2020 repress. Soundway Records present the eponymous debut LP from in-demand Amsterdam five piece, The Mauskovic Dance Band — fusing no-wave dance punk, Afro-Caribbean rhythms, and space disco in a “controlled explosion” (The Quietus). Entirely self-produced, the band has reiterated their favorite elements of the ’70s and ’80s legacy of the Afro-Latin psychedelic music of Colombia and Peru, interpreting it through the context of modern-day Amsterdam. The output is a lo-fi no wave groove all its own — rooted in a deep love of champeta, Palenque, psychedelic cumbia, chichi, classic Afrobeat, and picó soundsystem culture. Since the release of their Down In The Basement EP EP on Soundway Records in early 2018, the band have found themselves on a hectic European touring schedule — not to mention being involved in other side projects. Following stints with Turkish psychedelic folk rock group Altin Gün, and touring with the re-formed ’70s Zamrock outfit W.I.T.C.H., Nic Mauskovic also teamed up with Dutch neo-psychedelic artist Jacco Gardner to form the “cinematic Balearic disco” duo of Bruxas (released by Dutch institution Dekmantel) — and together, they mixed The Mauskovic Dance Band debut album in Lisbon. Lead single “Space Drum Machine” encapsulates the band’s prototypical brand of busy rhythmic patterns interwoven with insistent synth stabs and vibrant disco toms, layered with an elastic guitar riff drawing inspiration from Kenyan kikuyu and benga styles. High-pitched vocals describe being on a flight together and inciting each other to press a button of unknown consequence with “push it, push it” — and push it they do, at breakneck pace. And of course, the undeniable influence of Amsterdam’s hotbed of underground dance producers shines through as it does on all tracks – with the vintage psychedelic swirl of synthesizer, lo-fi drum machines, and tape recording. RIYL: Jacco Gardner, Bruxas, Nu Guinea, Voilaaa, Sofrito, Meridian Brothers, EUT, Altin Gün.
The 11th Limited Dance Edition Ranil y su Conjunto Tropical. Fourteen mindblowing Cumbia masterpieces – many of which have never seen wide release outside the Amazonian region.
Ranil’s extraordinary output has remained one of the best kept secrets among collectors of cumbia and psychedelic Latin sounds. With the release of Ranil y su Conjunto Tropical it is a secret no longer. Assembled by Analog Africa founder Samy Ben Redjeb from original LPs sourced from Ranil himself, this fully-licenced compilation presents 14 tracks – many of which have never seen wide release outside the Amazonian region – by a singular artist at the very height of his considerable powers. Prepare yourself for a guitar groove you won’t soon forget.
A Latin Soul classic – but one that’s a lot more obscure than some of the better-remembered albums on Fania and Tico from the late 60s! Orlando Marin is probably mostly known as an arranger, and a leader from the earlier years of the New York scene – but during the Latin Soul years he cut this fantastic set for Decca – easily one of the best of the all-great Latin sides the label was doing at the time! Lyrics are often in English, and sung with a good deal of soul by Eddie Revere – and Orlando’s group crackles with the intensity of the Joe Cuba Sextet – thanks to a timbales-heavy sound in the lead, lots of dark piano on the bottom, and some trumpety flourishes on the top – all with a nice dose of jazz in the mix. Soul-based titles include “Sugarfoot Baby”, “The Hustler”, and “Out Of My Mind” – and other titles include “Eenie Meenie Chow Chow”, “Chickie’s Cookie”, “La Lengua”, “Palo Monte”, and “No Puede Ser”. © 1996-2020, Dusty Groove, Inc.
Strut present the second volume in a series of compilations taken from the archives of Disques Debs International, the longest-running and most prolific label of the French Caribbean. Set up by the late Henri Debs in the late ’50s, the label has continued for over 50 years, releasing hundreds of records and playing a pivotal role in bringing the creole music of Guadeloupe and Martinique to a wider international audience.
Buena Vista Social Club, the album produced by Ry Cooder, is the biggest selling world music album ever, with over 8 million records sold.
Now for the first time comes the recording of the historic performance at New York’s famous Carnegie Hall, which became the centre-piece of the hugely successful film directed by Wim Wenders. This is one of only 3 albums ever released by the original Buena Vista Social Club.
