Latin | Brazil 305 Items

We’ve taken a selection of the most in-demand and asked-for titles in our Brazil 45’s catalogue and given them a loving remaster and repress.

This edition takes two hugely sought-after tracks from Quinteto Ternura, and their original outfit Trio Ternura, and cuts them loud and proud on either side of a seven inch.

First up, a hit of pure sunshine from Quinteto Ternura. Trio Ternura, who were made up of two sisters, Jussara, Jurema and their brother Robson, also formed Quinteto Ternura by joining forces with Léo and Zé Roberto. ‘Baby’ is an absolutely killer, blissful Brazilian modern soul jam written by Caetano Veloso, arranged by Arthur Verocai, covering Gal Costa. Once a real rarity in Brazil, this beauty is now accessible for all to enjoy and is one that rarely leaves our record bags. Taken from the Quinteto Ternura self-titled LP from 1974.

On the flip side, ‘Filhos De Zambi’ is an exquisite, uptempo samba-funk cut from the same year, but released as the siblings original Trio Ternura lineup. Infectious, feel-good fire from the trio, co-written by their father Umberto Silva and José Ribamar. Contains a brilliant, harmonised chorus and wondrous key change that is sure to light up any dancefloor.

Mad About Records officially reissues super rare private press Quintessence’s 1981 LP. With every famous jazz recording, many others remained on the shelf of oblivion without ever receiving the recognition they deserved, and this is the case of Quintessence.

Led by Ron Ancrum, with George Sovak, David Gaedeke, Winston Johnson and Steve Muse recorded an exceptional and fundamental album of 80's jazz.

If you are into Fender Rhodes, this is an LP to be collected.

Hard salsa with rocking tropical electric guitar! Príncipe's 1967 debut album, featuring powerful Afro-Latin rhythms like guaguancó and pachanga played with youthful exuberance and originality. Truly unique sound from the dawn of salsa in Venezuela. Príncipe y Su Sexteto, from Caracas, Venezuela, were early pioneers of "salsa con guitarra eléctrica" (salsa with electric guitar), a subset of the salsa genre where the electric guitar is the main melodic rhythm instrument, often taking the spotlight in place of the piano and brass section. They were the perfect combination arriving at the rightmoment, when salsa spontaneously emerged as a new musical movement coming from working-class youth of the barrios in Caracas. All the compositions are original to the band, and hold up really well more than 50 years later. Though the arrangements and playing are deceptively simple, the effect is both mesmerizing and energizing, like early rock 'n' roll fed through a Caribbean filter. This first time reissue has been remastered directly from the original tapes and licensed from Discomoda. With in-depth liner notes it has also been augmented by three smoking bonus tracks that were never released during Príncipe y Su Sexteto's existence as a band. 180g vinyl.

HHV Exclusive edition on clear blue wax, limited to 100 copies worldwide.

First ever reissue!! Psychedelic Latin-funk holy grail from Nicaragua, 1974!! Poder del Alma (“Soul Power”) was a supergroup formed by some of the best musicians from the Nica scene. This all-star band of nine members was assembled to play at the famous free concert of Santana in Managua in benefit for the 1972 earthquake. After that successful gig supporting the Latin-Rock superstar, what was to be a one-night stand became the seed of the most loved Nicaraguan act from the 70s. All the members had already played an important role in the history of the Nica music / hippie scene in the 1960s. Among them, we can find Román Cerpas (previously on Bwana), René “Chapo Domínguez (Los Rockets), Edgar “El Gato” Aguilar… A few months after the Managua concert with Santana, Poder del Alma traveled to Guatemala to record their first long play for Dideca (Discos De Centroamérica, S.A.) in just one week of recording sessions. Despite the low budget and precarious recording equipment, the band managed to obtain a powerful psychedelic / afro / funk-rock sound full of electric guitar, heavy drums, hot, percussion, horns, Spanish male/female vocals…featuring titles like “El Valle del Ayatimbo”, “Ia-Taa Yo”, “Zúmbale”…

