Azymuth

There’s a gravity to Marca Passo — the kind that hums beneath the skin long after the final fade.
Half a century into their odyssey, Azymuth return not as revivalists but as architects of a new afterglow.
Recorded in Rio de Janeiro in the shadow of loss — the passing of their rhythmic heart, Ivan “Mamão” Conti — this record breathes with reverence and renewal.

With Alex Malheiros now the sole founding member steering the ship, Marca Passo threads the past through the circuitry of the present.
It’s the Azymuth universe re-emerging: samba-doido at its most textural, still pushing the dialogue between soul, fusion, funk, and deep Brazilian rhythm.
Electric bass hums like low-voltage thunder. Rhodes chords bloom like afternoon heat. Drums sway with the looseness of life continuing.

Tracks like “Belenzinho”, “Fantasy ’82” and the tender “Samba Pro Mamão” frame their legacy in motion — the familiar sunlit optimism now cut with nocturnal shade.
The trio (with keyboardist Kiko Continentino and drummer Ivan Conti Filho) conjure that unmistakable Azymuth swing, where analog warmth meets cosmic drift.

But this isn’t a nostalgia exercise. It’s an act of transmission — the pulse handed down through generations of Brazilian futurists.
Each track feels like a coded message from the 1970s dreamscape to today’s restless modern ear: the sound of mourning turned movement, melody turned memory.

It reclaims the groove as sanctuary — where rhythm becomes ritual, and every beat honours what came before.

Essential for those who file Azymuth beside Herbie Hancock’s Sunlight, Marcos Valle’s late-’70s work, or the Far Out Recordings continuum of modern Brazilian soul.

File under: future nostalgia, jazz-funk continuum, Rio light refracted through loss.