Produced by Ry Cooder, the album features brilliant and unrepeatable performances by legends including Ibrahim Ferrer, Compay Segundo, Ruben González, Eliades Ochoa, Omara Portuondo and Cachaíto López.
Far Out Recordings present the first ever vinyl reissue of Cry Babies’ self-titled debut album, originally released in 1969. An early formation of Brazilian funk greats Banda Black Rio, Cry Babies took inspiration from the iconic US soul records of James Brown, The Isley Brothers, and Kool & The Gang, all of whom are covered on their first and only album. Pioneering Brazil’s funk fascination, Cry Babies paved the way for the likes of Jorge Ben, Dom Salvador, Trio Mocotó, and Azymuth: with fat, funky drum breaks, big round bass, touches of psychedelic Brazilian surf, and the kind of hazy soulful arrangements that could only emerge from Rio de Janeiro. Produced by one of Brazil’s most prolific musical minds, Durval Ferreira — whose songwriting and production credits also include Sergio Mendes, Deodato, Emilio Santiago, Ed Lincoln, Joao Bosco, Quarteto Em Cy, and Dila — the Cry Babies sound, while distinctly North American in influence, carries all the sunshine warmth of the samba jazz and bossa nova records that were coming out of Brazil at the time. With saxophonist Oberdan Magalhães responsible for the album’s arrangements, it’s no surprise that when Warner Music established themselves in Brazil in the mid-seventies, Magalhães was the man they asked to form a group (Banda Black Rio) to develop this new merging of stateside soul and Brazilian influences. Yet while Banda Black Rio’s tight, groove-heavy sound has awarded them cult status amongst lovers of instrumental Brazilian music, their first formation as Cry Babies is a lesser-known story. Since its first and only release, the original record has remained impossibly expensive and hard to find. This first ever vinyl reissue has been remastered and pressed to 180 gram vinyl, with a high-quality replica sleeve.
Marcos Valle needs little introduction, born in Rio de Janeiro in 1943, Mr. Valle is an award-winning/chart-hitting Brazilian singer, songwriter and record producer. He was raised on a staple diet of classical, Brazilian popular music and North American jazz. Marcos Valle grew up to be one of the most influential & innovating musicians of the Bossa nova period and is regarded as one of the greatest Brazilian artists of all time. He has recorded albums for North American labels such as EMI, Warner Brothers & Verve…cementing his career with a series of tight musical workouts moving seamlessly between funk, samba, soundtracks, soul, jazz, dance and rock. Valle contributed to some of the most important recordings by artists including Sarah Vaughan, Frank Sinatra, Sergio Mendes, Leon Ware, Chicago and Airto Moreira. Mr. Valle’s work has been sampled/remixed by major artists from the likes of Jay-Z, Kanye West & Madlib.
One of Valle’s favorite bands to frequently collaborate with was no doubt Azymuth, who took their name from a Valle song!
Azymuth (Bertrami-Malheiros-Conti) started their individual careers in the 1960s in the emergent Bossa nova and jazz scene of Rio, living in the same bohemian block in Copacabana and playing in small bars as session musicians under various other names.
It was the early 1970s when Azymuth really began to cause a stir and Marcos Valle invited them to record on a soundtrack LP he was doing. The unique Azymuth sound was now born: a mix of electronic music, samba, funk and jazz that they defined as MPB-jazz (MPB stands for Musica Popular Brasileira). Over the decades Azymuth released extremely successful albums (selling millions of copies) on labels such as Polydor, Som Livre and Atlantic. Hitting the charts on multiple occasions, Azymuth played at the Monterrey and Montreux jazz festivals and at venues around the globe.
On the album we are presenting you (Brazil by Music – Fly Cruzeiro) the listener is getting yet another fantastic early Valle/Azymuth collaboration. Released in 1972, this rare album was pressed and gifted to customers of the ‘Cruzeiro’ airline company. This promotional record came as no surprise because the connection between Cruzeiro Airlines and Valle was very tight (Valle’s father was the manager and his brother was a co-pilot there).
Next to the Valle/Azymuth material present, other songs include some of the all-time best Brazilian standards originally written by renowned artists such as Jorge Ben & Antonio Carlos Jobim. Take a flight with us through this fantastic album and into some of the best Jazz, Funk & Bossa Nova the Brazilian musical landscape has to offer.