First ever reissue!! Psychedelic Latin-funk holy grail from Nicaragua, 1974!! Poder del Alma (“Soul Power”) was a supergroup formed by some of the best musicians from the Nica scene. This all-star band of nine members was assembled to play at the famous free concert of Santana in Managua in benefit for the 1972 earthquake. After that successful gig supporting the Latin-Rock superstar, what was to be a one-night stand became the seed of the most loved Nicaraguan act from the 70s. All the members had already played an important role in the history of the Nica music / hippie scene in the 1960s. Among them, we can find Román Cerpas (previously on Bwana), René “Chapo Domínguez (Los Rockets), Edgar “El Gato” Aguilar… A few months after the Managua concert with Santana, Poder del Alma traveled to Guatemala to record their first long play for Dideca (Discos De Centroamérica, S.A.) in just one week of recording sessions. Despite the low budget and precarious recording equipment, the band managed to obtain a powerful psychedelic / afro / funk-rock sound full of electric guitar, heavy drums, hot, percussion, horns, Spanish male/female vocals…featuring titles like “El Valle del Ayatimbo”, “Ia-Taa Yo”, “Zúmbale”…

Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. Next up in the series - one of the label’s most lauded recordings containing epic examples of Big Band Salsa, Horace Silver-flavored Modal Jazz and Soulful Grooves - masterminded by a young Bobby RodrÌguez with vocals by Papo Felix. Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

Ferdinand "Maréchal" Papillon was part of the makossa wave that moved from Cameroon to France and across the African diaspora in the 80s and 90s, bringing the sounds of rhythms of Douala and Yaoundé to the clubs and dancefloors of Paris. Although best known for his Sakissa style - his own uptempo take on the makossa of Cameroon - Papillon also regularly featured zouk and reggae influenced tracks on his albums, combining Caribbean and African influences into a unique sound that has stood the test of time."Moulongo" originally appeared on Papillon"s highly sought after 1995 album "Homme fort....je suis sérieux" and was recorded at Studio de la Madeleine in Paris. The Moulongo session features a who"s who of the Paris scene of the time - Aladji Touré and Toto Guillaume from Cameroon as well as Congolese guitar greats Ngoma Lokito and Nene Tchacou - and combines dancehall, zouk and makossa elements for a pan-African dancefloor sureshot.

The concept behind the debut album by Neapolitan producer Paolo Petrella, (also known for Fratelli Malibu, SuperMegaFuckinMachine, and Nu Genea's live band bass player) is both straightforward and unparalleled. It involves re-imagining Renato Carosone's iconic hits infused with the vibrant essence of Cumbia. An original and fresh perspective of the history of Napoli, re-thinking traditions while blending cultures, like an imaginary colony of South Americans living in Napoli’s fishermen neighborhood of Santa Lucia. Cumbia Luciana sounds like the manifestation of a dream, as the poem on the liner notes recites: “It's 3pm in the afternoon, the sea is calm and there are some clouds in the sky from time to time the sounds of mopeds can be heard in the street. A boy is in his bedroom and out of boredom keeps time by tapping his fingers on the bed frame. He leaves the house for a walk keeping the sea on his side. Rumor has it that ten days ago immigrants arrived from Peru, the boy walks and listens it's Sunday, day of celebration, it's 3.30pm the boy walks and listens he is interrupted by a whole new sound, never heard before from a window of a ground floor house men are playing, the boy stands under that window for a while"

Pana is the behind-the-scenes powerhouse shaping the sound of reggae in Hawai‘i today. His productions have backed the likes of Ka‘ikena Scanlan, The Green, Fia, Likkle Jordee and more.

Since its release, Hibiscus has propelled his prominence as a solo artist to unexpected heights. Having released the EP in February 2020 with minimal effort to promote it beyond his immediate fanbase, the response has been overwhelming. Each track pairs a guest vocalist with Pana's production, and some songs have become staples on local radio stations.

