Jazz-funk trio Azymuth rose—already aflame—from the fluorescent ashes of the countercultural, kaleidoscopic world of Tropicalismo (or tropicalia). Since the early ‘70s, the Rio de Janeiro natives have gone on to create their own signature style, “samba doido” (“crazy samba”), an electric mix of spacious jazz with heavy funk and traditional Brazilian folk rhythms. They’ve been one of Brazil’s most experimentally daring groups for decades running.
Over two dozen studio albums later, they’ve gone through a difficult lineup change for 2016’s Fênix. Legendary keyboardist José Roberto Bertrami tragically passed away in 2012, and Fernando Moraes, a skilled pianist who’d also been a student of Bertrami’s, inherited his place in the group alongside drummer Ivan “Mamão” Conti and upright bassist/composer Alex Malheiro. Fênix is their first new material since Bertrami’s death, and, as the title suggests, this is Azymuth reborn in their latest configuration.
While Bertrami was obviously a core…
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