Azymuth

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‘AZIMUTH’ RE-RELEASE Feb 2007

February 2007 will see the first ever re-release of Azymuth’s self-titled 1975 debut LP, originally recorded on Som Livre Records. CD1 will feature all original tracks from the original accompanied by a second CD of re-edits by Azymuth’s biggest fans. Peanut Butter Wolf, Marc Mac (4hero), Spiritual South, Toshio Matsuura, Benji B, Mark Pritchard, Daz I Que (Bugz in the Attic) and Recloose all pay their respects to this remarkable achievement heralded by some as Azymuth’s finest work ever!

Azymuth started their career back in the early 1970s when Marcos Valle invited them to record on a soundtrack LP in tribute to the Formula 1 racing driver Emerson Fittipaldi. One of the tracks was entitled ‘Azimuth’, and after the great success of this record in Brazil they asked Marcos if they could use it as the name for their band. This was the official beginning of Azymuth 

Their first recording as a quartet was a four track EP with Polydor, which went on to be used in a successful novella (Brazilian soap opera). The record’s sales followed the massive popularity of the programme. From this followed their first LP with the Som Livre label and ‘Linda De Horizonte’ (used in another novella). This LP featured other classics like ‘Manha’ (a standard on the London club scene) and ‘Faca De Conta’. The idea of the cover was based on the scene of Nazareth and is regarded as one of the classic cover art images of the time. Original copies of this vinyl can now be found selling on Ebay for hundreds of dollars!

A unique blend of blues, Latin and rock with its roots firmly in Brazil. The Azymuth sound was borne (‘Azimuth’1975)

Azymuth have been performing throughout the world for over 30 years. They consistently toured the US in the 70s and 80s playing at major festivals such as Newport Jazz and esteemed venues like Blue Note in New York. In recent times Azymuth have been playing all over the globe with regular world tours taking the likes of Montreaux Jazz Festival, Blue Note Japan and London Jazz Café by storm.

Azymuth are one of Brazil’s most influential bands having released over 20 albums in a career that spans over 30 years and has seen them play to audiences all over the globe. Combining funk, soul and jazz with Samba, Azymuth are responsible for creating a sound and genre of their own that they named ‘Samba Doido (Crazy Samba)’. Whether on the main stage at the Montreux or North Sea Jazz Festival, getting their groove on at the Blue Notes in New York, Tokyo or Milan or holding down a residency at Vienna’s intimate Birdland Club, Azymuth wow the audience with their astoundingly unique musicianship.

Having completed a successful 25 date European tour in Autumn 2004, Azymuth are set to tour again in spring 2006 in support of what looks set to be their biggest album for Far Out – the compilation ‘Pure (Best of Far Out Years)’ 2CD due February 2006. ‘Pure’ features the best of Azymuth’s music for Far Out from 1995-2006. All newly re-mastered, ‘Pure’ features 11 tracks from their first four albums for the label – all currently unavailable - a bonus CD of deleted remixes plus two exclusive new tracks.

Azymuth have played with the likes of international stars Stevie Wonder and Sarah Vaughan and have recorded and arranged with a who’s who of Brazilian artists such as Tom Jobim, Airto and Flora Purim, Elis Regina, Jorge Ben, Emilio Santiago, Roberto Menescal, Marcos Valle, Milton Nascimento, Arthur Verocai, Wilson Das Neves, Ed Lincon… the list is never-ending!

There can be no one more suitable to talk about Azymuth than Joe Davis, producer of all Azymuth’s albums for Far Out, owner of the label and fan of the band since the mid 80s. Over to Joe: “They are a radical bunch of guys, always working hard and really focused on their work. The sound they have they call it “Samba Doido (crazy samba)”, crazy because its their own sound, no one else plays keys like Bertrami, drums like Ivan or bass like Alex and crazy because they are crazy into the music and also a little crazy because they are true maverick musicians. I remember the first time I recorded with them, they arrived at the studio at 9 am - Bertrami was wearing a suite and sun glasses – and they walked into the studio and banged out 5 killer live cuts in a row. It was unbelievable - my heart was going 1000 bpm with all the excitement. The level of their musicianship is just on another level. When I take other musicians to record with them, it’s like they can’t believe the talent, so raw, natural and spontaneous. Azymuth are true living legends”.

Individual biographies:

Jose Roberto Bertrami the pianist and songwriter of Azymuth - it’s fair to say that he is recognised as one of the legends of Brazilian music, and is still one of its most influential keyboardists. With his unique playing and writing style, full of colour and harmony, he is responsible for the intensity of Azymuth’s sound, and much of their ingenuity comes from his maverick approach to making music. In the late 60s he would go to New York to purchase the latest keyboards and organs – in his early work he was using instruments and effects nobody else could, and even thirty years later he’s still pushing the boundaries. He’s worked with and arranged many of Brazil’s finest artists, including Elis Regina, Erasmo Carlos, Jorge Ben, and Marcos Valle, as well as many of the greatest international jazz musicians, such as a whole album of arrangements for Sarah Vaughn’s 1976 ‘Brasileiro’.

