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The title of the Lau Nau's 10th album, Aphrilis, derives from the Latin word aperire, meaning "to open." A fitting verb for the month of the year it is closely associated with — April. And while the images of plants and blossoms coming back to colorful life after a long, cold winter feels appropriate when listening to the rich and lustrous bloom of music on Aphrilis, another definition of open feels even more apt. For under the abundance lies the memory of times of austerity, the friction of hard choices, the acceptance that nothing is fixed and the future is unknown. This literal and metaphorical exploration of complexity and contradiction makes Aphrilis a multi-dimensional antidote for our troubled times, one that emphasizes the quiet and communal over noise and spectacle. Laura Naukkarinen, the Finnish artist behind this project, has long kept her mind and spirit open to whatever sounds and creative ideas felt appropriate for the moment. For the past six years that has meant primarily working with modular synthesis — learning how to build modules and releasing acclaimed work centered on its sounds like 5x4 (2023) or Puutarhassa (2022). Running parallel to this work, however, has been a continued exploration of acoustic instruments and group performances with her trio Lau Nau ja Seitsemäs Taivas. Aphrilis arrives then like fresh growth in a creative season cycle. A companion to her brilliant 2017 release Poseidon, the album, says Naukkarinen, "felt like a needed moment to embrace songs with lyrics again." And through the creation of this work, she remained open not only to her own creative muse, but also the input of her chosen collaborators. Each player on Aphrilis — Matti Bye on celesta and synths, Pekko Käppi on jouhikko, Hermanni Yli-Tepsa on violin and contrabass, Topias Tiheäsalo on electric guitar, Samuli Kosminen (Múm) on various instruments — was given free reign to arrange their own parts to accompany Naukkarinen's compositions. Kosminen’s lush fingerprint can also be heard in the mixing and production of the album, as with Poseidon six years ago. The moniker of this project may be taken from Naukkarinen’s own name, but Lau Nau feels more like a band than ever before. The delicacy and softness of the music is reflected in Naukkarinen’s lyrics. Each song is rife with imagery and creatures from the natural world. The spiders in the forest. The animals that keep a young woman company in her refuge in the woods. Wet grass. The feeling of the music is almost tactile, as if listening to the album will leave a bit of dew or sap on your fingers. The theme of this material, says Naukkarinen, runs even deeper. “The songs tell about cracks and changes of direction in different histories: personal, societal, planetary,” she says. “About moments when a yes can become a no and vice versa. The album wants to propose that at the moment of a crisis there is a possibility to influence the histories by our choices.” That may feel like a lot for such a fragile sounding collection of songs to bear. But Aphrilis is an album of surprising strength and resilience

" Celebrating 45 years of Blancmange, Everything Is Connected (Best Of) is the first collection to be curated by Neil Arthur, tastefully blending a mixture of hits and personal favourites.
" Originally from the UK's post punk DIY scene, Blancmange found success in 1982, long player 'Happy Families' selling Gold in the UK, and its 3 singles becoming international hits. They went on to have 7 Top 40 hits and 70 weeks in the UK album charts.
" Long-standing admirers include Moby, John Grant and Honey Dijon, who states that "British synth pop was hugely influential in the burgeoning house music scene and Blancmange was a big part of that."
" All formats contain the Top 40 hits 'Living On the Ceiling', 'Waves', 'Blind Vision', 'Don't Tell Me' and Abba cover 'The Day Before You Came', as well as recent favourites 'What's The Time', 'Reduced Voltage', and 'Some Times These'.

" The vinyl is being pressed onto special Coke-bottle green vinyl.It features the 10 Blancmange's essential tracks.

1981, the leaden years are over, the socialist left is in power in France and the first wave of punk seems a long way off. However, the youth of the day had not said its last word, and bands were springing up all over the place, free radio stations were opening up, fanzines were being published, concerts were being staged on the fly and little by little a scene was forming, a motley crew of kids in revolt, radical activists and just plain old folk passing through.

After having cut their teeth in a variety of more or less confidential bands, in which you'd come across a good number of players from this up-and-coming alternative scene, the members of Guernica moved up a gear, determined to blow on the still-glowing embers of rebel rock. With the shortage of venues the rule at the time, they began by scouring the suburban MJCs, putting on wild concerts and eventually meeting up with the squatters of the Couronnes commune and the members of V.I.S.A., with whom they played an active part in organising concerts in squatted buildings in these relegated areas of the capital.

