Telecommunication demonstrates Azymuth's ability to occasionally get into trouble when resorting to hi-tech gimmickry for its own sake, but also illustrates how rewarding the Brazilian trio can be. With its vocoder-ish hijinks, the funk-influenced "May I Have This Dance" is a dated and corny bit of silliness unworthy of Azymuth. But there's also much to admire on this CD, including the haunting "The House I Lived In," the sensuous "Country Road," and the sentimental "Last Summer in Rio." Though keyboardist/pianist José Roberto Bertrami and bassist/guitarist Alex Malheiros do not always stretch out enough, the results are quite appealing when they do.
Azymuth is a three-piece electric funk jazz group from Rio de Janeiro, Brazil. Formed in 1972, the members are Jose Roberto Bertrami (keyboards), Alex Malheiros (bass, guitars), and Ivan Conti (drums, percussion). They call their music "Samba Doido", which means "Crazy Samba". From 1979 to 1988, they released many albums for Milestone Records. They have been releasing albums for various labels steadily since. They had a major hit with "Jazz Carnival" in 1979.
Returning to their huge old school sound, this new recording celebrates 35 years of Azymuth as "arguably the most successful band to come out of Brazil". The signature swing samba is heavier than ever with a string of unforgettable tunes: from dance-floor fillers and lush jazz to hard, grooving samba funk and warped psychedelia. Together the original three piece Azymuth orchestra has made their strongest album since the seminal recordings 'Azimuth' and 'Light as a Feather'. Discover why musicians as diverse as Friendly Fires and Madlib are addicted to this innovative boogie monster.
Azymuth is a three-piece electric jazz funk group from Rio de Janeiro, Brazil. Formed in 1972, the members are Jose Roberto Bertrami (keyboards), Alex Malheiros (bass, guitars), and Ivan Conti (drums, percussion).
Before you get to the remixes, the original album, which we are told has never been released outside of Brazil, is a spectacular collection of Latin jazz-funk samba tracks.The opening track, ‘Linha do Horizonte’ set the tone and it’s a track that went on to sell half a million copies due to its inclusion on a Brazilian soap opera. The rest of the album is just superb as the samba get psychedelic and funky and jazzy.
Excellent addition to any prog rock music collection.
Although admittedly a posthumous release, I was very surprised at the rather dismissive tenor of many of the reviews of this album to date. Hopefully this record will be reappraised soon as being a release worthy of anyone's consideration as I feel it does enhance an already rich legacy left behind by this very fine and innovative band. (So what if Charisma wanted to ride the slipstream of the lucrative ELP juggernaut?)
Light as a Feather is simply the first version, a little over half of what would become Azymuth's fine Outubro album. It opens with the weakest cut, the ten-plus minute faux disco "Jazz Carnival," with awful drum effects and popping, funky-yet clichA©d basslines by Alex Malheiros. After this there is much to like, however, in the breezy execution of the title track that is nearly as beautiful as Return to Forever's, and features a fine jazz-samba number that evokes both Walter Wanderley and Tom Jobim in JosA© Roberto Bertrami's "Fly Over the Horizon," as well as a beautiful version of Toninho Horta's "Dona Olimpia."
This fourth Azymuth album on Far Out Recordings was recorded in Rio De Janeiro and succeeds in re-capturing the authenticity, feeling and spirit of Azymuth's sound and their native city. The atmosphere on the album is mellow and reflective allowing this longpayer to pull in a new generation of fans yet manging to rekindle the atmosphere of Azymuth when they first formed in the early 70s.
'Brazilian Soul' is an affirmation of why Azymuth are still among the hottest and hippest cats on the Rio scene, even three decades after they made their first tentative steps into bossa nova. 'Brazilian Soul' is a return to their blistering form of the early Eighties, when their releases would regularly trouble the Top 20s of the US and UK charts…this is a real masterpiece from the original masters!