Tidal Waves Music now proudly presents the first ever vinyl reissue of ‘Fly Cruzeiro’ since its release in 1972 (only 500 copies were pressed upon its original release in 1972). This official reissue is now available as a deluxe 180g vinyl edition (limited to 500 copies) packaged in a gatefold jacket and also comes with an insert containing rare pictures and liner notes courtesy of Marcos Valle himself.
Andean party music from the central sierra of Peru. TAYTA SHANTI’s long history of complex syncretism is expressed through its simple song structure. Minimal and raw, or layered with intricate arrangements, its unrelenting rhythm mesmerizes as much as it moves. 16 songs of pure folklore, spanning the late 1960s until the early 1980s. Compilation includes liner notes and photos. Instant mountain rave.
To call Marcos Valle ‘a legend’ of Brazilian music is much more than just easy press-release hype. As singer, writer, musician and record producer, Marcos has played an integral role shaping the sound of the country’s music from the ‘golden era’ of the 60s and 70s, through to the modern day. Alongside his brother, Paulo Sergio Valle, they have penned a huge catalogue of classic songs, not just for themselves but for other greats such as Elza Soares, Astrud Gilberto, Claudia to name a few.
‘Braziliance!’ takes things back to the early heady days of Marcos’ career with the bright and optimistic sound of Rio’s Bossa Nova scene. It includes an instrumental version of ’Crickets Sing For Anamaria’ or ’Os Grilos’ in Portuguese, which would also be re-recorded with vocals. Though only in his early twenties at the time, ‘Braziliance!’ depicts very sophisticated production for a musician so young. Recorded in 1966, produced by Louis Oliveira and Ray Gilberts with arrangements by the very talented Emir Deodato, the album was released on Warner Bros. Records. The artwork presents a very clean-cut, wholesome looking Marcos but darker things were around the corner for Brazil. The ‘Tropicalica’ movement was on its way and about to shake thighs up both musically and politically. Unlike some of his Bossa Nova contemporaries, Marcos continued to stay relevant, surfing the changes and adapting to the musical developments that culture and society projected and needed, without comprising his art.
Under exclusive license to Light In The Attic Records & Distribution, LLC | Mr Bongo Records.
HUUGE compilation of music where Erick Cosaque was involved with during 1973 – 1995. Killer Gwo Ka / jazz crossovers from his early days to the more digital zouk bangers he produced in the 80’s / 90’s.. Almost never reissued or compiled before, this is a big one for the tropical music heads! Comes on a double LP -Including booklet with 8 pages of biography and track by track, translated in English, French and Créole.
A strong, rough, plump voice with the typical tone heard in the creole outdoor musical gatherings. Erick Cosaque’s voice is made to go over and above the two boula drums and the makè drum which are associated in general, along a few light percussions, with the Guadeloupean gwo ka. Whether heard at an informal street corner kout’ tanbou, during a traditional evening at someone’s place or in the musical léwoz of a community center, his warm yet imperial voice has been known by West Indians, in the islands and in the mainland through music, radio and television thanks to a career spanning more than forty five years – about twenty solo albums, forty or so participations and collaborations with artists of all generations and genres within the Caribbean music scene.
Although Erick Cosaque is a major figure in Gwo ka, he managed to avoid being part of any institutional system – no label, no alliance, no funding. His voice, one of the strongest in that genre, has been significant since the early 70’s for restoring the original spontaneous and rebellious spirit present in gwo ka with artistic creations starting in the age of vinyl and continuing in the digital era.
Erick Cosaque resembles Gwo ka, whose music has simple components but is deeply rooted in a complex historical and social context made of fights, pleasures, memories and desires.