In February 1983, the V.I.S.A. association and the Abattoir art collective (which included some members of Guernica) organised a concert at the Usine Pali-Kao. That evening, two groups took to the stage in succession: Guernica and a fledgling duo, Bérurier Noir. The evening will go down in the history of alternative rock as one of the key turning points of the period. After the departure of Loran, who played guitar with both bands, Fabrice Benoît joined Guernica on guitar, and the gang continued for a few more months, ending on a high note with a chaotic concert at the Eldorado in Paris.

Until now, it's been impossible to get your hands on any of the band's recordings unless you're lucky enough to own the Paris Mix compilation, the Guernica/Bérurier Noir split or the V.I.S.A. Usine Cascades 1982 cassette. This vinyl, a perfect record of the era, brings together the six tracks recorded by the band at the time.

Audrey Powne's stunning debut album, From The Fire, is set to be one of those must have LPs in any music lover's collection. Something of an auteur release it features nine tracks all composed by Audrey, with all string arrangements and all produced by her. Audrey's decision to produce the whole album herself came from a desire to take creative control of her music and apply techniques developed from the influences of the producers she had previously worked with. If all of the above were not enough Audrey also wrote the lyrics for those tracks on which she sings, and as a multi-instrumentalist contributes piano, Rhodes and organ. She also features as a trumpeter with dextrous and soaring solos as evidenced by the two single releases so far; Feed The Fire and the title track, From The Fire. Due to be released by BBE as both a vinyl and on digital From The Fire is an album of Soul-Jazz with a serious environmental and social messages as well as one which blends classical music, hip-hop and influences from Roy Hargrove, Bill Evans and Herbie Hancock. Indeed it is Roy Hargrove's studio techniques evident in his work with the RH Factor that Audrey credits as a major factor in her producer role here. As well as her solo work, Melbourne born Audrey Powne has also worked as a session player with acts as diverse as Maceo Parker, Midnight Oil, Jimmy Barnes, Masta Ace and the Grammy nominated band The Teskey Brothers. With testimonies and positive reviews from Gilles Peterson, Earmilk, Bandcamp Daily, tracks on the Sunny Side Up compilation and performances on Boiler Room Audrey Powne is a supreme talent whose star is on the rise. From The Fire is destined to become a future classic.

The collaboration between renowned drummer Jim White and acclaimed guitarist Marisa Anderson is a natural union of two of the most intuitive players and listeners working in music. Jim White is known for his groundbreaking trio, Dirty Three, as well as duo, Xylouris White. His list of collaborations is vast and include artists such as Nick Cave, Bill Callahan, Cat Power, Marnie Stern and Warren Ellis. Jim just released his debut solo album, All Hits: Memories. Marisa Anderson, known primarily for her solo work, in demand collaborator who has worked with Tashi Dorji, Sharon Van Etten, Yasmine Williams and Michael Hurley. She has released records with William Tyler and Tara Jane O"neal. White and Anderson are each highly sought after collaborators in no small part because of their mastery, versatility and highly expressive playing. Their sophomore album, Swallowtail, finds the duo completely attuned to each other, fluidly moving as wind and water. They avoid preconceived movements, instead focusing on their musical conversation. As Anderson puts it: "The ideas aren"t the music, they are the pathway into the musical possibilities." Their skillful interplay creates an effervescence throughout the album. The ebb and flow to the duo"s motions bring a sense of serenity and ease to spontaneous transitions, each swell and retraction sounding as free as it does inevitable. White and Anderson"s preternatural alchemy as a duo allows each fleeting gesture to feel featherlight and stirring while maintaining an inquisitive spirit. Their music is an enchanting and illuminating.

