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| Azymuth (self-titled) | |
|---|---|
| Name | Azymuth |
| Type | studio |
| Artist | Azymuth |
| Released | 1975 |
| Recorded | 1974–1975 |
| Studio | São Paulo |
| Genre | Jazz-funk, MPB, Fusion |
| Length | 36:12 |
| Label | Milestone |
| Producer | Perinho Albuquerque |
Azymuth (self-titled) is the 1975 studio album by the Brazilian trio Azymuth, presenting a fusion of Brazilian rhythms with jazz and funk. The record crystallized the trio's lineup of José Roberto Bertrami, Aloísio Oliveira, and Ivan "Mamão" Conti and connected Brazilian popular music scenes in São Paulo with international jazz markets in New York City, Los Angeles, and London. It became a touchstone for later artists across funk, electronic music, hip hop, and house traditions, influencing musicians associated with Blue Note Records, Verve Records, Atlantic Records, and independent labels.
Recorded in São Paulo during 1974–1975, the album followed Azymuth's early singles and regional performances at venues such as Clube da República, Teatro Municipal (São Paulo), and festivals including the Festival Internacional da Canção. The trio—keyboardist José Roberto Bertrami, bassist Alex Malheiros (credited on later works) and drummer Ivan "Mamão" Conti—worked with producer Perinho Albuquerque and engineers affiliated with studios frequented by Gal Costa, Caetano Veloso, Gilberto Gil, and Milton Nascimento. Sessions incorporated electronic keyboards like the Fender Rhodes, Minimoog, and percussion influenced by recordings from Sergio Mendes, Bossa Nova proponents, and contemporary fusion acts including Herbie Hancock, Weather Report, and Chick Corea.
The album blends jazz-funk improvisation with Música Popular Brasileira motifs, drawing compositional language from harmonic practices linked to Antonio Carlos Jobim, rhythmic patterns akin to João Gilberto and percussion textures related to Batuque and Samba. Tracks feature syncopated grooves referencing James Brown, modal harmonies recalling Miles Davis and electric textures associated with Stevie Wonder and Sly Stone. Arrangements employ counterpoint between Rhodes lines and bass figures comparable to approaches used by Jaco Pastorius, while drum patterns nod to Brazilian percussionists who collaborated with Paulinho da Costa and Airto Moreira.
Released on Milestone Records for international markets and through Brazilian distributors in Rio de Janeiro and São Paulo, the album was promoted via radio play on stations such as Rádio Bandeirantes and appearances on television programs like Programa Silvio Santos and Fantástico. Tours supporting the release brought the trio to venues in Lisbon, Paris, Amsterdam, and clubs in New York City and Tokyo, connecting with audiences who followed fusion and jazz-funk trends associated with festivals like the Montreux Jazz Festival and promoters such as Bill Graham.
Contemporary reviews in outlets similar to DownBeat, Rolling Stone (Brazil), and Melody Maker highlighted the album's polished production and rhythmic inventiveness, comparing Azymuth's sound to acts such as Tamba 4, Eumir Deodato, and Stanley Turrentine. Critics noted melodic sophistication paralleling Antonio Carlos Jobim and technical virtuosity reminiscent of Weather Report members Jaco Pastorius and Wayne Shorter, while some writers drew links to contemporary Brazilian pop stars like Gal Costa and Marisa Monte for the album's accessibility.
The record achieved modest sales in Brazil and stronger niche performance in markets attuned to jazz fusion and world music in Europe, Japan, and the United States. It secured airplay on specialty programs curated by DJs influenced by Tom Moulton, Francis Grasso, and tastemakers at BBC Radio 1 and college radio networks. Over time, reissues on labels such as Magro Records and compilations assembled by DJs in Chicago and Detroit contributed to catalog longevity.
1. "Jazz Carnival" — 5:10 2. "Linha do Horizonte" — 4:05 3. "Lagoa" — 3:58 4. "Samba do Zé" — 6:02 5. "Funky Brasil" — 4:20 6. "Noite Carioca" — 4:37 7. "Solitude Night" — 4:20 8. "Finale" — 3:40
- José Roberto Bertrami — keyboards, Fender Rhodes, Minimoog - Ivan "Mamão" Conti — drums, percussion - Alex Malheiros — bass guitar - Perinho Albuquerque — producer - Studio engineers (São Paulo) — mixing and recording staff who worked with artists like Sérgio Mendes and Milton Nascimento
Azymuth's self-titled album influenced later generations across genres, sampled by producers in hip hop and electronic music scenes in New York City, São Paulo, and London. Its grooves were repurposed by artists affiliated with Ninja Tune, XL Recordings, Warp Records, and DJs from the acid jazz movement such as Talk Talk-era producers and curators from Mo' Wax. Musicians including Mark Ronson, J Dilla, Madlib, and Quincy Jones have cited Brazilian fusion records in broader discussions that contextualize Azymuth alongside contemporaries like Hermeto Pascoal, Baden Powell, and Elis Regina. The album's presence on reissues and compilations maintained influence on scenes connected to house and nu jazz in cities like Chicago and Berlin.
Category:1975 albums Category:Azymuth albums