Ivan Conti is Azymuth’s drummer and percussionist. Known to his friends as Mamao, he has a prodigious biography. From beginnings in Rio’s “Beco das Garrafas” bossa scene of the early 1960s with his group The Youngsters, he has played with the greatest Brazilian bands and artists, including Marcos Valle, Milton Nascimento and Elza Soares. Ivan is a spontaneous and incredibly energetic drummer, and the real hardcore Carioca of the trio. He is a massive force in the Azymuth sound, subtly switching grooves and rhythms. Ivan is always checking out new and developing ideas in the world of drumming and acclaimed for his incredible style and swing. Recent acknowledgement of his influence came when he was the featured drummer in Red Bull’s Brazil Electronic Music festival in 2002. Due to his friendships with great musicians in Rio, Ivan is the producer of other works on Far Out Recordings including Grupo Batuque and The Ipanemas.

On bass and electric guitar is Alex Malheiros. Alex learnt his trade playing with the master of the Brazilian swing, Ed Lincoln, in the 60s at dance balls. Again he has performed and recorded with the greats of Brazilian music, and is a beautiful songwriter with his balance of harmony and groove. He is the archetypal bass player, calm and relaxed whilst all around him is mayhem (as it often is at an Azymuth recording session). Alex is respected in Brazil as one of the original groove master’s: he has developed a unique sound with his Rickinbacker bass licks, synonymous with Azymuth’s blend.

Band Biography:

Azymuth started their career back in the early 1970s when Marcos Valle invited them to record on a soundtrack LP in tribute to the Formula 1 racing driver Emerson Fittipaldi.  One of the tracks was entitled ‘Azimuth’, and after the great success of this record in Brazil they asked Marcos if they could use it as the name for their band.  This was the official start of Azymuth. At this point there was a fourth member, Ariovaldo - the percussionist of the group – who died tragically in the mid-Seventies, throwing into question the continued existence of the band.

Their first recording as a quartet was a four track EP with Polydor, which went on to be used in a successful novella (Brazilian soap opera).  The record’s sales followed the massive popularity of the programme. From this followed their first LP with the Som Livre label and ‘Linda De Horizonte’ (used in another novella). This LP featured other classics like ‘Manha’ (a standard on the London club scene) and ‘Faca De Conta’. The unique Azymuth sound was born.

The second album ‘Agua Nao Come Mosca’ was an even bigger success. It was also released in the USA and Japan on Atlantic records, bringing Azymuth international attention.  This LP led to a world signing with the North American jazz label Milestone Records.  To the band this was something of a surprise - they were just playing their own music, which they saw as MPB (Musica Popular Brasileira) with a touch of jazz.

In 1979 their first Milestone release became one of the best-selling LPs on the label. It featured the worldwide disco/fusion hit ‘Jazz Carnival’.  As a single, it sold over 500,000 internationally and remained in the UK top 20 for eight weeks. Azymuth went on to record a string of albums on Milestone, establishing themselves as one the world’s great jazz bands.  They played in the best jazz festivals and venues around the globe, and worked with other musicians like Chick Corea, Joe Henderson, Deodato and Stevie Wonder.

In 1983 the three members started solo careers, whilst still recording collectively. However, the trio’s burgeoning solo commitments caused a heavy toll - by 1987, Azymuth had split.

In 1995 Joe Davis from Far Out Recordings was introduced to Azymuth, whilst on a recording project in Rio working with Brazil’s best jazz musicians.  Instantly they struck a common bond through the music that they loved. Not long afterwards, Joe asked them to record for his label. In 1996 the album ‘Carnival’ was released, to excellent reviews and critical acclaim - a welcome return to the band’s creative best.

Since then Azymuth have recorded four albums for Far Out and the Azymuth sound has gone from strength to strength and they have gained many new, younger fans across Europe. Through their energetic shows and especially through remixes by some of the most exciting producers around (Roni Size, 4 Hero, Kenny Dope and Global Communications) they’ve become an important force once again on the underground jazz scene.

Their latest album for Far Out ‘Brazilian Soul’ pays homage to the different styles they have created over the years. The album was split into three different parts, representing their 30 years. Tracks featuring Roberto Menescal, Emilio Santiago, and Fabiola represent the early years when Azymuth recorded with a constant stream of singers, creating some of the Brazil’s most popular vocal bossas and sambas. Representing Azymuth’s fertile period of the late 70s and early 80s (when they would regularly sell in excess of 500,000 albums!)  they welcome percussionists Cidinho and Chacal, creating the classic Azymuth sound as heard on ‘Jazz Carnival’, ‘Partido Alto’ and ‘Dear Limeritz’. The last area to be tapped is the present day with five songs inspired by the last 10 years with Far Out.

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Last modified: 07/01/09