Lucas Arruda
Sambadi

Marking sixty years of Bossa Nova, and twenty years since Marcos Valle’s first release for Far Out Recordings, what better time to bring back this era-defining classic from the Brazilian master composer?Throughout his astounding six-decade career, infiltrating pop, bossa nova, samba, delicate psychedelia, jazz and funk, Marcos Valle has consistently shown a dogged determination to transcend the traditions and structures of bossa nova, whilst never veering away from the movement’s inherent, fundamental spirit. To some extent, his epithet ‘the original Rio beach boy’ is a handy one: it reflects the origin and character of his often sun-soaked sound, but expounding his importance in the lineage of Brazilian music, he is more discerningly known as ‘the renaissance man of Brazilian pop’. He is indeed one the very greatest and most important composers, arrangers, writers and performers in Brazil.Up until Nova Bossa Nova, Marcos Valle hadn’t released an album for well over a decade. After 1983, he resented the way the music industry had changed with commercialisation and new demands curtailing his creative freedom. This was until 1994 when Marcos met Far Out boss Joe Davis and they recorded a track for Far Out’s first Friends From Rio album. This new collaborative partnership resulted in a new solo album, which commenced recording in 1996.Nova Bossa Nova brought Marcos bouncing back into the 90s, slotting nicely in place alongside the acid jazz movement as well as a voracious new demand for Brazilian music on dancefloors from London to Tokyo. It was witnessing the London club scene’s growing appetite for Brazilian music, as well as a lack of new sounds coming out of Brazil at the time, that a young Joe Davis put in a proposal to record a new album with one of his musical idols. Joe wanted to facilitate an album which would combine the latest technologies and production techniques, with live to analogue tape recording: a Marcos Valle album tailor-made for London’s clubs. Always open to modern influences and possibilities, Marcos agreed to the project, and Joe and his production partner Roc Hunter flew to Rio in ‘96. The record wasn’t released until ’98, as the original ½ inch tapes were stolen from Far Out’s London studio, meaning parts of the album had to be re-recorded.Nova Bossa Nova was unveiled at the peak of the of the Brazilian movement, the record would also prove to be something of a revolution, inspiring a new generation of artists like Bebel Gilberto, Sabrina Malheiros, Da Lata and Bossacucanova, who continued to fuse Brazilian influences with modern electronic sounds.

Originally released in 1976Arranged by Kiyoshi YamayaFeaturing Shakuhachi master, Kifu MitsuhashiKifu Mitsuhashi studied with Soufu Sasaki of the Kinko-style shakuhachi in 1968. He became a member of Pro Musica Nipponia and participated in many concerts both in Japan and overseas after completing the NHK Hougaku Training Program in 1972. Mitsuhashi studied with Chikugai Okamoto of the shakuhachi fukesyu meian souryuukai in 1974. He was awarded as top soloist of the 1st Pan Music Festival in 1976.Kiyoshi Yamaya is a Japanese jazz composer, band leader born in Tokyo on March 29, 1932. As a musician commonly playing the alto or baritone saxophone, he had been a part of bands like Tetsurou Takahama and Eskyer Cats and Hiromichi Yamamoto and Champagne Serenade.Originally released in 1976, “Shakuhachi: Sato no uta” is a collaboration between these two artists. The album artfully combines each musicians respective genres of expertise, resulting in an incredible fusion of both jazz and traditional Japanese folk music.