Our Deep Listening Station has literally changed the way customers can listen to music at our store in Amsterdam. We offer use of the turntable to those who want to get stuck into records on real HiFi sound. Recently we began making regular store selections of titles we recommend giving the long listen. We'll be sharing them with you, monthly, here.
Pt.1 of this month for our Deep Listening Station. An all Brazil selection - some of our favourite re-issues of the region in here!
Reissue of Djavan's debut LP, one of the milestones in Brazilian music from the post/bossa nova years, originally released in 1976. This wonderful album showcases acoustic samba music in full effect, displaying an array of endearing melodies combined with jazzy arrangements and some delightful funky moments. Presented in facsimile artwork and pressed on 180g vinyl. A 2018 Record Store Day release.
As a label guided by the mission of sharing the lesser heard sounds of Brazil with the world, Far Out Recordings present the 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.
Having first met performing on the music festival circuits of São Paulo and Minas Gerais, it wasn’t long before Edu and Gui struck up a thriving song writing partnership and close friendship, united not only by the love of music, but by shared ideals of liberation and greater equality for humankind. The duo’s motivation stemmed from a desire for social and political change, during what turned out to be the final years of the Brazilian military dictatorship.
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 scent 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, São 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 ‘Sabiá 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, São 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 ½ inch tapes and pressed to heavyweight 180g vinyl.
‘Os Orixas’ is rich in layered percussion, horns and guitars. Singer Eloah’s lead vocals are reminiscent of the likes of Ellen McIlwaine, Elza Soares and Joyce. Samba, funk, folk, jazz and MPB over ijexa and African grooves, that combine beautifully across the moods. Os Orixas refers to one of the manifestations of the ’supreme God’ in the Yoruba faith.
The songs were written by Luis Berimbau, assisted by Ildásio Tavares. Berimbau was a very influential multi instrumentalist, poet, writer and composer from Bahia, Brazil. He produced the wonderful folk/psychedelic rock group Perfume Azul Do Sol’s ‘Nascimento’ LP amongst many others.
Tavares was an author, composer and poet from Salvador, Bahia. As a composer, he worked with many artists including Vinicius de Moraes, Maria Bethania, Alcyone, Toquinho, Nelson Gonçalves and Maria Creuza. Many of his poetic works were published, and he even penned Afro-Brazilian opera entitled ‘Lydia's Oshun’.
Sonhos E Memórias (1941-1972) is truly singular within Brazilian pop fusing rock, soul, jazz and singer-songwriter styles. It’s simultaneously rootsy, funky, modern and nostalgic. The lyrics are highly personal, searching for deeper meaning with lots of flower power imagery and language, while the music is tight, highly rhythmic, melodic and restrained in its delivery and effortless groove. Built around the future fusion trio Azymuth with keyboardist José Roberto Bertrami, drummer Ivan Conti aka “Mamão” and bassist Alex Malheiros, a majority of the album’s tunes make excellent use of this trio’s telepathic tightness, subtle funkiness, and melodic mastery. The album dabbles with a few different styles and rhythms, all telling Erasmo’s musical story be it Bossa Nova, Roots Rock, Hard Rock, ballads, and soulful grooves, but a certain sonic frequency or tempo alongside the autobiographical elements unite this masterwork. TIP!!
Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos E Os Tremendões (1970), Carlos, ERASMO . . .(1971) and Sonhos E Memórias 1941-1972 (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience.
Brazil pressing! 180 gram, tip on thick sleeve_ very nice collectors edition. Originally released in 1972 in very limited numbers. It's the only album by Massahi Tribe and it became notorious for the almost complete lack of information about its creators. Check!
Now available as an official reissue with full booklet containing texts revealing the history of the record and the band, unpublished photos and interviews with the musicians.
For their first multi-artist compilation, Music From Memory take us on a trip to the heart of the Amazon rainforest. Outro Tempo: Electronic and Contemporary Music From Brazil, 1978-1992 is a double LP that explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers. As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerising tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders.
The product of extensive research, this compilation is a unique introduction to this visionary music and features many fresh discoveries in a country well trodden by record diggers. It gathers tracks from obscure albums that have for too long been neglected by even the most avid collectors of Brazilian music. It includes now highly sought after music by Andrea Daltro, Maria Rita, and Fernando Falco, as well as unknown gems like those of Cinema, Carlinhos Santos, and Anno Luz. This is an essential release that reveals a broader spectrum of Brazilian music, striking a unique sonic signature that is full of innovation, experimentation, and beauty.
Compiled by John Gomez and featuring extensive liner notes, Outro Tempo showcases this overlooked corner in Brazil's rich music history for the first time.A Heart From Your Shadow is the debut collaborative album from Michael Beharie (New York) and Teddy Rankin-Parker (Chicago). Since graduating together from Oberlin College, Beharie and Rankin-Parker each veered into markedly different avenues. Beharie joined up with the ever-confounding New York ensemble Zs (Northern Spy, The Social Registry). Rankin-Parker became an on-demand cellist for his prowess in the work of improvisation and avant-garde music, lending his talents to a wide array of collaborators such as Primus, Iron & Wine, Steve Reich, and Pauline Oliveros. Rather than jump into stream-of-concious improvisation, Beharie and Rankin-Parker chose to focus the album's themes via intricately composed pieces. A Heart From Your Shadow could be described as protest music, brimming with intense energy, harrowing anxiety, and steadfast optimism. Produced by Michael Beharie, mixed carefully by Jim O'Rourke & mastered by James Plotkin.
