Tender Leaf - Countryside Beauty

Brazil 45, number 21: http://www.mrbongo.com/products/azymuth-a-manha-osmar-milito-e-quarteto-forma-america-latina

Azimuth - Manha

Key track from their all-time classic self-titled 1975 LP on Som Livre. Lush percussion laden, rhodes driven jazz-fusion groover.

The legendary trio are one of the most well-known and most loved Brazilian exports, still regularly touring, including dates worldwide.

Most prolific during their time signed to Milestone, where they released 10 LP’s between 1979 and 1988.

Osmar Milito e Quarteto Forma - America Latina

‘America Latina’ is taken from the soundtrack to the Rede Globo soap opera "Selva De Pedra”, released on Som Livre in 1972. A cheerful, upbeat MPB song with a killer chorus drop.

Milito began his career in 1964 artists as Nara Leão, Maria Bethania, Vinicius de Morais, Gilberto Gil, Jorge Ben and Elis Regina amongst others. He worked in the USA with Chico Buarque and Sergio Mendes for several years in the 70’s, also appearing alongside artists including Liza Minelli, Mark Murphy, Spanky Wilson and Sammy Davis Jr.

As sampled on Madvillain ft. M.E.D 'Raid', and featured in the Floating Points  and Fourtet Plastic People mix!

Azimuth - Manha

Local Sydney favourite Caratgold turned in this killer spacey edit of Azymuth and we knew straight away it was the perfect start to vol.2. Sit back and enjoy the vibes.
 
https://soundcloud.com/caratgold

Free Download

Seems Like This (Caratgold Edit)

This story took place in a medieval Time Bubble, somewhere on another dimension, and is also related to the Chao's Chronicles. Archaed is the name of this world.

01 - Once Upon a time

Spacey, Subtle & Funky Library Lp by Alan Hawkshaw on Synth and Brian "Shadows" Bennett on drums. Thats it just Synth and Drums...

Alan Hawkshaw & Brian Bennett - Mile High Swinger (TIM 1012)1974

Tracklist:

Birdoj - Haruomi Hosono (The Endless Talking, 1985)
Pleocene - Haruomi Hosono (Omni Sight Seeing, 1989)
Taiyou No Onara - Akiko Yano (Tadaima, 1983)
Light In Darkness - Yellow Magic Orchestra (Technodelic, 1981)
Nice Age - Yellow Magic Orchestra (X-Multipies, 1980)
Air Condition - Haruomi Hosono (Philharmony, 1982)
Radioactivity (Kraftwerk cover) - Yellow Magic Orchestra (Live, 2012)
Nettaiya - Haruomi Hosono (Tropical Dandy, 1975)
Sayonara Japanese Farewell Song - Haruomi Hosono (Bon Voyage, 1976)
Music Plans - Yellow Magic Orchestra (BGM, 1981)
U&T - Yellow Magic Orchestra (BGM, 1981)
Platonic - Haruomi Hosono (Philharmony, 1982)
Laugh Gas - Haruomi Hosono (Omni Sight Seeing, 1989)
Nani Mo Kikanaide - Yumi Arai (Cobalt Hour, 1975)
Ave Maria - Miharu Koshi (Boy Soprano, 1985)
Mercuric Dance - Haruomi Hosono (Mercuric Dance, 1985)
Perspective - Yellow Magic Orchestra (Service, 1983)




Non-Standard Mixture - YMO, Haruomi Hosono And Associated Acts Mix

Towa Tei - Technova 
Copacabana Edit By Petko Turner

Towa Tei is a third-generation Korean-Japanese.

Towa began making demo tapes at the age of 16 having bought his first synthesizer, a Korg MS-10. While studying at Musashino Art University Junior College of Art and Design he sent his tape to a radio program of Ryuichi Sakamoto titled "Sound Street".

In 1987, Towa moved to the US to study graphic design and joined house act Deee-Lite, a trio with Supa DJ Dimitry and Lady Miss Kier, enjoying almost instant success after debuting in 1990 with their album World Clique and the single "Groove Is In the Heart".

In 1991, Towa collaborated with his idol Ryuichi Sakamoto on Sakamoto's album Heartbeat. He also appeared on Sakamoto's follow up album Sweet Revenge.

In 1994, Towa returned to Japan after seven years in New York. He hinted in a 2011 interview that his time with Deee-Lite made him ill, though he didn't expand on the reasons why. Towa debuted as a solo act with Future Listening! that same year, incorporating an array of musical styles, including electronic, bossa nova, house, jazz and pop. It featured collaborations with Joi Cardwell, Bebel Gilberto, MC Kinky, Hiroshi Takano, Ryuichi Sakamoto, Haruomi Hosono, Toshihiko Mori, Satoshi Tomiie, Yuichi Oki of Tokyo Ska Paradise Orchestra and Pizzicato Five vocalist Maki Nomiya.

Sound Museum followed in 1997, then Last Century Modern in 1999. 2002 brought the album Towa Tei, under the pseudonym Sweet Robots Against the Machine. Flash surfaced in 2005 by which time Towa was DJing regularly in Japan. He has admitted though, that he doesn't enjoy performing and prefers producing and using computers.

Big Fun, featuring Verbal and Mademoiselle Yulia was released in 2009 and was the third album to feature the artwork of San Franciscan painter and graffiti artist Barry McGee. For the album, Towa utilized MySpace to collaborate with artists from around the world even if he didn't know them, such as with German act Taprikk Sweezee.[1] Another collaborator he worked with for Big Fun was Miho Hatori of Cibo Matto, though they also only met on MySpace.

Towa has also established his own creative company, hug inc, which among other things, manufactures his trademark sunglasses.

Petko Turner Edit

Free DL Here

Bebel Gilberto - Towa Tei - Technova (Petko Turner's Copacabana Edit)

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.
But before they became Azymuth, Jose Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil.

Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward.Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.
When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).

Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Vinyl / CD / Digi

Azymuth - Castelo (Version 1)

Alan Tew - The Fence (M.M. Re Construction Mix)

I play what I transcribe:
https://www.dropbox.com/sh/ljwsd6vcllyozeo/o4tv0PKSdV

ryuichi sakamoto tibetan dance

港にて　Minatonite

Lyrics & Music by Kento Tsubosaka
Produced & Mixed by YUKI KANESAKA at Hummingbird Recordings
Mastered by Tom Waltz at Waltz Mastering

Cover Art Direction by Poi Akiyoshi
Illustration by Keisuke Akiyoshi

港にて

RUSSIAN ELECTRO / SYNTH / ELECTRONICA

A heady blend of Russian/Soviet electronic tradition and music legacy — from weird radio voices, composer Georgiy Sviridov, the Kuban Cossack Choir to Pesniary and Grazhdanskaya Oborona — with retrofuturistic Electro / Synth beats.

The two founders of Revoltmeter are longtime hi-fi enthusiasts from Moscow, vinyl and music gear collectors, active in multiple incarnations since 2002. They are the masterminds of a recent blog sensation: the 're-discovery' of Eclipse Front, a fictitious minimal-wave band from 1987, based in Murmansk, Northern Russia.