“Lugar Alto presents their very first release: the incredibly rare and absolutely stunning Homenagem, by Leonardo V. Boccia. This is a forgotten gem from the eighties that examines traditional Brazilian themes such as choro, northeastern folk, and capoeira with touches of eighties electronics and new age. Leonardo Boccia is a musi-cian, multi-instrumentalist, composer, researcher and university professor of Culture and Society at the Federal University of Bahia, whose interests include sound studies, manipulation of sound media, audiosphere and aesthetics, musical theatre, audio cul-ture and neuromusic. Born in Italy, this respected academic studied music in Berlin, moved to Rio de Janeiro and established himself in Salvador where he was invited to research the northeastern music of Bahia. There he created the experimental group Macchina Naturale, an eclectic combo that performed regularly during his stay. In No-vember 1980, Boccia participated in the first Instrumental Music Festival of Bahia as a soloist where he performed works of his own. But it was in 1983 that Professor Boccia composed, directed and produced the LP Homenagem. With photos by re-nowned photographer and artist Mario Cravo Neto for the front and back cover of the booklet, the album presents new and original compositions for instrumental ensembles, such as: ‘Choro Fantasia’ — for guitar and berimbau –, ‘Canção para Iracema’, ‘Home-nagem’, and ‘Lenda do Sertão’. The LP was originally released on January 3rd, 1984, with a live performance in the main hall of the Castro Alves Theatre under the title Trib-ute to Brazilian Music, with the participation of vocalist Sueli Sodré, who contributes to the album, instrumentalists Zeno Millet and Onias Camardelli, accompanied by chore-ography and visuals. Much of Homenagem examines the genre of Brazilian music known as Choro, or Chorinho, a genre which appeared in Rio de Janeiro in the 19th century. Choro is regarded as the first typically Brazilian urban music and, over the years, it has come to be considered one of the most prestigious genres of national pop-ular music. Stylistically, it originates from Lundu, a percussion-based rhythm of African inspiration but also influenced by European genres. The instrumental composition of choro was based on the trinca flute, guitar and cavaquinho. Over time, other wind and string instruments were incorporated. Here, in Homenagem, Professor Boccia deliberately mixes the old and the new, the traditional and the innovative; the album is the environment of Chorinho reconsidered and recontextualized, and its melodies and harmonies still capable of surprises. Just listen to ‘Terra e Povo’ — it has an almost pro-to-acid-house quality to it, while the synth washes on ‘Mãe Natureza’ with the ethereal vocal stylings of Sueli Sodré ushering in the progressive quality of the album. Too long out of print, new label Lugar Alto now offers you the chance to reappraise this fascinat-ing reissue of yet another forgotten chapter in Brazilian music.”
The gradual appropriation by the Creole populations of Western instruments and European melodic traditions (quadrilles, waltzes, polkas, scottish, romances, mazurkas), as well as the cultural contribution of committed workers from India laid the foundations of the modern sega.
This crossroads of influences was to continue to grow, especially from the 1950s, when the Birst phonographs arrived, playing all kinds of varieties but also jazz, soul, rock’n’roll, and even Cuban or Brazilian music.
For the Sega, these were the first steps towards a period of intense creativity that would cover the 1960s and 1970s. Amplified instruments arrived, and electric guitars, basses, drums and keyboards quickly replaced violins and accordions. Record production exploded and saw the advent of many micro-labels featuring genius arrangers such as Marclaine Antoine, Gérard Cimiotti, Eric Nelson, Claude Vinh San, or Narmine Ducap who explored the Sega in its many facets. Psychedelic keyboards, fuzz guitars and undulating basses invited themselves on the furious ternary polyrhythms of drums, ravannes, bongos, claves, triangles and maracas, to produce a unique style.
Here are some pearls from this golden age of the segas of Mauritius, Seychelles and Reunion Island that are compiled in this volume 2 for our greatest pleasure!
Official reissue of this Panamanian Latin-funk/soul classic by The Exciters from the early ’70s. The Pan-Caribbean workforce brought in to build the Panama Canal shaped the musical culture on the isthmus, and it became a hot-spot for new rhythms. Growing out of the combos nacionales scene, one of the most successful funk and soul groups of ’60s and ’70s Panama, Los Dinamicos Exciters (later The Exciters) was led by drummer Horacio `Ray’ Adams. Legendary in their day, the band were booked solid for years. Their core sound was Latin soul and funk (heavily influenced by James Brown) but they also played boogaloo, calypso and ska. The US Black Power movement struck a chord, especially in the Canal Zone, where Afro-Panamanians had long suffered discrimination. Co-founders of the Instituto Soul, the Exciters were the first to invite an African-American ‘soul queen’ to lead their carnival parade in 1971. Regular edition in red sleeve, limited to 400 copies.
