Azymuth - Azimuth [Far Out Recordings]

--> Format: LP + Gatefold.

Azymuth’s original lineup comprised José Roberto Bertrami on keyboards and synths, Alex Malheiros on bass, Ivan Conti (aka Mamão) on drums and timbalas, and Ariovaldo Contesini on percussion. Bertrami was the motor behind Azymuth’s sound – a perfectionist and musical genius obsessed with the latest technology, which he wanted to use to push music to previously unexplored frontiers in Brazil. His keyboard playing has led to comparisons between Azymuth’s work and Herbie Hancock’s early 70s output; however, with its Brazilian swing, Azymuth’s electric jazz sound is unmistakably unique. Conti is an impulsive and extremely energetic drummer, as well as the trio’s authentic hardcore Carioca. Alex Malheiros, who learned his trade playing with Brazilian swing master Ed Lincoln, is respected in Brazil as one of the pioneers of the groove.

Bertrami first shot to fame as an arranger in the mid-60s, and by the end of that decade, he was arranging for Brazil’s queen of music, Elis Regina. This placed him in the big leagues, and by the early 70s, he was working as an arranger for the burgeoning TV soap opera scene. When not working, Bertrami would travel to New York to purchase the newest keyboards and synthesizers, ensuring he had the most cutting-edge range in Brazil. His work on TV soaps meant that he knew most of the Brazilian music industry’s A&R people. However, when he sent them the demos that would form the basis of this album in 1973, they did not share his vision; one label even went as far as to say that his music was ‘wrong.’

Released in the summer of 1975, the album was a moderate commercial success, selling 200,000 copies. The opening track, ‘Linha do Horizonte’ – a sublime piece of melancholic electronic saudade where deep cinematic synths meld with a gently strummed acoustic jazz guitar – was picked up for a TV soap opera and went on to sell half a million copies, boosting Azymuth onto the Brazilian music scene.

The rest of the album does not disappoint: the second track, ‘Melô dos dois bicudos,’ plugs Azymuth into Brazil’s national grid for a portion of electrified, psychedelic samba funk with crashing military drums, wailing sirens, and psychedelic synths. The third track, ‘Brazil,’ is a rolling bass-led groove, with a Bertrami melody lending it a naive, charming allure, while the fifth track, ‘Caça A Raposa,’ is a dancefloor jazz funk groove with Bertrami supplying a Flora Purim-esque vocal melody.

Azymuth went on to become one of the 80s’ best-selling jazz artists with their future albums for Milestone – indisputably the biggest jazz label of that decade. ‘Azimuth’ is the album that started it all for them, the record that laid down the foundations and defined their signature ‘samba doido’ (crazy samba) sound.