Azymuth
Azymuth 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. Keys player and bandleader Bertrami had noticed how great Ivan Conti 'Mamao' was as a drummer, and how fantastic Alex Malheiros was with his new electric bass, and invited them to record with him: their first piece of work together was under the name Group Projeto 3 in 1968.
375.2k views 17.5k subscribers-Follow my Twitter for Updates-It's 1975, and Joel 'Chevelle' Ramirez is a 27 year old bounty hunter and part-time monster. FOLLOW OUR BRAND NEW PLAYLISTS (Updated Weekly): 🔥 Trap Nation - our premiere playlist on Spotify: 🍏Trap Nation on Apple Music: https. For example, if lot must adhere to a 0.1 FAR, then the total area of all floors in all buildings on the lot must be no more than one-tenth the area of the parcel itself. In other words, if the lot was 10,000 sq. Ft, then the total floor area of all floors in all buildings must not exceed 1,000 sq.
It was the early 1970s before they really began to cause a stir. Marcos Valle invited them to record on a soundtrack LP in tribute to the great Brazilian Formula 1 racing driver Emerson Fittipaldi (O Fabuloso Fittipaldi). After the success of the record in Brazil they asked Marcos if they could use the name of one of the tracks (‘Azimuth’) from the EP as their name and the rest is history! Their musical output was enormous at this point in the early 70s – Bertrami’s flat in Laranjeiros was the centre of a cottage industry producing astonishing, ahead-of-its-time music. Far Out’s Joe Davis, who has heard some of this material, describes one demo from the early 70s as “wild, abstract stuff, unlike anything around at that time”. Their first recording under the new name was a four track EP with Polydor, which was used in a popular novella (soap opera) – in Brazil, this is pretty much a guarantee of success for a record. From this followed their first LP with the Som Livre label and ‘Linda De Horizonte’ (used in another novella). This LP featured classics like ‘Manha’ (a standard on the London club scene) and ‘Faca De Conta’. The unique Azymuth sound was born.
The second album ‘Agua Nao Come Mosca’ was an even bigger success. It was also released in the USA and Japan on Atlantic Records, bringing international attention. This LP led to a deal with the American jazz label Milestone Records. In 1979 their first Milestone release, ‘Light As A Feather’ became one of the best-selling LPs of the year. It featured the worldwide disco/fusion hit single ‘Jazz Carnival’, which sold more than half a million copies internationally, and stayed in the UK Top 20 for eight weeks. Azymuth went on to record a string of albums on Milestone in the mid-80s, including the cult classic ‘Outubro’ which Far Out Recordings will reissue in June 2016. Over this period of time Azymuth established themselves as one the world’s great jazz bands, playing in the Monterrey and Montreux jazz festivals and venues around the globe, and working with legendary musicians from Chick Corea, Joe Henderson, George Duke and Stevie Wonder. This worldwide notoriety was something of a surprise to the band – they were the same streetwise Rio boys playing their own music, which they still thought of as MPB (Musica Popular Brasileira) with a touch of jazz. In 1983 Azymuth were at their peak, and the three members had all started solo careers. However, the trio’s burgeoning solo commitments became a heavy burden – by 1987, Azymuth had split.
Far Out’s Joe Davis first met Azymuth at the studio on a recording session for the Friends From Rio project in 1995 – they had been invited to play by Joe’s Brazilian producer. Joe might have been forgiven for being a little star struck – Azymuth had been his musical heroes for 15 years. They met again soon afterwards, at a dinner party at the same producer’s house in Santa Tereza on the very edge of one of Rio’s many favelas. The party quickly confirmed the Azymuth boys’ legendary appetites for debauchery and revelry – they had left their surprisingly reserved, professional demeanour in the studio the week before.
In the mid 90s Azymuth were still seen as rather maverick and aloof by the rest of the Brazilian music industry – their countrymen were almost afraid to deal with them, given the influence and reputation they had built up in the 70s & 80s. They were content to play as session men for a series of visiting producers (the latest being Joe Davis), effectively opting out of the mainstream industry. Joe though came with a missionary, fan’s zeal: he was determined to convince them to record for his label. He managed to convince them of their international importance beyond the insular Rio studio scene, and finally to record new albums on Far Out. Joe wanted to recreate that classic sound and vibe of the 70s and early 80s – records he’d been buying for years.
Back in the studio, their spontaneity shocked Joe – he hadn’t been used to working with artists like this before. Their records really were (and still are) made on the spur of the moment – “when they’re ready to go, they go” as Joe puts it. They are quite capable of banging out three new tracks that will find their way on to the next album in an hour, even after several hours unproductive pontification. In 1996 the resulting album ‘Carnival’ was released to critical acclaim – a welcome return to the band’s creative best.
