Latin | Brazil Vinyl 510 Items

Following highly praised releases by Hermeto Pascoal & Grupo, Leonardo Marques, Xenia Franca, Moons, and Gus Levy, 180g and the legendary Disk Union continue to explore the best of today's Brazilian music scene with this wonderful album by Bruna Mendez. A chill, mellow and futuristic musical masterpiece with funky and electronic flavours, Corpo Possível leads the way to the new era of Brazilian R&B.

Bruna Mendez is a female singer/songwriter from the inland city of Goiânia, Brazil. Originally a lyricist, she began her musical career in 2008 to express herself as a musician, joining several bands in Rio as well as in her hometown Goiânia. After releasing her debut EP "Pra Ela" in 2014, Bruna released her debut solo album "O Mesmo Mar Que Nega a Terra Cede à Sua Calma" in 2016, which received critical acclaim in Brazil.

After this first album, Bruna also finds interest in electronic sounds and textures, and starts incorporating these elements into her music. Her second album here, "Corpo Possivel", is the result of such an encounter between electronic beats, addictive melodies and a band and musicians playing a tight and propulsive sound. All of this makes Corpo Possivel an album standing out in today's Brazilian music scene, where many extraordinary talents are produced. 180g and Disk Union are proud to release Corpo Possivel for the first time outside of Brazil. This is an essential LP by an artist promised to a bright future on the Brazilian and international scenes.

This album comes on 180g vinyl format.

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Credits:

- Recorded in Curitiba / PR / Brazil, between April and July of 2019 by Pedro Soares (jack) at Chucreza Beats, Guigo Berger at Rec'n'Roll, Tiago Brandão at Voxdei, Vinicius Braganholo at Nico's Studio; in Goiânia / GO by Braz Neme at UpMusic, and in Lisboa / Portugal by João de Carvalho at The LX Sound.

- Produced by Gianlucca Azevedo (jan) - Co-produced by Machado (tracks A3 and B1), Pedro Soares (jack - tracks A4 and B2) and Lucas Romero (track B3)

- Voices: Bruna Mendez, Lilian Soares, Layane Soares and Machado - Guitars: Bruna Mendez and Gianlucca Azevedo - Bass: Machado, Leomaristi dos Santos, Rayssa Almeida, Nikko Novak and Gianlucca Azevedo - Saxophone: Gianlucca Azevedo - Drums: Pedro Soares, Eli Lage and Jean Ramos - Vocal Producers: Lilian Soares and Gianlucca Azevedo

- Edit: Bruna Mendez, Gianlucca Azevedo and Amadeus Marchi - Post-production by Bruna Mendez - Mixed by Guigo Berger at Rec'n'Roll Studio (Curitiba / PR) - Mastered by Anderson Guerra at Bunker Analog (Belo Horizonte / MG)

- Art direction: Junior Ribeiro and Bruna Mendez - Album cover photo by Junior Ribeiro - Graphic design: Félix B. Perini - LP additional design by Nicolas Kerembellec (nker.fr)

- Executive Producer: Cecília Brito - LP vinyl production by Greg Gouty (180g) and Yusuke Erikawa (Disk Union)

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180gdulp06 - Manufactured and distributed by 180g in collaboration with Disk Union Japan, under license from Bruna Mendez.

Two Vinyl LPs (sold separately) From the Sun Ra & Carl Craig collaborator Francisco Mora Catlett, Far Out Recordings is delighted to present Mora!, and for the first time ever on vinyl Mora! II. A pan-American melting pot of hypnotic afro-cuban rhythms, frenetic batucadas and fiery sambas, Mora I & II are holy grails of latin jazz, masterminded by an unsung hero of the genre.

Jungle Fire: “Our thing is incorporating rhythms from a wide variety of African Diaspora sources. This album in particular is darker than the previous two.”

Long time awaited and first time reissue on Vinyl / Limited initial press only - No repress / For fans of Clube da Esquina, Outro Tempo (Music From Memory), ECM label / Most important Brazilian album as post-Clube da Esquina which combined landscape of Brazilian folklore with extraordinary music such as Egberto Gismonti using acoustic instrumentals and synthesizers.