Aloha Got Soul is proud to present Pana's Hibiscus on vinyl, with the instrumental versions included on the B-side.

Out of print for ages, here’s a very welcome reissue of this Brazilian classic from 1974, licensed from Warner Brazil.

The rescue of the only album by the La Solvencia Orquesta symbolizes very well the full meaning of the mission of the El Palmas label, stubborn in keeping the history of salsa alive in Venezuela, recovering the intrepid and genuine music with which the pillars of the salsa genre were built.

At the time this album appeared, originally released by the Corpodisco label in 1980, “guaguancó, guaracha, son and merengue were played, but Latin rhythms were not yet definitively labeled as salsa” says Felipe Díaz, singer of La Solvencia.

There were many orchestras of this type in Venezuela. Every season they used to visit dozens and dozens of towns to celebrate the festivities of different patron saints, popular celebrations in which people gave themselves up to dancing in an atmosphere of collective trance.

The combination of the natural and contagious groove of La Solvencia's songs with lyrics that paint with strokes as simple as they are accurate the daily life of ordinary people, their joys and disappointments, their urgencies and troubles, transformed the group into one of the favorites of the Venezuelan salsa public.

Meaning ‘Hi’ in Uruguayan slang, Opa are a South American jazz-funk phenomenon. Fusing Uruguay’s native Candombe rhythms with North American jazz and pop music, Opa’s space-age synthesizers, boisterous grooves and compositional magic expressed a distinctive Afro-Uruguayan voice within the global jazz vernacular: a voice which remains as vital and unique today as when it was recorded, almost half a century ago.

Having migrated to New York from Montevideo in the early seventies, Opa were heard playing in a nightclub by renowned producer and label owner Larry Rosen. At Holly Place Studios between July and August 1975, Rosen oversaw Opa’s first recordings using a four track Teac 3340. The album would become home to some of Opa’s hardest hitting funk jams, with moments of songwriting wonderment and soulful pop and rock progressions combining with the jazz-funk fusion Opa would become known for.

Mysteriously (for reasons unknown to the band), Opa’s debut was shelved and remained so until the mid-1990s. But the Back Home recordings were used as demos, gaining Opa a record deal with Milestone Records and the subsequent release of two cult-favourite albums: Goldenwings (1976) and Magic Time (1977).

Opa would also collaborate with North American titans including bassist Ron Carter, producer Creed Taylor and Brazilian icons Airto Moreira, Flora Purim, Hermeto Pascoal and Milton Nascimento. In more recent years Opa’s music has found new audiences after being sampled by Captain Murphy (aka Flying Lotus) and Madlib.

For fans of Azymuth, Weather Report, Cortex and The Headhunters.

OLAYA SOUND SYSTEM, Peruvian band founded 15 years ago and with a discography of 6 CDs, present their first vinyl release, comprising some of their most outstanding productions recorded between 2015 and 2022. Their songs explore the sounds of Andean cumbia and chicha, with elements of psychedelia, reggae and Afro-Latin rhythms of global relevance, projecting with its music an innovative new chapter in the development of Peruvian tropical music of the 21st century. Just like Chico Trujillo, Frente Cumbiero or Son Rompe Pera are also doing, OLAYA SOUND SYSTEM are reaching a global impact modernizing tropical music. Olaya Sound System was founded in Chorrillos, Lima (Peru), in 2009 and since then they have developed a very particular exploration of the sounds of Andean cumbia and chicha, with elements of psychedelia, reggae and Afro-Latin rhythms of global relevance, projecting with its music an innovative new chapter in the development of Peruvian tropical music of the 21st century. Both on the dance floor and in meditative listening, Olaya Sound System take us with this LP on a journey through bucolic landscapes of the Andes, the Amazon and the infinite Pacific Ocean, essential locations that constitute their native Peru and that have inspired very perceptibly their sound. Cultivators of a very particular tropical musical style, they collect and adapt the Peruvian traditions of the cumbia, chicha and huayno genres, and then blend them with a melting pot of contemporary Latin and global influences such as reggae, salsa, rock, among others. This album is released on the recently revamped Peruvian label Rey Record, one of the essential and most iconic record labels during the golden days of cumbia and chicha, decades ago.

