Azymuth: Cascades, Tape
Azymuth: Cascades, Tape
€11.90
Net price (incl. 19% VAT)

Azymuth
Cascades

  • Compact Cassette
  • United States
  • Milestone (4)
  • (5M-9109)
  • 7 Tracks
  • no barcode
  • M- / M-
  • virgin
  • sealed

tracks

A1

Club Morocco (Marrocos Clube)

Written By
4:41
A2

Cascade Of The Seven Waterfalls (Salto Das Sete Quedas)

Written By
4:46
A3

Through The Window (Entrando Pela Janela)

Written By
3:28
A4

Remembering Milton (Lembrando Milton)

Written By
5:38
B1

Festa Nativa

Written By
5:21
B2

A Woman (Uma Mulher)

Written By
5:09
B3

Indian Pepper (Pimenta Malagueta)

Written By
5:33

Credits

Art Direction
  • Phil Carroll
Bass
  • Alex Malheiros
Percussion
  • Alex Malheiros
  • Ivan Conti
  • José Roberto Bertrami
  • Carlinhos da Mocidade
  • Sidinho Moreira
Acoustic Guitar
  • Alex Malheiros
Co Producer
  • Alex Malheiros
Drums
  • Ivan Conti
Engineer
  • Billy
  • Magro
  • Willians Francesconi
  • Don Lewis
  • Danny Kopelson
Remix
  • Danny Kopelson
Flute
  • José Carlos
Handclaps
  • Otavio Batéra De Nitéra
Harmonica
  • Mauricio Einhorn
Keyboards
  • José Roberto Bertrami
Vocoder
  • José Roberto Bertrami
Vocals
  • José Roberto Bertrami
  • Ivan Conti
Mastered By
  • George Horn
Photography By
  • Phil Bray
  • George Holton
Producer
  • José Roberto Bertrami

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2×LP (Vinyl)
1968. France, Incorporated. The entire building was being consumed by flames and was slowly collapsing. Nothing would survive. Out of the rubble of the old world jumped the children of Marx and Coca-Cola, ripping the white and blue stripes off the French flag. Yet, the socialist revolution was more mythic than real and music did nothing to mitigate people's behavior. It was time for innovation. While singles from the Stones, Who, Kinks and MC5 provided an incendiary soundtrack for the revolution, it was Black Americans who truly blew the world from its foundations in the 60s. Ornette Coleman, Cecil Taylor, Eric Dolphy, Albert Ayler and Archie Shepp left behind the jazz of their fathers' generation, liberating the notes, trashing the structures, diving headfirst into furious improvisations, inventing a new land without boundaries – neither spiritual nor political. Free jazz endowed the saxophone with the power to destroy the established order. In 1969, the Art Ensemble of Chicago arrived at the Théâtre du Vieux Colombier in Paris and a new fuse was lit. Their multi-instrumentalism made use of a varied multiplicity of "little instruments" (including bicycle bells, wind chimes, steel drums, vibraphone and djembe: they left no stone unturned), which they employed according to their inspirations.