Brasil

Ninguem Vai Me Segurar

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FARO 212LP

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Side 1
1. Agora Ou Nunca Mais
2. Roda Mundo
3. Acalanto
4. Cordao
5. De Um Jeito So
Side 2
1. Eu Sou Mais Eu
2. Canto De Meditacao
3. Feel Like Making Love
4. Bairro Negro
5. Sou

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Oui
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Ana Mazzotti

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FARO 213LP

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Tracklist: 

Side 1
1. Agora Ou Nunca Mais
2. Canto De Meditacao
3. Cordao
4. Sou
5. Em Acalanto
Side 2
1. Eta Samba Bom
2. De Um Jeito So
3. Bairro Negro
4. Roda Mundo
5. Eu Sou Mais Eu

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Non
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Oui
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Dila

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Far Out Recordings proudly presents the first and only album from the mysterious Brazilian vocal sensation Dila (pronounced "Jee-la"). Having reportedly died in a car crash shortly after the album's release in 1971, there is very little known about the woman behind the voice. But the joyous music Dila left behind, gives us a picture as good as any, of a powerful feminine soul at the top of her game.The liner notes on the elusive original LP, written by composer Arnoldo Medeiros attest: "Friend, look out! Because when this girl starts to sing, you're in trouble. Hold the railing so you don't fall down the stairs, because she's coming this way and shaking up everything." Arranged and produced by Durval Ferreira, alongside his studio band affectionately known as "Os Grillos" (The Crickets), Dila (1971) is a rare glimpse into the authentic soulful Samba sound of Rio's favelas in the late sixties and early seventies.A blast of funky, percussive Brazilian breaks, scorching hot brass and swing-laden piano, the music is as iconic as the album's stark cover, as is clear on opener 'Inez', composed by The Crickets' bassist Romildo. There's a fantastic interpretation of the Ivan Lins classic 'Madalena' (made famous by Elis Regina), a moving version of the Tom Jobim and Vinicius De Moraes classic 'O Morro Não Tem Vez', and a number of sunny original compositions by Arnold Madeiros, who's other writing credits include music for Marcos Valle, Wanderlea, Evinha and Dom Salvador.With original LPs extremely hard to come by, this rare treasure of Brazilian soul, which fans of Gal Costa, Celia, Evinha and Elis Regina will love, gets a much-deserved official reissue: remastered and pressed to 180g vinyl.

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FORDIS 05

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Tracklist: 

Side 1
1. Inez
2. Adeus Bomfim
3. Madelena
4. Fim De Papo
5. Saberas
6. O Morro Nao Tem Vez
Side 2
1. Como E Que E Bicho?
2. As Paredes Tem Ouvidos
3. Festa Para Um Rei Negro
4. Selecao De Mangueira
5. Perdoei
6. Refem Da Solidao

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Non
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Oui
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Street Soul Brasil (1987-1995)

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Street Soul Brasil, compiled by Augusto Olivani features songs from prominent artists of the era's urban street movement, at their creative epochs. A great compilation that reflects the influence of international pop at the time!Part mellow pop, part R&B, adorned by melodic drum machines and hints of national rap, this noteworthy work comprises of ten original tracks fully licensed and extracted from the master tapes for your listening pleasure. It's a soulful compendium of sounds, memories, and feelings from Augusto's own universe, translated into his first ever compilation under the Hello Sailor Recordings catalog.Augusto Olivani has been digging through Brazil's forgotten music treasures since a young age.He is best known for his work as a DJ, digger and producer under his musical alter ego, Trepanado, head of Selvagem (legendary party running for the past 8 years) and captain of his own imprint Selva Discos.