The collaboration between renowned drummer Jim White and acclaimed guitarist Marisa Anderson is a natural union of two of the most intuitive players and listeners working in music. Jim White is known for his groundbreaking trio, Dirty Three, as well as duo, Xylouris White. His list of collaborations is vast and include artists such as Nick Cave, Bill Callahan, Cat Power, Marnie Stern and Warren Ellis. Jim just released his debut solo album, All Hits: Memories. Marisa Anderson, known primarily for her solo work, in demand collaborator who has worked with Tashi Dorji, Sharon Van Etten, Yasmine Williams and Michael Hurley. She has released records with William Tyler and Tara Jane O"neal. White and Anderson are each highly sought after collaborators in no small part because of their mastery, versatility and highly expressive playing. Their sophomore album, Swallowtail, finds the duo completely attuned to each other, fluidly moving as wind and water. They avoid preconceived movements, instead focusing on their musical conversation. As Anderson puts it: "The ideas aren"t the music, they are the pathway into the musical possibilities." Their skillful interplay creates an effervescence throughout the album. The ebb and flow to the duo"s motions bring a sense of serenity and ease to spontaneous transitions, each swell and retraction sounding as free as it does inevitable. White and Anderson"s preternatural alchemy as a duo allows each fleeting gesture to feel featherlight and stirring while maintaining an inquisitive spirit. Their music is an enchanting and illuminating.

Mayday is the third LP by Montreal-based artist, Myriam Gendron. It follows her earlier, critically acclaimed albums, Not So Deep As A Well (2014) and Ma délire - Songs of love, lost & found (2021). Myriam began exploring the complex folk traditions of Quebec (and beyond), with Ma délire, which combines traditional and original songs with arrangements that make space for avant-garde musical interludes by such folks as guitarist Bill Nace (Body/Head) and renowned jazz percussionist Chris Corsano. Mayday presents an even more syncretic fusion of the elements Myriam uses to create her sound. Most of the songs are original, sung in both English and French, and they blend traditional and avant elements with abandon. She is often accompanied on this album by the guitarist Marisa Anderson and drummer Jim White (Dirty Three, Xylouris White), whose work provides a quietly aggressive sort of free-rock base. Additional players include Montreal bassist Cédric Dind-Lavoie, Bill Nace and saxophonist Zoh Amba. Mayday is a thoroughly thrilling effort that manages to create new vistas of sound while maintaining a feel that is both intimate and familiar. The music here certainly possesses a richly serious tone, but Myriam Gendron (like Leonard Cohen) is able to infuse her darkness with a subtle, powerful light that reminds us that even the most pitch-black night is but a transitional state. Beautiful work.

Introducing the next release in Names You Can Trust's long-running collaboration with the prolific and symbiotic musical universe of Bogotá, Colombia. Mau Gatiyo y Los Años Maravillosos formed in 2021, arising from the very same fertile ground of the Teusaquillo neighborhood that has spawned many records and musical mischievousness. At the heart of this experimental movement is what can only be described asTropicanibalismo, where a deep hunger for the roots of Colombian tropical music are only satiated by dissecting it, consuming it and ultimately creating something new again as some kind of untraditional, unholy, and yet referential form of musical sustenance.

Within this concept, there's a clear lineage of inspired and visionary artists that have been featured throughout NYCT's record catalog for the last 15 years that includes luminaries Frente Cumbiero, Meridian Brothers, and Romperayo. Each of these artists' tentacles have touched several parallel projects from their talented neighbors and friends, and whether through production, playing, engineering, or mixing, these collaborations have heavily contributed to a very fruitful and colorful scene that could only exist within Colombia's capital, while also gaining notoriety in the nooks and crannies of northern latitudes like New York, Chicago, and Los Angeles.

Mau Gatiyo, a talented accordian player and vocalist, together with his group (translated as The Wonder Years), is precisely one of these projects, a collective that has found their calling in the echoes of thevallenatosandcumbiasthat once populated the nation's airwaves throughout the 20th century. It's a traditional format that has always lent itself to storytelling, whether it be anecdotes about daily life, or using one's voice to raise uncomfortable questions in protest against the system. This is where Mau Gatiyo's poetic, almostnew wavetimbre finds a lane of its own, straddling a 2020s societal landscape under the guise of ostensibly old-time accordion music.

The debut 7-inch from the group, an excerpt from their recently released album Baño Unisex, was recorded at Mambo Negro studios by Ivan Medellin (La Sonora Mazurén) and mixed by Eblis Alvarez of Meridian Brothers, both familiar names and contributors to the NYCT catalog. Alvarez himself, who has emerged in recent years as an international beacon of this new tropical avant-garde, is no stranger to flipping traditional styles on their head, or at least respectfully off-kilter. Mau Gatiyo y sus Años Maravillosos proves to be another great vessel for this veryBogotano expression, draping the classical playing of its group members in a modern day cosmopolitan expression of righteousness, both outwardly in their dashing, performative fashion sense, and lyrically with their cheeky "420, Reloj"ganja-tune promotion – or even their outward dissenter objections to paramilitary and firearm power in "Poder Militar."