Various Artists “London Is The Place For Me Vol. 7: Calypso, Palm Wine, Mento, Joropo, Steel & Stringband” (Honest Jon’s)
The latest volumes in this highly acclaimed series presenting the music of the Windrush generation: the post-war, London recordings of West Indians and West Africans, in the first wave of modern migration to Britain. Volume 7: Calypso, Palm Wine, Mento, Joropo, Steel & Stringband overflows with diverse musical styles, including steel band, string band, calypso, joropo, and mento. Features Lord Beginner, The Lion, The Mighty Terror, Dai Dai Simba, Willie Payne & The Starlite Tempos, The Mighty Terror, Louise Bennett, Marie Bryant, Nigerian Union Rhythm Group, Calypso Rhythm Kings, Bill Rogers, Lili Verona, Billy Sholanke, Lord & Lady Beginner, West African Rhythm Brothers, and Trinidad Steel Band. Sound restoration at Abbey Road; pressed at Pallas. Gatefold sleeve; full-size leaflets.
The latest volumes in this highly acclaimed series presenting the music of the Windrush generation: the post-war, London recordings of West Indians and West Africans, in the first wave of modern migration to Britain. Volume 8: Lord Kitchener In England, 1948-1962 is devoted to the great calypsonian Lord Kitchener. Gatefold double LP with insert, including numerous stunning photographs, and brilliant new writing by Kitch’s biographer, Anthony Joseph. Sound restoration at Abbey Road; pressed at Pallas.
Gabor Szabo’s singular style and authentic sound is on full display across a set of originals and choice covers highlighted by unusual instrumentation and ingenious arrangements. From the sitar-starring adaptation of “Paint It Black” to the Latin rhythms and bossa nova beats, Szabo’s savvy jazz guitar innovations shine throughout.
Collected from the jazz guitar guru’s mid-’60s output, this first ever reissue of The Best of Gabor Szabo exhibits his trademark transformations of fashionable hits of the time and also represents his enchanting original compositions.
Sommor Records present the first ever vinyl reissue of Synchro Rhythmic Eclectic Language’s Lambi, originally released in 1976. Impressive jazz-rock-fusion with progressive, funk, Afro-Caribbean and Zeuhl elements courtesy of multi-cultural French band Synchro. The band features drummer Steve McCall (Air, Cecil Taylor), sax player Jo Maka (Intercommunal Free Dance Music Orchestra), violinist Jean-Yves Rigaud (ZAO), electric guitar player Gerard Curbillon (Speed Limit), pianist Georges-Edouard Nouel (Noel McGhie & Space Spies), and bass player Louis Xavier (Ladja). You’ll find Zeuhl grooves (“Rigibo”), jazz-funk-breaks galore (“A.B.C.D.”), Afro-Latin-jazz (“Pasto”, “Rete”), library jazz funk (“El Gason”), and many more surprises. Originally released on the Moshé-Naïm label in 1976, here’s the first ever vinyl reissue, expanded to a double album including some essential bonus tracks taken from the recording sessions. Master tape sound. Original artwork in gatefold sleeve.
Sommor Records present the first ever vinyl reissue of Franck Valmont’s Et Synchro Rhytmic Eclectic Language, originally released in 1976. A fabulous French/West Indies Afro-jazz-funk-Caribbean-fusion album, originally released on the Moshé-Naïm label by poet-singer-painter Franck Valmont accompanied by multicultural progressive jazz-rock band, Synchro. Featuring Jo Maka (Intercommunal Free Dance Music Orchestra) on sax, Louis Xavier on bass and fuzz-bass, Georges Nouel on electric piano and organ, Gerard Curbillon from Magma-related prog-fusion band Speed Limit on electric guitar, and Yves Dolphin on drums. Includes “Diamant”, “Maléré”, and more. Remastered sound. Original artwork; includes insert.
This is the bonafide classic second album that Willie Colón recorded with Héctor Lavoe as his lead vocalist, one of the greatest salsa duos in history. It was a transitional period for Latin music in New York, and people questioned the recent fusions of Latin rhythms with Soul and R&B. ‘The Hustler’ featured a young and energetic band that included future Fania All Stars timbalero Nicky Marrero and African-American pianist Markolino Dimond, who wrote the tasty “Guajirón”. With their raw and edgy tones, Colón’s trombone lines shine on the record’s title track – a Latin jazz instrumental.