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HSR 006

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1
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30.00
Tracklist: 

Side 1
1. Afrodite Se Quiser - Fora De Mim
2. Lilith - Todo Amor E Bom (remix)
3. Fabio Fonseca - Ladroes De Bagda (feat Marina Lima)
4. Fernanda Abreu - Hello Baby
5. Luna E DJ Cri - Acabou Como Comecou
Side 2
1. Junior - Vim Te Buscar
2. Thaide & DJ Hum - Coisas Do Amor (Trepanado edit)
3. As Damas Do Rap - Um Sonho Real
4. MC D'Eddy - Jeito De Ser Menina (instrumental)
5. Sharylaine - Saudade

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Non
Origine: 
Original
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Werther

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Amazing Bossa Nova LP.. Subtle arrangements, pure, honest and beautifully crafted Brazilian music!The list of musicians born or raised in the Tijuca district of Rio de Janeiro is long and illustrious and includes names that have shaped Brazilian music: Tom Jobim, Roberto Carlos, Tim Maia, Milton Nascimento, Jorge Ben or Erasmo Carlos – to mention but a few. We can now add to that list another name: Werther. In 1970, a man by that name recorded an album unique in its personality, its honesty, and its lack of pretense. In a time when Bossa Nova had become a global phenomenon and its main characters were already household names in Brazil, Werther assembled a collection of songs that uncannily – almost naively – remind us of the time when Bossa Nova was just a group of youngsters making music. His songs are about simple things: bohemian life, the sea, love.Despite Werther and his friends being only in their teens, without any previous experience recording music, those working behind the scenes were not equally amateur. Producer Peter Keller had already worked with Aloysio De Oliveira in the quintessential Bossa Nova label Elenco, and was also an initial partner in Roberto Quartin’s cult label Forma. Studio owner Bill Horne was a very loved character in the Rio jazz scene who had regularly taken part in the legendary meetings in Nara Leão’s apartment and befriended some of Brazil’s most respected musicians. Some of these musicians were, for example, Naná Vasconcelos and Edison Machado, who provided small contributions to Werther’s album.It was only in the 1990’s that Werther’s album was rediscovered by a handful of collectors and Brazilian music enthusiasts, who recognized in it a purity that had already vanished from the mainstream Bossa Nova recordings. But due to the haziness around the original release and the relative anonymity of its instigators, many questions surrounding these recordings were left unanswered. Today we are finally able to disclose the full story behind Werther’s short-lived contribution to Brazilian music.

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ALT 007

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30.00
Tracklist: 

Side 1
1. Terca Feira
2. Leilao
3. Catavento
4. Mudanca
5. Litoral
6. Estuario
Side 2
1. Mararia
2. Lenda
3. Apresentacao
4. Rei Do Chao
5. Dimensao
6. Ave Maria

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Non
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Non
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Misterios Da Amazonia

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This album is a fully acoustic, introspective voyage into the world’s greatest Rainforest, featuring 12-string guitar, mandolin, zither, tabla, flute and self-made percussion instruments.Carioca is the term used to describe those who originate from Rio de Janeiro. But, in fact, there’s only one Carioca in the music scene in Brazil: Ronaldo Leite de Freitas, who took up this nickname in São Paulo after relocating from his native Rio de Janeiro to study music at University.Recorded in 1980, Mistérios da Amazônia is also, at least to our knowledge, one of the first crowd-funding initiatives in the Brazilian music scene. Carioca, lacking the resources to pay for the studio and manufacturing fees, sold the album to fans, friends and independent record stores before having recorded it.Carioca’s first work is a fascinating one of a kind album, certainly difficult to classify. Often compared to the path set by musicians such as Egberto Gismonti or Naná Vasconcelos, who were always seeking new musical expressions whilst retaining a Brazilian character.In spite of what the music might suggest, Carioca hadn’t yet experimented with the introspective power of the Amazon’s sacred root, the Ayahuasca — he would have his first life-changing experience in 1987. “All of a sudden, it all made sense. In 1987 I finally lived what I had recorded seven years earlier”, in his own words. Drawing inspiration from the folklore of the Amazon and Brazil’s north eastern regions, the six self-penned compositions that form the album shape an introspective voyage into the Amazon — a part of Brazilian culture that Carioca had researched but not yet lived first-hand. Percussionist Sérgio Otanazetra, who had also moved to São Paulo from Bahia in order to pursue a career in music, played several percussion instruments (some of which he had built himself) and provided a solid knowledge of folkloric regional traditions. Zé Nazário, a prominent percussionist who had already played with some of Brazil’s biggest artists, such as Hermeto Pascoal or Milton Nascimento, joined the recording of Mistérios da Amazônia playing Tabla.