We’ve taken a selection of the most in-demand and asked-for titles in our Brazil 45’s catalogue and given them a loving remaster and repress. The late composer, arranger, musician and record producer Nonato Buzar is a lesser-known great outside of Brazil. His legacy leaves behind a rich body of recordings, working with some of the cream of the Brazilian ‘60s and ‘70s music scene, including Evinha, Elis Regina, Wilson Das Neves as well as reggae legend Jimmy Cliff. The awesome organ driven dancer ‘Cafuá’, with its zesty horns and sun-soaked vocal tones, is taken from Nonato & Seu Conjunto’s 1975 'O Som E O Balanço De Nonato’ album on Som records.

Most famed for his ultra rare 1973 track 'Lotus 72 D’, which Mr Bongo reissued in 2019, José Roberto aka Zé Roberto’s other 7 inch from the following year, also held a gem within its B side grooves. 'Crioula Multicolorida’, though not as scarce as ‘Lotus 72 D', is still a super hard record to track down and is equally as great. This anthemic ‘samba rock’ pearler, with its amazing breakdown and strutting groove, has long been a favourite amongst Brazilian DJs and collectors. The track also featured on the influential ‘Via Brazil’ compilation series and 'Brazilian Beats Brooklyn' collection on Mr Bongo.

Latin Afrobeat band whose debut LP "Bailalo Duro" was released at the end of 2020 has been the talk of the town. The Nkumba System, led by former Romperayo guitarist Guillo Cros, is now available on Okra!! Both sides are from completely different sessions and were not included on the album "Bailalo Duro". Guillo Cros was a guitarist in the band of Cameroonian music veteran Mama Ohanja before joining the Romperayo. The sound that this wandering French guitarist has created in Bogota with Colombian musicians such as John Socha, who was also a bassist in the Romperayo, is a hybrid groove of Afro-Latin and Latin music from the vintage tropical music revival onward that is distinctly different from the Afro-Latin music of the past. While based on traditional Cameroonian and Colombian rhythms, it also incorporates Afrobeat, champeta, and a touch of psychedelicism to create a strong dance sound that was not possible before.

A mysterious release, not only for its unique expressive style but also because it isn't even known when it was initially recorded let alone its release date. According to non profit Studio Piccolo owner Vincent Bruley, it could have been recorded during the 70s and eventually released in the early 90s, sometime throughout Nilton Castro's time in Paris making music for contemporary dance classes (often led by his wife). This album was originally intended for accompanying dancers in classes with an emphasis on rhythm and coordination. Given Nilton's background and expertise in percussion, the focal point of this album is to present an array of Afro Brasilian rhythms performed by himself with additional moments of choir, flute and keys/metallophone. Effortless due to Nilton's prowess and unburdened by typical financial pressures (often behind the release of a record), the result feels like charmingly unadulterated and pure expression throughout the entire album. But what really takes the listener to places of unheard-of bliss is “Ondes (Les Vagues)” a track that has plagued the curiosity of diggers and collectors for a while now. With its harmony crescendos elegantly coming and going as per the title, overlayed on Nilton's subtle percussive patterns, an aural landscape of illusory beauty - listening is believing. Remastered and officially re-issued with its original artwork.

Renowned New York City house music icon Joaquin Joe Claussell has embarked on an electrifying project of ecstatic, spiritual club music with his latest endeavor: a double album worth of reinterpretations of the music from Italian jazz master Nicola Conte's 2023 album Umoja.

Claussell's collaboration with Nicola Conte and Far Out Recordings helps mark the label’s 30th anniversary, as Claussell joins fellow producers such as Theo Parrish, Ron Trent, Kenny Dope and 4hero in remixing music from the label’s catalogue.

