its lonely at the top,  all of my enemies have been defeated

This just isn’t empirically possible 🔥

French jazz funk group from the seventies. Keymembers were Alain Mion (Piano) and Alain Gandolfi (drums, percussion). Cortex recorded several albums and singles for the Sonodisc label. 2 albums got re-issued: 'Troupeau Bleu' (on 'Dare-Dare') and 'Volume 2' (on 'Follow Me').

Cortex - Sabbat 3 (H∆DES Edit)

Cortex - L'enfant Samba

Sven Libaek - Solar Flares

CAT# - VOT007LP
12 Track LP Reissue
UPC 9336043005001

Fresh from recording the legendary Inner Space soundtrack, 1974 saw Sven Libaek embark on Solar Flares, an amazing library recording for Peer International UK. Possibly best described as the companion piece to Inner Space, a polar vision in which this time the themes were inspired by the far reaches of ‘Outer Space’. A pioneering recording that featured the Australian designed synthesizer, the Qaser, a prototype of the first digital sampler, the Fairlight CMI. Although recorded in Sydney, it only saw a limited library issue in the UK and has since become a highly collectible LP. Expect Libaek’s trademark sound of sublime spacey jazz exotica. Featuring Australia’s finest studio and jazz musicians. 

* Reissue of the very rare 1974 Peer Library LP. 
* 12 Tracks of Spacey Jazz Exotica


Sven Libaek - Solar Flares

Cortex - Prelude A Go Round

サミー、稲垣次郎とソウルメディア - ディ・ドリーミング 

Brian Bennett & Alan Hawkshaw - Mermaid

Brian Bennett - Ladybird

John Cameron - Liquid Sunshine - 1973 [Library Music]

Rubba - Way Star

Lonnie Liston Smith & The Cosmic Echoes - Summer Nights (1975)

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.

Rubba - Way Star

vulcan

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