Azimuth

Description

The original line up of Azymuth consisted of Jos Roberto Bertrami on keyboards and synths, Alex Malheiros on bass, Ivan Conti (aka Mamo) on drums and timbalas, plus Ariovaldo Contesini on percussion. Bertrami was the drive behind Azymuths sound – a control freak and musical genius obsessed with the latest technology who wanted to use it to push the boundaries of music in a way that no one else in Brazil had done. His use of keyboards has drawn comparisons between Azymuths work and Herbie Hancocks early 70s output, yet with its Brazilian swing Azymuths electric jazz sound is unmistakeably their own. Conti is an impulsive and an incredibly energetic drummer, and the real hardcore Carioca of the trio. Alex Malheiros, who learned his trade playing with the master of Brazilian swing, Ed Lincoln. Alex is respected in Brazil as one of the original groove masters.

Bertrami rose to fame as an arranger in the mid-60s and by the late 60s he was arranging for the queen of Brazilian music, Elis Regina. This pushed him into the major league and by the early 1970s he was arranging for the burgeoning TV novella scene. When he was not working, Bertrami made trips to New York to buy the latest keyboards and synths, ensuring he had the most up to date range of keyboards in Brazil. His work in TV Novellas meant Bertrami knew most of the A&R people in the Brazilian music industry, yet when he shipped the demos that became the core of this album round to them in 1973, they didnt share his vision – one label even going as far as to say that the music was wrong.

Released in summer 1975, the album was a minor commercial success selling 200,000 copies. Opening track Linha do Horizonte a sublime piece of melancholic electronic saudade where deep cinematic synths melt into gently strummed acoustic jazz guitar – was chosen for a TV Novella and went on to sell half a million, propelling Azymuth onto the Brazilian music scene.

The rest of the album doesn’t disappoint track 2, Mel dos dois bicudos, sees Azymuth plugging them into the Brazilian national grid for a slice of electrified psyched out samba funk with crashing military drums, shrieking sirens and psych synths. Track 3 Brazil is a lolloping bass led groover with Bertramis melody giving the track a charming, innocent naivety, and track 5 Caa A Raposa is a boogie jazz funk groover with Bertrami adding a Flora Purim style vocal melody.