┌┬┬┐┌─┬─┬─┬┬┬┬─┬─┬┬┐
│ ┤└┤*│││┌┤ │ ┤┌┘ ┤
·--─┘ └───────────────────────────────────────────────────-·
artist · azymuth
release · supafat re-rubs
year · 1998
genre · house
label · far out recordings
catalogue · faro 025
website · www.faroutrecordings.com
date · 03-dec-2004
quality · 189kbps/44,1khz
source · vinyl
·--────────────────────────────────────────────────────────────────────────-·
a1 jazz carnival (global communications space jazz mix) 11:11
b1 the quest (roc hunter supafat re-rub) 8:45
playtime · 00h 19m 56s
·--────────────────────────────────────────────────────────────────────────-·
having changed the sound of brazilian music and gained a
formidable international reputation for their work spanning three
decades, azymuthÆs musical careers began with their role as a
leading force of the 60Æs lounge, bossa nova and jovem guarda (a
tropical version of sixties beat music) movements in rio.
jose roberto bertrami - main songwriter and pianist of azymuth.
ivan conti - drummer and percussionist.
alex malheiros -bass player and addition electric guitar.
back then, the tremendous worldwide success of the new bossa nova
sound had led to a wave of instrumental music in brazil, and by
the late 60Æs this sound had become formulaic and stagnated.
azymuth, also referred to as æthe wild childs of jazzÆ, provided
the much needed shake up, and they hit the middle class jazz scene
with a dose of sex, drugs and rock and roll attitude and a new
sound which came from their fresh, experimental approach. they
were the first to blend bossa nova with instrumental urban rock
and use synths and other electronic instruments to reinterpret
brazilian music whilst retaining brazilian rhythms and harmonies.
the end result was a concoction of jazz, rock, funk and popular
music that was completely unique. azymuth's signature through all
their work is the bandÆs ability to continually evolve while
remaining true to their cariocan roots.
they first met whilst playing for different bands as part of rio's
fledgling jovem guarda club scene in the 60Æs. all three members
were playing at one of rio's best live music venues û the caneco.
whilst playing at the same time, on 3 different stages, ivan, jose
and alex had an idea they would be better off joining forces: from
that day on, they have played on the same stage together, all
around the world. in their first recordings the band included
percussionist arivioaldo as their fourth member. when arivioaldo
died tragically in the early 80Æs, they remained as a trio.
their first break came when composer marcos valle invited them to
record on a soundtrack lp in tribute to fittipaldi the formula 1
racing driver. the record gained phenomenal critical and
commercial success, and from this point their careers gathered
speed. one of the tracks was entitled 'azimuth' - from then on,
they became known simply as azymuth.
their first recording was a four track ep, released on polydor,
songs of which were used for a brazilian soap opera called æpicado
capitalÆ. the programme was a massive success and therefore, so
was the record - an often common process in brazil. from this,
followed their first lp with the label som livre records, and
'linda de horizonte' was again, a huge hit and used on the novela
æzoca metaisÆ. the lp also featured other classics like 'manha'
and 'faca de conta'. the unique azymuth sound was born.
the second album 'agua nao come mosca' was an even bigger success
and also released in the usa and japan on atlantic records, thus
giving azymuth international recognition. this lp led to a world
signing with the north american jazz label milestone records.
in 1979, their first lp was released ælight as a featherÆ û this
was one of the best selling jazz records that year and featured
the worldwide disco-fusion hit æjazz carnivalÆ. as a single it
sold over 500,000 internationally and remained in the uk top 20
for eight weeks, thus establishing them on the international jazz
and pop scene. from here, azymuth went on to record a whole string
of classic albums on milestone and took part in many productive
collaborations with other jazz musicians like chick corea, joe
henderson, deodato, jim capaldi and stevie wonder. they have all
worked separately and as session musicians for all the greats of
brazilian music including jorge ben, tim mia, erasmo carlos and
gal costa, marking each recording with their unique sound.
inspiring many imitators and becoming heavily sampled by modern
producers, azymuth can be credited with bringing brazilian music
onto a wider international stage.
inspiring many imitators and becoming heavily sampled by modern
producers, azymuth can be credited with bringing brazilian music
onto a wider international stage.
by 1983, the three members started recording solo albums, whilst
still recording collectively with continuing success at milestones
records. after many productive years together, in 1987 the band
parted to continue with their own solo careers.
in 1994, after some persuasion, they teamed up with joe davis to
record for far out recordings. this collaboration started with the
release of æcarnivalÆ and has resulted in five new album
recordings and a series of singles.
always developing their unique sound, their work for the label has
taken a new direction and led to interesting collaborations with
modern producers. recently they have featured on the new offworld
album by techno legend kirk degiorgio for far out recordings.
their work for far out recordings has been the next chapter in
their career. they have been exposed to a new audience and allowed
young producers who have always been inspired by their work to pay
homage to the band whilst producing new dance floor classics û
these include remixes from the likes of jazzanova, global
communications, mark pritchard, kenny dope and 4hero. the band
have maintained their essence and power, ensuring you are just as
likely to hear their music on club dance floors as you are on jazz
stations.
their live performances show they still have the same raw energy
and vitality, which has always defined their 'urban' vibe. now in
their fifties, azymuth still command enraptured audiences from
tokyo (with support from kyoto jazz massive), amsterdam (drum
rhythm festival) to london.
·--────────────────────────────────────────────────────────────────────────-·
visit ln~#klangwerk