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ALT 008

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1
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30.00
Tracklist: 

Side 1
1. Canto Dos Pescadores
2. Homenagem A Sao Salvador
3. Lamento Do Recife
4. Manha Oriental
5. Amanhecendo
Side 2
1. Misterios Da Amazonia

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Non
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Demos (1973-75) Vol. 1

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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.Before they became Azymuth, José 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. Volume 1:

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FARO 210LP1

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22.00
Tracklist: 

Side 1
1. Prefacio
2. Castelo (version 1)
3. Melo Da Cuica
4. Xingo (version 1)
Side 2
1. Laranjeiras
2. Equipe 68
3. Unknown Jam
4. Unknown Song For Mario Telles

Second_hand: 
Non
Forthcoming: 
Non
Origine: 
Original
Newsletter: 
Non
Partager: 

Demos (1973-75) Vol. 2

auteur:

photo: 
a propos: 
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.Before they became Azymuth, José 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.

pays:

Année:

format:

label:

référence du label: 
FARO 210LP2

genre:

état disque:

état pochette:

stock: 
0
morceaux: 
Listen/Ecoute :
Prix panier: 
22.00
Tracklist: 

Side 1
1. Duro De Roer
2. Manha
3. Tempos Do Parana
4. Bateria Do Mamao
Side 2
1. Quem Tem Medo
2. Xingo (version 2)
3. Juntos Mais Uma Vez
4. Castelo (version 2)

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Non
Forthcoming: 
Non
Origine: 
Original
Newsletter: 
Non
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Sempre

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The original Rio beach boy returns with a new record of feel-good Brazilian music! Featuring Azymuth bassist Alex Malheiros (responsible for some of Brazil's all-time funkiest low-end licks), a horn section including Valle's go-to high-trumpeter Jesse Sadoc, and percussion master Armando Marcal, Sempre has all the masterful composition, exceptional musicality, and forward-thinking ideas you'd expect from the Brazilian titan.

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FARO 211LP

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24.00
Tracklist: 

Side 1
1. Vou Amanha Saber
2. Minha Roma
3. Alma
Side 2
1. Olha Quem Ta Chegando
2. Odisseia
3. Sempre
4. Distancia

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Non
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Non
Origine: 
Original
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Outro Tempo II: Electronic & Contemporary Music From Brazil 1984-1996

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Outro Tempo II: Electronic and Contemporary Music from Brazil, 1984-1996 is the second installment of Music From Memory’s Brazilian series. This volume picks up where the first Outro Tempo left off, shedding light on a new wave of experimentalism that emerged in Brazil in the late 1980s and 1990s. The twenty tracks collected uncover another area of Brazilian music that looked to the future for inspiration. This time it drifts beyond the rainforest and into the pulsating heart of Brazil’s great cities, where it meets a generation of young artists eager to radically change the face of contemporary Brazilian music. In Outro Tempo II the avant garde and pop worlds meld in a haze of percussion and electronics. It presents another uncompromising and magnetic reinterpretation of the limits of Brazilian music.Outro Tempo II is compiled again by John Gómez and features original artwork by Alice Quaresma.

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MFM 041

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32.00
Tracklist: 

Side 1
1. May East - Maraka
2. Dequniha E Zaba - Preposicoes
3. Oharaska - A Fabula
4. Fausto Fawcett - Shopping De Voodoos
5. RH Jackson - O Gato De Schrodinger
Side 2
1. Edson Natale - Nina Maika
2. Akira S - Tokei
3. Low Key Hackers - Emotionless
4. Chance - Samba Do Morro
5. Jorge Degas & Marcelo Salazar - Ilha Grande
Side 3
1. Priscilla Ermel - Americua
2. Voluntarios Da Patria - Marcha
3. Angel's Breath - Velvet
4. Fausto Fawcett - Imperio Dos Sentidos
5. Chance - Intro-Amazonia
Side 4
1. Tete Esponidola - Quero Quero
2. Nelson Angelo - Harmonia De Agua
3. Jorge Mello - A Naturezza Rezza
4. Julio Pimentel - Gersal
5. Tiao Neto - Carrousel

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Non
Forthcoming: 
Non
Origine: 
Original
Newsletter: 
Non
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