Back catalogue: All genres

Review: 52 years after it was first released in 1970, Hermeto Pascoal's self-titled debut long player remains a remarkable one. It was born in the A&R studios in New York and features a heavyweight cast of collabs including Ron Carter, Hubert Laws, Joe Farrel and Googie Coppola. There are even some stars of the Brazilian jazz scene of the time making appearances such as Airto Moreira and Flora Purim, who also took care of production. From elevator jazz tunes like 'Hermeto' to laid back and sunny bliss-outs like 'Flor Do Amor' the sis another jewel in the crown of Far Out.

Review: Far Out Recordings reissues a hidden Argentinian gem with this offering, the late Agustin Pereyra Lucena's elusive 1988 LP, now restored from the original tapes. A guitarist rooted in Brazilian tradition but shaped by European travel and political exile, Lucena channels both clarity and melancholy into his playing. 'Luces de Valeria' and 'Preparativos Maritimos' offer delicate phrasing and compositional grace, while his take on Baden Powell's 'Pequeno Vals' drifts with lyrical restraint. The interplay between flute, brushed drums and nylon-string guitar reveals a liquid sensibility-evident too on 'Tema Barroco' by long-time collaborator Guilhermo Reuter. Anchored in Buenos Aires but marked by a traveller's perspective, these pieces shift subtly from samba-inflected intimacy to a cooler, more spacious lyricism. Lucena's phrasing reflects his belief that proximity to water affects one's musical flow-an idea borne out here in every fluid turn and tide of this understated masterwork.

Review: Following Far Out's reissue of Agustin Pereyra Lucena Quartet's La Rana, the label continues its memorialisation of the late, great Argentinian guitarist's music, with the first ever direct from tape, audiophile reissue of Pereyra Lucena's self-titled debut album from 1970. Hailing from Buenos Aires, Augustin was nonetheless obsessed with the music of Brazil; this combined with his Argentinian roots to produce a sound entirely his own. After being scouted in a nightclub, by musician and guitar craftsman Jorge Demonte, Agustin was invited for an audition at Argenitinian label Tonodisc, and before he knew it, was in the studio recording his first album. The album's atypical bossas and spiritual swinging sambas, composed by many of Agustin's heroes, were elevated to new heights by Agustin's dazzling arrangements and phenomenal guitar playing. The almost cosmic reaches Agustin achieved with his sound are balanced against the stylish sophistication and breezy nature of the music.