Peace Lily

n an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Marca Passo releases on limited edition blue, red & black vinyl LP editions, CD and digitally on the 6th June 2025, via Far Out Recordings, supported by European and North American tours.

Azymuth - Andaraí

Listen everywhere: https://idol-io.ffm.to/honeywine
Pre-order on Bandcamp: https://sholto2.bandcamp.com/album/sholto-live-at-total-refreshment-centre
Listen to the DeepMatter Catalogue: https://tinyurl.com/dm-catalogue


Pre-order the EP

SHOLTO -  Honey & Wine  (In Session at TRC)

Proudly presenting ‘Transe’ the first single taken from Zé Ibarra's forthcoming second album. You may be familiar with the hypnotic entrancing tones of Zé’s vocals, through his work in the four-piece, Latin Grammy award-winning Brazilian powerhouse, Bala Desejo and the band Dônica. Zé has also toured with Brazilian legend Milton Nascimento on vocals and guitar, a real honour but also a reflection of Zé's craft to be selected in the band by such a musical titan.

A classic singer-songwriter, 'Transe' sees Zé starting as the song would have been written, simply an acoustic guitar and his voice flowing in an intimate dance. It’s an instantly comforting tone reminiscent of classic Brazilian songs from the past (think Caetano Veloso), before the song builds with ghosty string arrangements, vocal overdubs, and percussion. The energy in Zé's voice intensifies to a climax, as the dial swings in a more contemporary direction powered by a grooving bassline. 

Speaking about the song, Zé mentions, “This song represents, at this moment, a side of me that is still little explored and more intimate. It moves between pop and conceptual, creating an experience closer to a film than a traditional song. This effect is reinforced by the guitar and bass of Frederico Heliodoro, who is also part of Milton Nascimento's band."

‘Transe’ therefore shows a more experimental side to Zé beyond the scared partnership of voice and guitar. Mixing elements of jazz, MPB, and progressive rock, it’s rich and dynamic with a cinematic feel that is full of suspense. A stunning single and a taste of what is to come from one of the finest modern-classic musicians in Brazil’s blooming contemporary scene.


Transe

This one was an unexpected treat. Two of our favourite contemporary musicians, Finn Rees & Sholto coming together and collaborating on a double dose of celestial, cinematic alchemy.

At Mr Bongo we are massive admirers of drummer, musician, and producer Sholto (Oscar Robertson). His two albums on Funk Night Records and DeepMatter Records, had both been highlights of their respective years. We’d gotten to know Oscar and sent him a few records. Included in the package was Australian pianist-composer Finn Rees’ debut album, Dawn Is A Melody, which was one of our favourite releases on Mr Bongo in 2024.

In Oscar's words 'For me it was a standout modern jazz record - encapsulating a spiritual / hazy dreamy soundscape which hugely resonated with me. Glissando keys and harp with lush melodies, I was instantly intrigued.”  

The pair started following each other online and as luck would have it, Finn was staying in London for the summer season, so they arranged to meet. The pair instantly clicked and said it felt like they'd known each other for years. After 40 minutes of chatting, they started to jam. 

'Love In Memory' and 'Bluebell' were recorded over two days - a track a day in Oscar's SFJ studios. Laid down on mostly analogue equipment, the pair utilised Wurlitzer’s, mellotrons, and ribbon mics through Oscar’s ‘70s Studer desk. Composed and crafted without any real intentions, other than a shared appreciation for the same style of music and approach, the tracks started to take shape. The results were as lush, nostalgic and textured as you’d expect from these two brilliant musicians, with a classical feel inspired by artists such as Piero Piccioni, Piero Umiliani, and Henry Mancini. 

For the beautiful string arrangements, the pair recruited the talents of Sholto's long-time friend and collaborator Clementine Brown (Penguin Cafe Orchestra) and Matthew Hayes of 30/70, Allysha Joy, Xpress Point, Zeitgeist Freedom Energy Exchange fame, was brought in to play bass on 'Bluebell'.

So here we have it, a chance collaborative project built on two musicians' mutual respect for each other's outputs. The result is truly breathtaking.


Finn Rees & Sholto - Love In Memory

'Life's Dancers' (Floating Points Remix)Out Now -
Ninjashop / Stream / Download: https://theinvisible.lnk.to/ldfpSo

Taken from 'Life's Dancers' 12" released 2nd September 2016 via Ninja Tune.

'Patience' Out Now - 
Ninjashop / Stream / Download: https://theinvisible.lnk.to/patienceSo

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Life’s Dancers

Life’s Dancers (Floating Points Remix)

About “The Egyptian Second Line” 

In the spirit of reclaiming that which colonization sought to destroy, I'm releasing the first single from my upcoming album Afro-Caribbean Mixtape at the top of Columbus Day weekend. Like a piece of African patchwork, this track is comprised of a lot of different elements — some old, some new. The main body of this record was constructed from the end vamp of a tune I wrote for Dr. Greg Carr (chair of African-American studies at Howard University) called, “Kimathi.” In fact, throughout the piece, you can hear my turntablist, DJ Lady Fingaz, scratching a sample I chopped from one of his interviews. I constructed a new work by cutting and pasting the best moments of Kevin Hays and I playing keyboards on top of the extended jam, and superimposed that over the groove laid down by bassist Vicente Archer, drummer Joe Dyson, and percussionist Daniel Sadownick. I did this with the help of my mix engineer, Blake Leyh (The Wire, Treme). 