Ultimately, these songs lie at the crossroads where two cultural eras connect and become something unique, a protestation one with performance, dance, and artistic expression. This cathartic ritual of protest has a storied history in music, and these two new entries into the NYCT catalog will hopefully find their place amongst a modern day canon, or at the very least, have your feet moving and your head nodding in just approval.

Roy Davis Jr. was part of Phuture and then moved on to New York to record for Strictly Rhythm and DJ Duke's Power Music label. He was one of the main players in the 1990s House Music biz and is still very active until today.

2024 Repress
Clear Vinyl

This is the second installment of the Warm Up Bandcamp Vinyl series and comes again signed by label boss Oscar Mulero. Limited edition vinyl EP with three cuts of merciless techno designed to shake minds and feet.

"Gradual Blending" starts with the core elements up, distorted kicks, shuffled hats, resonant percussive components, super reverberated claps, density and obscurity aligned in an hypnotic structure.

"Evolutionary Decay" is elastic and physical, a solid subbass / kick / hat groove, phased synthetic layers, atmospheres and liquidness: Intelligent tool.

"Natural Resources" relies again on distorted drums, asymmetrical sinoidal sequences and Fm synths all designed in a wise arrangement.

Timeless, hard and mental for the real players out there.

For the very first time on vinyl, Jah Wobble's 1997 extraordinary descent into downtempo and world beat science. Released on his now-defunct 30 Hertz label, The Light Programme showcased an excellent cast of musicians. On board are historical Can drummer Jaki Liebezeit – with more of his African-induced rhythms – multi-instrumentalist - and The Wire contributor - Clive Bell, conga player Neville Murray, guitar and synth player Mark Ferda and the exceptional harpist Zi-Lan Liao. If you enjoyed ‘My Life In the Bush Of Ghosts’ you’ll fall in love with ‘The Light Programme’.

Jackpot Records is proud to reissue what many call arguably the greatest album of the punk rock era: The Flesh Eaters’ 1981 punk-noir masterpiece, ‘ A Minute To Pray A Second To Die. Once referred to as an all-star roots/voodoo combo, The Flesh Eaters could only have crawled out of the myst of the late L.A. 70s punk scene. Fronted by punk poet/composer Chris D. (Desjardins), the band was a satellite for exquisite collaborators that allowed him to bring the full force of his dark, messed-up lyrical nightmares. Members of X, Wall Of Voodoo, Los Lobos, The Blasters, and The Plugz all hopped into his unmarked car to take a drive with Chris D. Its grabbed-by-the-throat vocals are powerfully buoyed by the tight melodicism emanating from the players on this record (John Doe andDJ Bonebrake from X, Steve Berlin of Los Lobos, Dave Alvin & Bill Bateman of The Blasters). Hell, we even get the perfectly executed John Doe original, “Cyrano de Berger’s Back,” which was re-recorded by X in 1987. The creators of this record made a pulp novel for your ears with an equal chance to scar your heart. Do not miss out this is punk noir at its greatest.

Vanishing Twin is songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion; and on this album they have made their first artistic statement for the ages.

Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk.
The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Plane`te Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury. The only two outsiders to work on the recording were '6th member' and engineer Syd Kemp and trusted friend Malcolm Catto, band leader of the spiritual jazz/future funk outfit The Heliocentrics, who mixed seven of the tracks (with Lucas taking care of the other three).

Vanishing Twin formed in 2015 - their first LP, Choose Your Own Adventure, which came out on Soundway in 2016; followed by the darker, more abstract, mostly instrumental Dream By Numbers EP in 2017. The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology.

Bringing together over 50 of Jamaica's greatest session musicians, whose work spans from the birth of reggae in the late 1960s until today, Roots Architects is the largest gathering of Jamaican musical talent on one all-instrumental album. Never before have so many veterans, who helped create the immortal rhythms that made reggae internationally successful, been assembled to play on new material without vocals. This album aims to celebrate and pay tribute to the unsung heroes of reggae music: the rhythm builders or Roots Architects.