A reissue of Jorge Ben’s Solta o Pavao, originally released in 1975. Jorge Ben is one of Brazilian music’s iconic and best-loved figures. Born Jorge Duilio Lima Menezes in Rio in 1942, he took the stage name, Jorge Ben, in deference to his mother’s Ethiopian roots, and later used Jorge Ben Jorge for further distinction. Playing tambourine and singing in a church choir from an early age, Ben began playing in Carnival blocos and was performing in nightclubs as a teen. Signed to Philips in 1963, his “Mas Que Nada” became an instant international sensation that has never waned, despite being sung entirely in Portuguese. Beginning in samba, Ben’s openminded approach saw him embrace aspects of bossa nova, the “Jovem Guarda” rock movement of the mid-1960s and the experimental Tropicalia form, the broad palette and diverse influences yielding a number of adventurous and abstruse albums during the 1970s, of which Solta o Pavao is one of the most rated by connoisseurs, though somewhat overlooked in general; its title translates roughly to “Unleash the Peacock” and apparently concerns the outward expression of inner beauty. Against a backdrop of lushly produced samba rock with shades of MPB, highlights include opener “Zagueiro”, in which Ben salutes football center-backs in typically playful and poetic language; closing number “Jesualda” is a heady ballad of a chance encounter leading to a girl’s social climbing and “Para Ouvir No Radio (Luciana)” a love song with striking flute and string arrangements; Dadi Flavi’s bubbling bass and occasional string synths help keep the sound non-standard.
“By 1974, salsa was taking Colombia by storm and so the directors of the INS label (Industria Nacional Del Sonido Ltda), based in Medellín, Colombia, decided to create a band that would appeal to ‘salsómanos’ (salsa fanatics) and be able to compete with the area’s two larger labels, Discos Fuentes and Codiscos. Thus was born the oddly named Los Afroins (a contraction of Afro, indicating the roots of the music, and ‘–ins’, for the label name), an obscure, short-lived combo that would release two albums and six 45s. The repertoire focused on cover versions of hit Afro-Antillean tunes both classic and contemporary. Pianist Agustín Martínez ‘El Conde’, who would later work with Joe Arroyo and Juan Piña, led the group and did some arranging. INS artistic director Alfredo Linares ‘El Inca’, the famed Peruvian keyboardist and composer, oversaw the project and guested on piano for several tracks, doing some arranging as well. The vocals were handled by a pair of young as yet unknown singers, Lucho Puerto Rico and Ray Betancourt, who would later go on to more fame in the 1980s, the former with his own Lucho Puerto Rico y su Conjunto Sonero and Conjunto Son del Barrio, and the latter with Willie Salcedo, Reales Brass de Colombia, and Los Caribes. Óscar Toscano “El Márquez Argentino” (whose orchestra backed Palito Ortega in the 1960s) and Luis E Mosquera arranged as well, while the rest of the band was made up of INS-related studio musicians. Their first album, A Gozar Salsomanos Con Los Afroins, is a sought-after collector’s item and contains ten brassy, heavy-duty salsa gems that don’t let up for the duration of the record. There are covers of salsa hits by Ismael Rivera (‘El Nazareno’, ‘Orgullosa’), Los Ahijados (‘Virgen De La Cueva’, ‘Guayo, Pellizco Y Pata’), Roberto De La Barrera (‘Sabrosón’), Cheo Marquetti (‘Apriétala’), and even the smash pop hit by the French modern classical and electronic music composer Saint-Preux (a great instrumental descarga version of ‘Concierto Para Una Sola Voz’). In addition, there are two originals (‘Afroinspiración’ and ‘Cuídate’) that are equally hot. The whole package makes for a very satisfying party record that deserves to be more accessible and better known by today’s salsómanos who may have heard of Fruko y sus Tesos or Grupo Niche but have yet to discover Los Afroins.” –Pablo Iglesias, aka DJ Bongohead Presented in facsimile artwork and pressed on 180 gram vinyl.
180 gram vinyl; includes download code. Far Out Recordings present an official reissue of Ana Mazzotti’s Ninguem Vai Me Segurar. originally released in 1974. An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock n’ roll hit South America in the ’60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer, and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1974, Mazzotti recorded her first album Ninguem Vai Me Segurar, enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it. Kicking off with the swirling samba-jazz-dance masterpiece “Agora Ou Nunca Mais”, the album hosts several groove-heavy Brazilian cult-classics. Deeper moments come in the form of the alluring future soul synth sounds on “Bairro Negro” and “Sou”, and Mazzotti’s tender, hallucinatory version of “Feel Like Making Love” (made famous by Roberta Flack). Remastered.