Towards the beginning of the piece, you'll hear a chant from vocalists Yolanda Robinson, Jolynda Phillips, and Christina Machado. It's from a thing my father made up while walking through his childhood neighborhood of 13th Ward New Orleans back in the 1940s, “Na-na ni-ta ho-ho. Left, right. Left, right.” Thirty years later, as an elementary school band teacher at McDonogh #15, he had us chant this whenever we marched in second line parades. It recalls the syllabic prayers of ancient languages used in modern dance songs like Mani Dibango's “Soul Makossa,” of which Michael Jackson borrowed for “Wanna Be Startin' Something.”  


The centerpiece of the single is my recitation of a poem I wrote back in 2006 in the aftermath of the flood commonly referred to as “Katrina.” It's called “The Egyptian Second Line.” The gist of the poem toys with the theory that somehow Africans submitted to slavery in an attempt to become better versions of themselves. After the ladies chirp the hook, I step away from the keyboards and embrace the instrument I'm most known for — the trumpet — and blow a few before we take it out. With this song, I am channeling the energy of the ancestors to help give Africa back to herself in the best way I know how, through the power of music. 


In New Orleans, a “second line” is the procession where we dance in the streets to music played by a brass band to celebrate either life or death. When I think about what an Egyptian second line looks like, I think of the imagery of that photo of Louis Armstrong serenading his wife, Lucille in front of the Sphinx — again Africans giving Africa back to herself.
credits
released October 7, 2016 

Nicholas Payton: trumpet, spoken word, Fender Rhodes, Hammond B-3, Clavinet 

Kevin Hays: Fender Rhodes 

Vicente Archer: acoustic bass 

Joe Dyson: drums 

Daniel Sadownick: percussion 

DJ Lady Fingaz: turntable, sampler 

Yolanda Robinson: background vocals 

Jolynda Phillips: background vocals 

Composed by Nicholas Payton (BMI) 

Produced by Nicholas Payton 

Recorded, mixed, mastered, and designed using the PAYTONEsonic™ programming process 

Recording Engineer: David Stoller 

Assistant Engineer: Emily Eck 

Mixing Engineer: Blake Leyh 

Recorded at The Shed, New Orleans, LA 

Mastering: Michael Fossenkemper, Turtletone Studios, NYC 
turtletonestudio.com 

Art Direction: Nicholas Payton 

Cover Painting: Ayanna Bassiouni 

Cover Design: Ayanna Bassiouni

The Egyptian Second Line

Joe Armon-Jones & Maxwell Owin are forces to be
reckoned with. Both integral parts of the burgeoning South
London jazz scene, these young musicians contribute to numerous
outfits including Ata Kak, Jamie Isaac, MC Pinty, Moses
Boyd Exodus and Ezra Collective, as well as pushing their
own solo projects.

This is their first combined effort.

'Idiom' is the result of multiple collaborations under the
direction of Joe and Maxwell. Featuring Nubya Garcia, Oscar
Jerome and Jake Long, it is heavily influenced by the hardcore
continuum and covers everything from 2-step, broken-beat and
house to jazz and dub.

Having been compared to artists like 4hero, Floating
Points, Harvey Sutherland and Moodymann all in the
same breath, Joe & Maxwell are already garnering support
from Radio 6 Music's Gilles Peterson, Musica Maconda's
Tim Garcia and Jazz FM's Chris Philips. This is an
accomplished body of work by some of the most exciting
young talent in London right now.

A3 - Joe Armon - Jones & Maxwell Owin - Mind's Eye

A beautiful jazzed out number floating between hip hop and dub influences. Taken from the debut collaborative effort from South London musicians Joe Armon-Jones and Maxwell Owin. Out 8th September via @yamrecords.

Read more: http://bit.ly/JoeArmonJonesMaxwellOwinIdiom

Listen On YouTube

Joe Armon-Jones & Maxwell Owin feat. Oscar Jerome - Idiom (STW Premiere)

Melodiesinfonie - Feel Me

Fanni Zahar - flute
Szabolcs Bognar - Rhodes, synth
Levente Boros - drums

Mixed at Studio Einz, Budapest
Mastered at Analog Cut Berlin

Crossroads

Independent record label based in London.

LPs + Merch 👇
www.deepmatter.bandcamp.com
www.deepmatter.co.uk

SHOLTO - Honey & Wine (In Session at TRC)

DeepMatter Records

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