Extending the tracks from Umoja for full length, dance-floor focused mixes, Claussell has accentuated the original music’s global, afro-futurist vision with comprehensive rearrangements - featuring additional percussion, guitars, keyboards, synthesizers and drum programming - excavating the source music and re-recording many of its parts under the auspices of his Sacred Music & Cosmic Arts banner.

The album has been released in different versions and on two different occasions. The first, in 2004, saw the original release of “Other Directions” as a 2-lp set, while a single CD version had been licensed to Blue Note Records. In 2011, to celebrate the 20th anniversary of Edizioni Ishtar, Schema Records has published a 2-cd version with an extra CD featuring the tracks previously released on vinyl, plus some unreleased ones.

Always in balance between Jazz and Bossa Nova, “Other Directions” reveals Nicola Conte’s compositive soul bound, furthermore the composer’s intention is to communicate not only through the music but through the lyrics too, showing a talented and learned songwriter. Inspired both by the beat literature (The Dharma Bums is a true homage to Jack Kerouac) and the English one (Wanin’ Moon is inspired by a Percy Shelley’s poem), also the cinema and dramaturgy influenced the composer: “Le Depart” is a reassessment of the piece written in ’67 by Krzysztof Komeda for the namesake Jerzy Skolimovsky’s movie, and “All Gone” is a homage to Joseph Losey’s “Il Servo,” a ’60s black-and-white movie directed by Harold Pinter.

Includes a line-up of Italian and international artists such as Gianluca Petrella, Daniele Scannapieco, Pietro Lussu, Lorenzo Tucci, Fabrizio Bosso, Nicola Stilo, Till Brönner, Nicola traces with great skill the sensuality of the dialogue between the winds and the piano, he beats and emphasizes its rhythms, and adds some extremely elastic voices, the most remarkable of which belongs to Cristina Zavalloni.

"Vente pa'cá" started with an afro-funk groove made by Jah Sazzah who has produced Dub, Reggae & a recent Deep Global Electronic album for Turntables on the Hudson called "Horizons." When asked for a possible vocalist, Nickodemus made some edits & mixes and sent it to Colombian vocalist Jimena Angel who quickly put her signature vocal style in as a catchy chorus saying "venue pa'cá" meaning "come here." Jimena has been on recent Captain Planet album with a hit song "Pambelé" as well as releasing many Latin/ Electronic / Alternative singles the past few years. The song's afro disco funk feel then got a heavy Caribbean style four to the floor Poirier remix with an entirely different melody for the dance-floors. Poirier is best know for his remixes & modern Afro-Caribbean productions & has a strong selling album on Wonderwheel Recordings called "Soft Power."

Announcing the debut album from one of London’s most electrifying acts, New Regency Orchestra. An 18-piece Afro-Cuban big band, inspired by the musical melting pot of NYC in the 1950s, but with the punch and power of a whole host of London’s best Latin and jazz musicians. Blowing new life into these compositions, the album is a reimagining of some of the finest music from that golden era. From early 1950s René Hernandez and Tito Puente, through to the 1970s salsa of Rafael Labasta and Orlando Marin, produced and performed with fresh fire.

NRO is the brainchild of its artistic director, and the man behind Total Refreshment Centre and Church of Sound, Lex Blondin. Through a long-held passion for jazz, Lex discovered the explosive Afro-Cuban rhythms of mid-1940s NYC via the godfather of Afro-Cuban jazz, Mario Bauzá. A time when two musical worlds collided in a fusion of creativity and energy, jazz luminaries like Dizzy Gillespie and Charlie Parker joining forces with Cuban greats like Machito and Chano Pozo. This vibrant sound was music to dance to and found a home at The New York Palladium, a formative space of freedom and expression that was key to the scene’s development.

Although dance-focussed in their makeup, those early recordings are not often heard in modern club environments and Lex dreamt of retelling their story with a contemporary dynamism. A slice of serendipity followed, as a slot at a new festival opened up and Lex jumped at the chance to make this idea a reality, an 18-piece big band breathing new life into these beloved songs.

