacred dance version) (8:23)
Soul Of The People (feat Bridgette Amofah - Joaquin's Cosmic Arts dub) (10:04)
Into The Light Of Love (feat Myles Sanko - Joaquin's Spirit Of The dance version) (9:37)
Into The Light Of Love (Joaquin's Spirit Of The dance instrumental version) (9:38)
Review: It's not often that jazz guitarists and bandleaders double up as DJs and producers, but neither is Nicola Conte the kind of person one often encounters. Here the Italian multi-talent proffers a new version of his latest spiritual jazz-house opus, Umoja. This record first came to be as a full-length 4x4 dance LP of serene, danceable tropicalias and sports-whistly whorls. They now come reincarnated, karmically re-endowed with the thermal force of an eagle, by way of an album's worth of reworks by the veteran producer's vim of fellow spiritual house height-scaler and abseiler, Joaquin Claussell. Whether invoking the exquisite voices of Stefania Dipierro or channelling the patent inspirations of Lonnie Liston Smith of Gary Bartz, Conte Conte-nues to propose endless Conte-nuations of his sound; all it takes is a little help from one's friends to evoke a sacred dance, a sonic world-spirit.
Review: A key figure in Brazilian jazz-funk and a founding member of Azymuth, Conti merges deep house, samba and jazz-funk into a seamless experience. His signature percussive style is on full display, effortlessly blending electronic elements with organic instrumentation. His fourth solo album returns with a much-needed reissue, highlighting his ability to craft intricate rhythms and dynamic grooves. 'Bacurau' is a raw exploration of rhythm, built solely on Conti's percussion and electronic textures, bridging Brazilian dance music with African influences. The title track takes a deep dive into 1970s disco, its bassline and shimmering synths channeling both American and Eurodisco flavors. 'Jemburi' leans into late-night jazz, exuding a cool, laid-back vibe, while 'Ecos Da Mata' evokes the cosmic fusion of Sun Ra meeting a Brazilian dancefloor. With production assistance from Daniel Maunick and additional contributions from keyboardist Fernando Moraes and bassist Alex Maheiros, the album pulses with energy, balancing electronic experimentation with soulful, dance-driven grooves. A timeless work, it effortlessly connects the past and future of Brazilian jazz and dance music.
Katmandu (Eddy Ramich feat Jan Kincl & Regis Kattie remix) (7:31)
Review: The worldly wide Far Our label turns its attention to some fascinating house sounds from Ivan Mamao Conti. "Katmandu" is all bendy bass and tropical drums, steamy humidity and sensuous synths. Pablo Valentino flips it into warm and jazzy number for cosy basement clubs that harks back to the 90s, and Jazzanova then layer in plenty of the golden instrumentals and key playing that makes the music come alive. The closing remix is all Moodymann vibes with its rough kicks and claps, funk bass and lived-in aesthetic. This is classy house music from front to back.
Review: By the time he recorded "Brazilian Dorian Dream" in 1976, Brazilian composer, musician, producer and bandleader Manfedo Fest had already worked on countless bossa-nova, samba and jazz albums, both in the United States and his native Brazil. Yet the album, which Far Out has now reissued, is like nothing else he recorded before or after - and not just because it was based on "the principle of the modal diatonic scales of the Dorian mode". Musically, it's deliciously vibrant and colourful, combining elements of his native Brazilian samba and bossa-nova with Azymuth style jazz-funk, American jazz-fusion, and futuristic, then cutting edge synthesizer sounds. Above all, though, the album strikes a near perfect balance between funkiness and the sweet sunniness that defines some of the greatest Brazilian music.
Review: The well-regarded Far Out label starts a new catalogue number series for this first reissue from Brit-funk band Freeze. They are of course best known for lighting up the charts and dance floors of the 1908s with their super hit 'Southern Freeez' but also penned plenty of other gems. 'Keep In Touch' is right up there amongst them and now comes as an original and edited version on heavyweight vinyl. It is a joyful track packed with busy jazz-funk keys that cannot fail to amp up the party, especially in unison with a busy and tight bass riff and hip-swinging claps and drums. The edit shortness things up t make for an even more potent gem.
