Samba Jazz

A Nível De... - João Bosco

O Melhor do Choro: Vol. 3

Barracão de Zinco

The popularity of Brazilian music from the 60s, 70s and 80s has experienced quite the renaissance; artists such as Gal Costa, Gilberto Gil, Arthur Verocai, Joyce et al, have become household names to an international audience passionate about global sounds. However, even for die-hard fans and collectors of Brazilian music of the past, discovering contemporary Brazilian artists is not always easy, nor accessible. But, if you know where to look, you will see that there is a resurgence well underway that can be epitomised by an exciting new wave of Brazilian artists beginning to break through and gather momentum overseas. It’s with thanks to Sound and Colours, a website devoted to promoting Latin American music and culture, that we can help shine a light on one particular collective, bursting with creativity and camaraderie.

‘Hidden Waters: Strange and Sublime Sounds of Rio de Janeiro’ is compiled by Joe Osborne (founder of specialist Brazilian music platform Brazilian Wax) and Russ Slater (editor at large of Sounds and Colours). Focusing solely on the 'Rio Scene', rather than taking on the mammoth task of tackling Brazil as a whole, this collection presents 20-plus ground-breaking artists selected from Rio’s resurgent music scene. By presenting a snapshot into the pulse of the city and the vibrant musicians that live in it, ‘Hidden Waters’ collates tracks from a wide spectrum of musical genres from the avant-garde edge to bossa nova, samba, Candomblé, lo-fi rock, jazz and funk.

‘Hidden Waters’ showcases musicians such as iconic Rio mainstays Negro Leo & Ava Rocha, Brazilian jazz upstart Antônio Neves, critically lauded Avant-pop trailblazer Thiago Nassif, breakthrough artists Ana Frango Elétrico and Letrux, lo-fi psych rocker Lê Almeida, plus the Latin Grammy-winning Bala Desejo who are set to explode onto the world stage. 

The music featured on ‘Hidden Waters’ is unequivocally Brazilian, swelling with samba, bossa nova, funk, and jazz. But it’s within the album's blend; from sunny psychedelia to dusky synth-pop via experimental electronics, that marks the compilation as the sound of modern, multicultural Rio. Fans of Brazil’s fertile 60s and 70s will spot the antecedents in Tropicália. Not only in the experimentation but also through the similar political context: back in the late 60s there was Brazil’s military dictatorship, and up until the end of 2022 it was Bolsonaro’s censorious premiership. Here are a group of musicians writing and reflecting on another colourful chapter within Brazil’s musical history.

This comprehensive compilation comes with album artwork designed by Rio music’s leading album artwork designer, Caio Paiva. It features essays by professor and music critic Bernardo Oliveira and music journalist Leonardo Lichote, plus extensive notes on each track by the artists themselves.

Bala Desejo - Lua Comanche

Track taken from my latest compilation called "Music For Dreams - The Sunset Sessions vol. 2 " - 46 tracks and 4 hours of music -  out now on all digital formats ....

Available in all digital stores: https://orcd.co/81gxgqz

Toco -  Mané (Dois Do Rio Extended Remix)

A Felicidade(Antônio Carlos Jobim;Vinicius de Moraes)

Lô Borges - Eu Sou Como Você É (Linguist Edit)

Oud Awwad - The Way I Love You (Arabic Oud)

Listen on Spotify: https://open.spotify.com/track/27hjAgIO7BsDTzvkKpQZn9?si=2513f4c0d369489a

/// Oud Awwad :
https://open.spotify.com/artist/6eyz2UJMLf7xHinPySCF58?si=E8h0V8MJQuKeagHGwSGWyw
https://youtube.com/@oudawwad?si=jMcU9Rd2JIiMFOsO

/// Instrutalica Records : 
Instagram: https://www.instagram.com/instrutalica/
Facebook: https://www.facebook.com/instrutalica
Spotify: https://open.spotify.com/user/31bsrg52sqn3vsf4ujyhekttsdyy?si=92feb4dad80e4c5f

Instrutalica Records / Town Music Group. All rights reserved.

The Way I Love You (Arabic Oud)

Stream on Spotify

Oud Awwad - The Way I Love You (Arabic Oud)

God’s heart’s desire, a house on earth

The Girls From Ipanema (My Jazz)

Madalena

Elis

Meio De Campo

...Em Pleno Verão

Vou Deitar E Rolar (Quaquaraquaqua)

No Olho da Rua

Orlandivo Medley: Samba Toff / Tamanco no Samba / Onde Anda Meu Amor / Bolinha de Sabão

Vitrola Radioshow 023: Ju Mineira
Curadoria: Ney Faustini

Tuzé de Abreu - Orientação (European Version)
Rubinho e Mauro Assunção - Os Olhos
Arnaud Rodrigues -  Chegou da Bahia
Jorge Mautner - Maracatu Atômico (Korvoo)
Otto -  Bob (Edu K Mix)
Marcos Vale - Bahia Blue
Orlandivo - Onde anda o meu amor
Sivuca - Ain´t no sunshine
João Donato- A Rã
Milton Banana - Cidade Vazia
Edson Frederico - Bobeira
Sasso - Tudo Bem
Ed Lincoln - Cochise
Donato e Seu Conjunto - Cafua
Marcos Vale - Não tem nada não 
Super Strut  - Eumir Deodato

Vitrola Radioshow 023: Ju Mineira

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.  

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. 	When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.

Kicking off with the swirling samba-jazz-dance masterpiece ‘Agora Ou Nunca Mais’, the album hosts several groove-heavy Brazilian cult-classics including ‘Roda Mundo’ and ‘Eu Sou Mais Eu’. Deeper moments come in the form of the alluring future soul synth sounds on ‘Bairro Negro’ and ‘Sou’, and Mazzotti’s tender, hallucinatory version of ‘Feel Like Making Love’ (made famous by Roberta Flack) perfectly reflecting the idiosyncratic genius Mazzotti achieved with Bertrami’s visionary arrangements, and Romildo’s impeccable production approach. 

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl, Ninguem Vai Me Segurar (1974) will be available on vinyl LP, CD and digitally from 13th September.

Vinyl / CD / Digi

Roda Mundo

João Gilberto - Wave (with the Metropole Orchestra '80)

Toco - Litoral

Barracão de Zinco

Toco Preto do Cavaco

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