Aurora [CD]

Still comprised of the original three members who started the group in 1972, Azymuth are approaching the end of their fourth decade together in a style all their own. Aurora continues the productive association they’ve had since the mid 1990s with London-based Brazilophile label Far Out, whose press release generously refers to them as a "three piece orchestra".

Actually, they’re joined by just three guest vocalists and three instrumentalists this time around, with the most noticeable difference in the arrangements being the lack of strings and sax/flutes that featured on their last album, 2008’s Butterfly. According to the succinct sleeve notes, Aurora revisits the penchant for disco which was typical of their work in the 1980s, but it also seems to place more emphasis on their samba roots, aided in no small part by the boom and slap of guest percussionist Trambique on repique de anel, one of the key drums used in the style. Plus, of course, the occasional interjection of cuica.

This is one of those rare albums that’s so consistently engaging and well sequenced that it seems almost unfair to pick highlights. But mention should be made of In My Treehouse, which is reprised with two spectral preludes at the end. Both this track and É Mulher are powered by the guilty pleasures of the disco beat and decorated with starburst showers of (ironic?) synth drums. Isso É Partido Alto is a relaxed exposition of the well-known partido alto rhythm of samba, with Jose Roberto Bertrami taking a starring role on his shimmering Rhodes and vocoder-treated incantation of the title – a typical example of Azymuth’s virtually instrumental approach to the idea of lyrics.

Sabrina Malheiros adds her carefree and similarly minimal vocal to Meu Mengo, with her dad Alex busy on funky bass and bossa-flavoured acoustic guitar. Though this is very much his track, in all cases, the musicians mesh together like the parts of a well-oiled machine.

Aurora dishes out one slinky, memorable groove after another. It’s a lovely record, with a good balance between reflective and more festive moods, and the cannily timed release date makes it a likely contender for a summer soundtrack of choice.

--Jon Lusk

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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. Aurora The follow-up to 2008’s ‘Butterfly’ draws on the sound that was so synonymous with their work in the 1980s, mixing disco, jazz, funk, psych, and samba with their super style, playing, and improvisation. Together with producer Daniel Maunick and David Brinkworth (Harmonic 313), Azymuth recorded Aurora in Rio de Janeiro over a two week period. Opening the set is the cool, fresh title track ‘Aurora’, which features Alex’s daughter and fellow Far Out recording artist Sabrina Malheiros on vocals alongside Marcio Lott. ‘In My Treehouse’ is an extremely personal track written by Bertrami, which is influenced by his oak tree and dreams that recall his childhood playing in a tree house in his mother’s hometown. ‘Isso É Partido Alto’ encapsulates the sound of Azymuth, the focus on their signature groove, partido alto (one of the oldest traditional samba rhythms). ‘Diz No Pé’ is a samba monster combining broken drumming with syncopated samba instrumentation, written by Ivan Conti. ‘Carnaval Legrand’ is dedicated to one of Jose Roberto Bertrami’s peers – the great Franco-Armenian arranger and composer Michel Legrand, while ‘Meu Mengô’ is inspired by Alex Malheiros’ football team – Flamengo – another passion shared with his Azymuth band-mates. The Original Cult Trio Pianist, songwriter, and band leader Jose Roberto Bertrami is recognised as one of the legends of Brazilian music, remaining one of its most influential keyboardists. He is responsible for the intensity and maverick approach of Azymuth. Ivan Conti is Azymuth’s drummer and percussionist. Known as Mamao, he is a spontaneous and incredibly energetic drummer, and the real hardcore Carioca of the trio. He has collaborated on a number of major projects in recent years including 2008’s Jackson Conti ‘Sujinho’ album with Madlib. On bass is Alex Malheiros, who learnt his trade playing with the master of Brazilian swing, Ed Lincoln. Alex is respected in Brazil as one of the original groove masters. The threesome is responsible for twenty five studio albums from 1975 crate-digger favourite debut ‘Azimuth’ (Far Out re-issued in 2007); to 1979’s ‘Light as a Feather ‘(which spawned ‘Jazz Carnival’); and ‘80s classics including ‘Telecommunication’. One of the biggest jazz funk tunes of all time, ‘Jazz Carnival’, spent eight weeks in the UK Top 20 in 1980 and was a Number 1 hit around the world in the dance charts. One of very few successful bands to have kept the original line-up, in their sixth decade the cult trio continue to tour the globe wowing audiences at the finest venues and festivals. Azymuth’s previous seven recordings for Far Out have been both critically acclaimed by the press and spun heavily by global DJs. With Aurora their finest work yet for the label, the samba legends swinging ‘samba doido’ (crazy samba) is primed to win over another generation of fans. You’re in the hands of masters.