Review: Before tearing up dancefloors - and the pop charts - with 1981 single 'Southern Freeez', Brit-funk outfit Freeez self-released a couple of singles on main man John Rocca's Pink Rhythm label. These are now sought-after items, particularly debut double A-side 'Stay'/'Hot Footing It', hence this handy reissue. 'Stay', an early composition from UK jazz-funk legend Jean-Paul Maunick, is a deliciously expansive affair, with Spanish guitar solos, dazzling electric piano motifs, rubbery bass, shuffling drums and sweet female lead vocals all vying for attention in the mix. 'Hot Footing It' is a more straight-up UK jazz-funk floor-filler full of fluid jazz-bass, bustling drums and warming Rhodes riffs. Both tracks have naturally stood the test of time very well.
Review: Brothers Lelo and Ze Eduardo Nazario formed Grupo Um in 1976, creating a visceral, experimental fusion project which remains a critical peak for leftfield music from Brazil. Now Far Out Recordings present the first album the group recorded, half-hidden from history due to the avant-garde nature of the music struggling to find a market in the 70s. It's absolutely daring, from the skittering musicality to the wild time signatures, but with the benefit of hindsight it's also incredibly engaging. Rescuing the master tapes from Lelo Nazario's archives, we're now able to savour this incredible work 50 years after the fact.
Review: Far Out Recordings launches its 30th anniversary celebrations with the highly anticipated release of The Ipanemas's Samba is Our Gift which lands on vinyl for the very first time. Originally dropped in 2006, the album seamlessly blends Afro-Brazilian-bossa rhythms with classic vocal samba, transporting listeners back to the vibrant Rio de Janeiro of the 1960s. Comprising drummer and vocalist Wilson Das Neves and guitarist Neco, The Ipanemas played a pivotal role in popularising bossa nova in the 1950s. Collaborating with Brazilian luminaries like Elis Regina and Antonio Carlos Jobim, they bridged jet-set bossa with the roots-y samba of the black Brazilian working class and this is a great introduction to their work if you aren't familiar.
Review: Veteran Brazilian singer-songwriter Joyce first teamed up with Mauricio Maestro for Visions Of Dawn, a 2009 album of samba, bossanova and folk which celebrated everything vital about Latin American music culture. Now they're back on Far Out with a new album of sunkissed magic that will take you right back to that feel-good place they explored on their first collaboration, taking in delicate balladry and playful whimsy steeped in soul and sentiment. It's a joyous listen from two totems of Brazilian music, produced, arranged and conducted by Claus Ogerman.
Review: A long-lost gem from drum legend Edison Machado finally sees the light of day: Edison Machado & Boa Nova, recorded in New York in 1978 but never released, reflects the work of the master muso-mountaineer at his peak, fusing North and South American jazz rhythmic traditions with groundbreaking samba innovations. Machado, a pioneer of "samba no prato" (samba on cymbals), redefined Brazilian jazz alongside Jobim and Gilberto. Forced into exile under Brazil's dictatorship, he later found new creative energy in NYC, leading an ensemble of top-tier musicians. The result? A daring, dynamic, and electrifying session, controlled but untamed. Alongside original contributions from Dom Salvador, Guilherme Vergueiro and Aloisio Aguiar, this 80-minute lost masterpiece singes our ears with its carpal flair.
Review: Second time around for Daniel Maunick's first album under his given name (he previously released one as DJ Venom way back in 2007), which first surfaced on Far Out back in 2019. An undeniably vibrant and at times heavy affair, the set sees the producer, multi-instrumentalist and 'son of Incognito's Bluey' joining the dots between Brazilian musical culture (most notably the rhythms of batucada and samba, and the far-sighted jazz-funk-fusion sounds of Azymuth) with a range of contemporary sounds (most clearly the deep house dustiness of Theo Parrish, the charred heaviness of UK bass, the stoned headiness of Dilla instrumentals, the shape-shifting energy of broken beat and the deep space shimmer of ambient techno). As hybrid, hard-to-pigeonhole records go, it's a genuine gem.