Enlisting the expertise of some of the capital’s finest talent, Lex and co-captain Andy Wood, of Como No fame, put together a world-class line-up of talent. Bringing in Eliane Correa as musical director and bandleader, a fluid and interchanging 18-piece band was formed.

The album itself is a hand-picked selection of timeless Afro-Cuban jazz classics, reimagined with NRO’s unbridled energy. It contains ten incredible instrumental tracks including 'Pregon' with its anthemic horn stabs and the addictive head nod bounce of 'Mambo Rama', alongside two scorching vocal numbers in 'Papa Boco' and 'Labasta Llego'. Coupling a heavyweight rhythm section with a wall of horns, they provide a fresh spin on songs from Tito Puente and Chico O'Farrill, René Hernandez through to Rafael Labasta.

“Some of the tunes like Tito Puente’s ‘Mambo Rama’ and ‘Scarlet Mambo’ might sound like they went to a gym as extra drums and bass synth were added to them whilst the tune ‘Sahib & Tito’ is a mix of Tito’s ‘Mambo Buda’ and Sahib Shihab’s ‘Nus’. Our intention is to be both respectful to the innovators and inventors of this incredible music and to pay our dues, but also to add something special from London where the city’s new jazz scene connects with its Latin American musicians and the musical influences around us.”

This pure collective joy, shared experience and music you can’t help but move to.

Announcing the debut album from one of London’s most electrifying acts, New Regency Orchestra. An 18-piece Afro-Cuban big band, inspired by the musical melting pot of NYC in the 1950s, but with the punch and power of a whole host of London’s best Latin and jazz musicians. Blowing new life into these compositions, the album is a reimagining of some of the finest music from that golden era. From early 1950s René Hernandez and Tito Puente, through to the 1970s salsa of Rafael Labasta and Orlando Marin, produced and performed with fresh fire.

NRO is the brainchild of its artistic director, and the man behind Total Refreshment Centre and Church of Sound, Lex Blondin. Through a long-held passion for jazz, Lex discovered the explosive Afro-Cuban rhythms of mid-1940s NYC via the godfather of Afro-Cuban jazz, Mario Bauzá. A time when two musical worlds collided in a fusion of creativity and energy, jazz luminaries like Dizzy Gillespie and Charlie Parker joining forces with Cuban greats like Machito and Chano Pozo. This vibrant sound was music to dance to and found a home at The New York Palladium, a formative space of freedom and expression that was key to the scene’s development.

Although dance-focussed in their makeup, those early recordings are not often heard in modern club environments and Lex dreamt of retelling their story with a contemporary dynamism. A slice of serendipity followed, as a slot at a new festival opened up and Lex jumped at the chance to make this idea a reality, an 18-piece big band breathing new life into these beloved songs.

Enlisting the expertise of some of the capital’s finest talent, Lex and co-captain Andy Wood, of Como No fame, put together a world-class line-up of talent. Bringing in Eliane Correa as musical director and bandleader, a fluid and interchanging 18-piece band was formed.

The album itself is a hand-picked selection of timeless Afro-Cuban jazz classics, reimagined with NRO’s unbridled energy. It contains ten incredible instrumental tracks including 'Pregon' with its anthemic horn stabs and the addictive head nod bounce of 'Mambo Rama', alongside two scorching vocal numbers in 'Papa Boco' and 'Labasta Llego'. Coupling a heavyweight rhythm section with a wall of horns, they provide a fresh spin on songs from Tito Puente and Chico O'Farrill, René Hernandez through to Rafael Labasta.

“Some of the tunes like Tito Puente’s ‘Mambo Rama’ and ‘Scarlet Mambo’ might sound like they went to a gym as extra drums and bass synth were added to them whilst the tune ‘Sahib & Tito’ is a mix of Tito’s ‘Mambo Buda’ and Sahib Shihab’s ‘Nus’. Our intention is to be both respectful to the innovators and inventors of this incredible music and to pay our dues, but also to add something special from London where the city’s new jazz scene connects with its Latin American musicians and the musical influences around us.”