Since then Azymuth have recorded eight new studio albums for Far Out: ‘Woodland Warrior’ (1998), ‘Pieces of Ipanema’ (1999), ‘Before we Forget’ (2000), ‘Partido Novo’ (2003) ‘Brazilian Soul’ (2004) ‘Butterfly’ (2008) and ‘Aurora’ (2011). They’ve also been remixed by some of the finest remixers in the world including Theo Parrish, Mark Pritchard, 4hero, Peanut Butter Wolf, Kirk Degiorgio, Paul White, Zed Bias, Mark E, Yam Who, Ashley Beedle, Jazzanova, Mr Beatnick, London Elektricity and Roni Size.
Always pushing forward, the band's latest album Fênix was released in 2016 to critical acclaim, with Bertrami’s replacement on keys and piano Kiko Continentino, an incredibly skilled pianist, composer and arranger who, having worked with Brazilian legends such as Milton Nascimento and Gilberto Gil, is a musician certainly worthy of taking to both the studio and stage alongside Azymuth’s esteemed original members.
By Dom Nozzi
What is a “floor area ratio”? (sometimes called “FAR”)
Perhaps the best way to define an FAR is to give an example. An FAR of 1.0 means that the developer is allowed to build the equivalent of a one-story building over her entire lot, or a 2-story over half the lot. An FAR of 2.0 means the developer is allowed to build the equivalent of a two-story building over her entire lot, or a 4-story over half the lot.
An FAR of 0.5 means the developer is allowed to build the equivalent of a one-story building over half her entire lot, or a 1-story over half the lot.
And so on.
I should hasten to point out that while the FAR examples given above that exceed 1.0 may seem very dense, keep in mind that in almost every case except in, say, the middle of a downtown, an FAR of 1.0 would not allow the developer to build one story over the entire lot, as other local development code regulations would also require space for landscaping/open space, parking, setbacks, etc. Thus, an FAR of 0.8 would almost never result in a one-story building over 80% of the lot. It would probably be a one-story over less than 80% to be able to fit in the landscaping, etc., or a two-story over even less of the lot. In effect, what FAR limits do is control the amount of building floor area, and often don’t really tell you how much of the site will be covered by a building.
Walkable urbanism and healthy transit require FARs to be at least 1.5 to 3.0. In Europe, those loveable cities we all love to walk have FARs that are probably well over 3.0. In America, as you can imagine, most of our commercial areas have tiny developed FARs of about 0.1 (with most space taken up by surface parking).
Therefore, if a community wishes to encourage more walking and vibrant, sociable urbanism, it should require at least 1.5 FAR. Anything less than about 1.0 locks a community into sprawl, unwalkable and unlovable design, extreme auto dependence and downwardly spiraling downtowns, because low FARs create unwalkably large spaces that are more car-scaled than people-scaled. Top online gambling.
People feel more comfortable in the quaint, enclosed spaces created by, say, 2.0 FAR development patterns. They feel exposed and in a “no-man’s-land” when FARs are less than 1.0 (which is fine if you are inside an SUV…)
Note that I am not suggesting that we require more than 1.5 FAR everywhere in a community. Only in in-town places where more walking and urbanism are being promoted do we want to see 1.5 FAR or more. In suburban and rural locations (where less is better), it is generally okay to have an FAR of 0.5 or less—unless you are trying to create a walkable neighborhood center (a sea-of-asphalt shopping center that is to be transformed, for example) in the middle of a suburban location.
Here is an excerpt from the Urban Design Toolbox I wrote in 2003:
Higher densities make it possible for people to walk, bicycle, or use the bus. One important way to increase development densities is to increase the allowable floor area ratio (FAR). FAR is a measure of how much square footage can be built on a given piece of land. In commercial areas, FAR should be at least 1.0. In office/industrial & mixed use areas, it should be at least 1.25 (Snohomish County WA).
Richard Untermann, a well-known urban designer, calls for FARs of 2.0-3.0 in town centers, and 3.0 for office areas. San Diego requires at least 0.5 FAR near bus stations. To increase employment densities, Orlando requires both a minimum and maximum FAR for most commercial zoning.
Unfortunately, while an FAR of 1.0-2.0 is considered ideal for creating transportation choices, most towns allow less FAR than this in their town centers. Every 20 percent increase in floor space in commercial centers developed as non-office uses is associated with a 4.5 percent increase in ride sharing and transit use, according to studies I have seen.
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