Review: Opa's Back Home was first reocrded in 1975 but not released until 1996; it was the fourth and final album by the esteemed Uruguayan fusion band, whose preferred admixture was usually some melted pot of funk and samba, making for an impressive heuristic building on their intuitive recalling of their mutual upbringing in South America. Mysteriously (for reasons unknown to the band), Opa's debut was shelved and remained so until the mid-1990s. But the story goes that it was recorded after renowned label producer and owner Larry Rosen heard the band playing in a Brooklyn nightclub; with this in mind, Back Home makes for an ironic title, since the sonic turn expressed by the band is not one of homesickness, but rather that of an immersion in New York's metamorphous music scene ('Brooklynville' has an instant proto-hip-hop vibe, if not for its original urban field recording, then certainly for its bulbous broken funk twang). Now reissued on vinyl and CD via Far Out, you won't want to miss this round trip.
Review: 52 years after it was first released in 1970, Hermeto Pascoal's self-titled debut long player remains a remarkable one. It was born in the A&R studios in New York and features a heavyweight cast of collabs including Ron Carter, Hubert Laws, Joe Farrel and Googie Coppola. There are even some stars of the Brazilian jazz scene of the time making appearances such as Airto Moreira and Flora Purim, who also took care of production. From elevator jazz tunes like 'Hermeto' to laid back and sunny bliss-outs like 'Flor Do Amor' the sis another jewel in the crown of Far Out.
Review: Following Far Out's reissue of Agustin Pereyra Lucena Quartet's La Rana, the label continues its memorialisation of the late, great Argentinian guitarist's music, with the first ever direct from tape, audiophile reissue of Pereyra Lucena's self-titled debut album from 1970. Hailing from Buenos Aires, Augustin was nonetheless obsessed with the music of Brazil; this combined with his Argentinian roots to produce a sound entirely his own. After being scouted in a nightclub, by musician and guitar craftsman Jorge Demonte, Agustin was invited for an audition at Argenitinian label Tonodisc, and before he knew it, was in the studio recording his first album. The album's atypical bossas and spiritual swinging sambas, composed by many of Agustin's heroes, were elevated to new heights by Agustin's dazzling arrangements and phenomenal guitar playing. The almost cosmic reaches Agustin achieved with his sound are balanced against the stylish sophistication and breezy nature of the music.
Review: Far Out Recordings reissues a hidden Argentinian gem with this offering, the late Agustin Pereyra Lucena's elusive 1988 LP, now restored from the original tapes. A guitarist rooted in Brazilian tradition but shaped by European travel and political exile, Lucena channels both clarity and melancholy into his playing. 'Luces de Valeria' and 'Preparativos Maritimos' offer delicate phrasing and compositional grace, while his take on Baden Powell's 'Pequeno Vals' drifts with lyrical restraint. The interplay between flute, brushed drums and nylon-string guitar reveals a liquid sensibility-evident too on 'Tema Barroco' by long-time collaborator Guilhermo Reuter. Anchored in Buenos Aires but marked by a traveller's perspective, these pieces shift subtly from samba-inflected intimacy to a cooler, more spacious lyricism. Lucena's phrasing reflects his belief that proximity to water affects one's musical flow-an idea borne out here in every fluid turn and tide of this understated masterwork.
Review: Ricardo Bomba was not only a studio owner, engineer, pianist and composer, but so too was he an accomplished amateur skateboarder. He lay down these previously unreleased, sun soaked Brazilian tunes in 1978 after years as bandleader with the one and only Jorge Ben's live show. The master tapes were said to have been binned during a heavy studio clear out but the man himself kept a tape copy that has been remastered for this special 7". Mariana Couto provides the angelic vocals while the music all trills with joy and happiness.
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