Founded in early 70s by historical Rai TV trumpeter and composer Cicci Santucci (Looking Around, On The Underground Road etc.), New Tape grown up during the golden period of Italian music production and was dedicated to experimentation of new forms of sound, always hailing from the solid Jazz basis of the musicians and theme music inspiration. Andrea Galtieri aka Cavalier Piscopo sequenced the very best shots from the whole label production including exclusive liner notes, with an explosive mix of Jazz-Rock, Bossa, spellbinding groove and raw Experimental stuff.
"A leading figure in the Italian Jazz scene, Francesco 'Cicci' Santucci worked as trumpeter in the legendary Rai TV orchestra for over 20 years. He was renowned for collaborations with such international jazz legends as Lionel Hampton, Gato Barbieri, and Kenny Clarke – that is until his foray into the avant-garde progressive experience of The Living Music, a project founded by his brother Umberto. During these same years, he took part in important Italian jazz sessions like "Looking Around", "Mondo Operaio", and "On The Underground Road", with his close colleague Enzo Scoppa.
It was just around this period of great music production and experimentation that Cicci founded his own label, the NEW TAPE, in the very early '70s. His goal was to dedicate himself to composing library music with a new expression of music, less linked to hard bop or American standards, but rather more focused on the new sounds of the time that brought the listener closer to modern vibes, like jazz-rock and avant-garde music.
"Mixed Grill" opens this series, composed by the maestro's alias, 'Girosan', along with Lesiman (a.k.a. Paolo Renosto) who added a more esoteric and captivating atmosphere, closer to English progressive rock. "Rengran Mix" and "Tropical" follow, with music by Paolo Renosto and the old avant-garde connoisseur, Romolo Grano. This work gave way to electronic instrumentation and weird experimentation, and was built on a rich rhythmical carpet – tropical percussions, rock and blues inspired vibes, sleazy psych, and jazz improvisations. Music from “Rengran Mix” was also used as the soundtrack for the TV programme "Futili Motivi", and also featured the great backing sound of I Marc 4 with the accompaniment of Nora Orlandi's warm vocals.
The trademark of the label, and the most important production, is the fourth album, "Mirage" by Cicci Santucci and Enzo Scoppa themselves. This record is an explosive mix of elegant jazz, funk, and psychedelia, where every instrument finds its expressive space. We can clearly hear the connection on both the 'On the Underground Road' and 'Looking Around' albums, recorded that same year, bringing that unmistakable underground jazz dopeness typical of the magical duo of Santucci and Scoppa.
The last album of the series is "Appunti Di Guerra" by the mysterious 'Ruscigan' – a very obscure alias which probably belongs to Renosto and Guido Baggiani. This work features complex and dramatic sounds properly composed for war scenes and gloomy atmospheres, with a large assortment of percussion, distorted effects, and tape manipulation – an album that foreshadowed what would become industrial music.
With a ridiculously small pressing of only 100 copies per title, NEW TAPE is among the most interesting discoveries to date in terms of original production library music, and as a result, a very respectable journey begins inside the creative underground jazz of 1970s."
Andrea Galtieri

Soul Jazz Records’ new album features the truly intense, hypnotic and fascinating Vodou drums of Haiti, a stunning collection of trance-like rhythms and beats traditionally used to induce spirit possession in the Vodou religion.
Soul Jazz Records first journeyed to Haiti in 1996 to record a series of three albums about Haitian Vodou music and culture. One of these, ‘Voodoo Drums’, featuring the drum rhythms used to bring about spirit possession, struck a striking chord with listeners and amazingly went on to become one of their best-selling albums.
"I haven't heard anything quite like this; the rhythms are very deeply orchestrated yet it also sounds like improvisation. There are tonalities and textures coming from this album like I've never heard. A great album by Soul Jazz, very well recorded. Some of the sounds I have no idea how they are getting them! This album is bending my ear and setting off the dancing devils in my soul!! Unreal!" Guardian
In 2016 Soul Jazz Records returned to Haiti once more to record a new second volume of the same intense Vodou drumming. Recorded in the capital of Port-au-Prince, Haiti, some 20 years after their first visit, this album also features the very same musicians, the Drummers of the Société Absolument Guinin.

The compilation edition recovers the memory of a very important moment for Venezuelan pop music. The appearance of Pp's (the acronym for Pedro Pérez Show, an original name that highlighted the leadership of the creator of an unexpected new wave scene in Venezuela) produced an explosion whose echo later resonated with the birth of a handful of bands that also renewed the country's musical panorama, in tune with what sounded strong in the Anglo market in those effervescent 80s (punk, post-punk, ska, even the funk that had expanded in the previous decade): Sentimiento Muerto, La Seguridad Nacional, Desorden Público, Caramelos de Cianuro, Los Amigos Invisibles (who recorded a cover of “Yo soy Así”, a Pp's song, on their cover album Super Pop Venezuela from 2005). Pp's recorded three albums in the 80s: Pp's (1981), En el aire (1982) and Tercera Guerra Mundial (1984), all with a clear pattern: putting the body in motion. It is music connected to its time that invites you to dance and listen to today, it builds a bridge to the past while opening a path to the future because Pp's is still in action. This compilation contains six songs from the first album, two from the second and three from the third, is an exclusive edition of El Palmas Music. It reaffirms the vocation of Maurice Aymard's label to preserve the heritage of Venezuelan popular culture and at the same time captures all the facets of a musical project that is a stainless symbol of the country's new wave, but also exceeds that label with music in which Flows of progressive, space rock and acid jazz filtered through. A colorful, diverse new wave, far from any type of corset. At just over 20 years old, Pedro Pérez lived in a city with a powerful cultural imprint like San Francisco. In the air was the fresh, uplifting sound of bands like Talking Heads, Devo and The B-52's. Also reggae and dancehall from a large group of Jamaican artists. Pérez also shared a date with Black Uhuru and with Ub40, a British reflection (white and more pop) of Rastafarian music. “I am like this / And what does it matter to you?”, the line that is repeated insistently in “Yo Soy Así”, one of the most emblematic songs of all that Pérez wrote, is a provocation and a declaration of principles. The new always wants to destroy the old, change the channel, change the station, head towards an alternative road.