This pure collective joy, shared experience and music you can’t help but move to.

Irresistible Brazilian blues reggae from the heart of the Amazon rainforest. A psychedelic guarana induced trip and ode to the fading indigenous cultures and shifting hegemony in Brazil. This one-off release by Manaus native Natacha Fink was originally written in 1986 as the lead track on Nossa Musica - a compilation celebrating regional music from the Amazon. Emerging out of the dictatorship, Natacha and her fellow artists rejected the aesthetic standards driven by internal colonialism and sought out new ways to express themselves away from the styles of the dominant Rio-São Paulo axis. What surfaced was a melodic blend of genres, with Natacha’s haunting vocals and playful lyrics gliding over an arrangement of guitars and double bass. Vocal backing is led by Torrinho, well known for his layered composition style, whose song ‘Porto de Lenha’ is recognised throughout Amazonas as an unofficial anthem. Hidden within the Amazon, Pirarublue lies in that wonderful space between innocence and honesty. Proudly exploring cultural and ecological spaces through a refreshing, ghostly infectious groove. For fans of Gal Costa, Elis Regina, Chico César, Jorge Ben Jor and Joni Mitchell.

Accompanying Natacha’s beguiling single is the field recording “Unseen Songlines” by artist and academic Nimalan Yoganathan. The composition immerses the listener in the soundscapes of Mamori Lake, a remote village inside the Brazilian Amazon. Nimalan explores the ambiguous perception of sounds emanating from the dense rainforest and deep beneath the Amazon River, where we hear the sounds but cannot see their sources: an acousmatic concert performed by the rainforest itself. Processed field recordings of birds and frogs, as well as underwater hydrophone recordings of dolphins and fish subtly weave throughout electroacoustic textures and beats. The listener is invited to hone in on the musical subtleties hidden throughout the environment. The compositional methods employed in this piece draw on the concepts of sonic rupture, presence, absence and memory found in the dub music tradition.

This limited edition 7” by Sticky Buttons puts these two outlying works together for a unique listening experience, combining the human and more-than-human experience of life at the heart of Brazil. Both uniquely Amazonian but with a universal appeal.

Nara Leão is known as "the muse of bossa nova”. Already as a teenager in the late 1950s, she became friends with several singers and composers who took part in Bossa Nova's musical revolution, including João Gilberto, Vinicius de Moraes, and Antônio Carlos Jobim. By 1963, after singing as an amateur for a few years, she became a professional and toured with Sérgio Mendes. In 1968 she appeared on the album “Tropicália: ou Panis et Circenses” together with artists including Gilberto Gil, Caetano Veloso, Os Mutantes and Gal Costa, performing "Lindonéia”, which appears as first track in this album, published in the same year.

Mumbia Y SUS Candelosos is a Tokyo-based cumbia band led by percussionist Mutsumi Kobayashi, who has played with Minyo Crusaders and other groups. Following their debut album "Hokkori Time/Cumbia Ducha", which marked the beginning of a new chapter in the Japanese tropical music scene, part 2 of the Tokyo Cumbia Trilogy is now available on 10"/45rpm! The center label artwork is a gorgeous collaboration between Mutsumi Kobayashi himself for the illustrations, Mateo Rivano for the logo, and Katsumi Tanaka of the Minyo Crusaders for the total design.

Midnight silent pop, colored by delicate melodies and a low-note ensemble. The long-awaited record reissue of "Dreaming Full of Awake" ('19), the third album by the rock band Moons from Minas, Brazil. Leonardo Marquez handled everything from recording to mixing and mastering. The gentle voice surrounded by faint psychedelia paints delicate melodies, and the refined band ensemble gradually builds to a fever pitch. It is hard to believe that this is almost a one-shot recording, but the band's performance, which is almost miraculous, is vacuum-packed into this album after many years of activity.