Tim Maia's disco club, it holds only great tracks really.. Very much recommended and a must have album in our opion! incl. the much in demand "Acenda O Farol"... ''Sossego'' & A ''Fim De Voltar''..
Mr Bongo brings another Brazilian rarity to the masses with this sublime reissue of Tim Maia’s Disco Club. Recorded in 1978, it’s a latter-period gem from the larger than life legend, combining the glitz and glamour of disco’s heyday with Maia’s raw funk and soul roots.
When Maia first heard Little Richard as a teenager, he knew what kind of singer and artist he wanted to be. Five formative years spent in the US, where he ran wild in NYC and joined a doo-wop group called the Ideals, did little to dampen his enthusiasm for black music.
Stirred by the civil rights movement in the US and driven by a punk spirit, Maia went on to blaze his own trail through the early 70s over the course of four successful albums for Polydor.
Moving away from the straight MPB, Tropicalia and international rock dominating the airwaves, his sound represented a new black Brazilian consciousness. When he sang, he could be raspy and defiant one moment … and then romantic and reflective the next. But
always on a groove and with a hook. It was an irresistible combination.
Yet by 1977 he was bankrupt and in limbo having first joined a religious cult called Superior National and then alienated listeners with his first album sung entirely in English. To complicate matters further, Brazil was feeling the Saturday Night Fever. Gloria Gaynor, Chic and Kool & the Gang were dominating the charts and filling hotspots such as New York City Discotheque in Ipanema and Frenetic Dancing Days in the Gávea Mall.
Maia left his usual band and went into the legendary Estudios Level with a mighty ensemble of Rio’s finest including Paulinha Braga on drums, Jamil Joanes on bass, Robson Jorge on clarinet, Hyldon De Souza on guitar, Sidinho on percussion, trombonists Edmundo Maciel
and Darcy Seixas, and Juarez Assis on tenor sax.
Arranger and keyboardist Lincoln Olivetti was a crucial presence during these sessions. He added that all-important string flourish and brassy joy to the uptempo tracks while giving the star enough room to express himself.
The album kicks off with a trio of floor fillers: the exuberant party starter ‘A Fim De Voltar’, a sing-a-long anthem in ‘Acenda O Farol’ and the undeniably funky hit ‘Sossego'. But then Maia drops it down and gets existential on ‘All I Want’, questioning the meaning of
happiness. He also shows his tender side on slow burners such as ‘Murmúrio’ (written by the great Cassiano) and ‘Pais E Filhos’, the latter featuring a supersoft bed of harmonies you can't
help but lay down on. But the party ain’t over and mid-tempo groover ‘Juras’ gets the feet moving again before ‘Jhony’ sends us swaying off into the night.
Maia’s appetite for excess would eventually get the better of him. But Disco Club is the sound of an unpredictable genius on top form.
Extraordinary album, only issued once in 1958 as part of Mieco Askanasy's 1950s touring 'Braziliana' show. Pls note! There's a cracky sounding bit on the B1 track, exactly the same on various copies - this is in the whole pressing
The original music was written and produced with Jose Prates and as an album it stands out as a keystone in the development of the Brazilian sound that was to explode around the world in the decade to follow. This is the first time this landmark LP has been issued since 1958. An original, if you ever found one, would cost you in excess of 1000 pounds..
"Brasileira", recorded at the end of the 80's by singer-songwriter Maria Rita Stumpf, a great Brazilian woman, totally ahead of her time. Private pressed, the album was little understood back then. Today, its very rare copies are worth small fortunes. Listening to the beautiful songs of Maria turned into a privilege for few. But not for long. By mid-year will they will gain new life on vinyl, remastered from the original DAT tape and art work revised by Colletivo.
An original copy of the Brasileira LP by Brazilian singer Maria Rita Stumpf has been on top of collectors’ and music lovers’ wishlist for the past couple of years, since “Cântico Brasileiro No 3 (Kamaiurá)” broke out and cast a spell worldwide – from Japan to Brazil, from Norway to South Africa, everybody was flabbergasted after they first heard the song, and each and every time they heard it again. For the lucky ones that could listen to her whole album – and get to know other gems such as “Lamento Africano/Rictus” and “A Cidade”– it is clear that it is an ouvre that more people should have access to, not only an elite of listeners and connaisseurs.
The good news are that the LP will be available again in its entirety in a new, glossy, loud and clear pressing released through Selva Discos, a new label run by Augusto Olivani and Millos Kaiser (the DJ/production duo known as Selvagem) in partnership with JD Twitch’s Optimo Music. It’s a legit reissue overviewed by Maria Rita Stumpf herself, the music being remastered from the remaining DAT tape of the original release and artwork faithfully updated by Brazilian design studio Colletivo, featuring liner notes by the singer/songwriter.The good news are that the LP will be available again in its entirety in a new, glossy, loud and clear pressing released through Selva Discos, a new label run by Augusto Olivani and Millos Kaiser (the DJ/production duo known as Selvagem) in partnership with JD Twitch's Optimo Music. It's a legit reissue overviewed by Maria Rita Stumpf herself, the music being remastered from the remaining DAT tape of the original release and artwork faithfully updated by Brazilian design studio Colletivo, featuring liner notes by the singer/songwriter.
JAIME & NAIR
A very welcome and first time reissue of this amazing LP. Beautiful deep Brazilian music that soothes the soul.. Tip!!
Originally recorded at Estúdios Da Somil between September 1973 and October 1974…
A handful heavyweight Brazilian musicians have been working together on this album; Orlandivo, Hermes & Zé Roberto to name a few, we think you can definitely hear their influence in a positive way…