The project is the brainchild of Swiss keyboardist and producer Mathias Liengme. In 2013, he travelled to Kingston, Jamaica, to produce The Inspirators project, an all-star album gathering Leroy ”Horse-mouth” Wallace, Lloyd Parks, Earl ”Chinna” Smith and Sangie Davis, the four of them acting both as musicians and vocalists. This first experience in Kingston studio life paved the way to what would become the Roots Architects project. In February and March 2017 Mathias Liengme travelled for the fifth time to Kingston to record as many of reggae’s greatest living veteran musicians as he could. With the help of a few of these Architects like Robbie Lyn, Fil Callender or Dalton Browne, he managed to gather over 50 session musicians aged 60 to 85 on nine instrumental songs.

Roots Architects are legends back together in Kingston studios doing what they do best: creating in-strumental music all together!

Who is Leon Dinero? From whence did he come? The soulful singer dropped his first single this past June, tearing up a ska version of Lee Fields & Sugarman 3's classic "Lover Like Me". Backed by The Frightnrs, and with Victor Axelrod in the producer's chair Leon returns with "If You Ask Me", a gorgeous piece of wax that draws inspiration from the deep vaults of Jamaican Rocksteady.

Originally penned for The Frightnrs' debut long player but never tracked as such, this version showcases Dinero's timeless vocal delivery - his voice etched with honey-dipped imperfections that call to mind the classic vocals of Alton Ellis and Hopeton Lewis. Gracing the flip-side is"Bandits", a lyrical takedown of the continuing gentrification of New York City that rides the A-Side's instrumental in pure Jamaican DJ style. Vocal duties for this stellar side are brought to you by Screechy Dan, who's often described as the glue that holds the NYC reggae community together.

Beyond his classic tunes like"Pose Off" and "Big Bills", Screechy has nurtured generations of young artists, sound systems and selectors, forging deep ties that bind Jamaica to New York and veteran artists to the new school. Victor Axelrod expertly handles the production by employing the rhythmic powerhouse that is The Frightnrs to help mine the sweetness of rock steady for the A-side whilst tempering it with the drum and bass toughness of classic rub-a-dub for the flip. We're looking forward to much more to come from this extraordinary group of musicians!

I Know I'm Funny haha is Webster's most realized manifestation yet of this emotional and musical alchemy. Continuing to bloom from her 2019 breakthrough and Secretly Canadian debut Atlanta Millionaires Club, Webster's sound draws as much from the lap-steel singer-songwriter pop of the 1970s and teardrop country tunes as it does from the audacious personalities of her city's rap and R&B community. The album began for Webster with the stirring ballad "In a Good Way," as in "You make me want to cry in a good way"_an instantclassic Faye Webster one-liner. It's beguilingly simple, the kind of melody and arrangement that seem to have existed forever. A sense of relief charges the neo-psychedelic pop of "Cheers," where Webster experiments with an overdriven guitar tone. She also collaborated, on "Overslept," with the Japanese artist Mei Ehara, who she calls the biggest influence on her new music. Webster's music is full of personality. Many of her songs contain bits of girl-group-esque talk-singing, which color her atypical storysongs. Webster says she's in a growth mindset, pushing herself to learn more, to be more vulnerable. "Growth is really important to me," she says. "I hope people will relate to my songs, and not just be like `this is a good record' but `this makes me feel something. This is making me think differently, this is making me question things.' I told myself a few years ago that I was going to be more honest in my songwriting, that honesty is the best route to take with music. If I have a voice and people are listening to me, I'm not going to waste it."

Limited edition Cream and Black swirl PICTURE DISC is for Indie stores only.

Vanishing Twin is songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion; and on this album they have made their first artistic statement for the ages.

Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk.
The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Plane`te Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury. The only two outsiders to work on the recording were '6th member' and engineer Syd Kemp and trusted friend Malcolm Catto, band leader of the spiritual jazz/future funk outfit The Heliocentrics, who mixed seven of the tracks (with Lucas taking care of the other three).

Vanishing Twin formed in 2015 - their first LP, Choose Your Own Adventure, which came out on Soundway in 2016; followed by the darker, more abstract, mostly instrumental Dream By Numbers EP in 2017. The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology.

Stephen EvEns highly anticipated new album Here Come the Lights is set for release, March 29, the album is self-produced and mastered with Sean McGee (Abbey Road) will be released via Onomatopoeia (Hurtling, William D. Drake, Crayola Lectern). The album celebrates the recent success of his limited-edition vinyl only release, Smoking Is Cool (recorded with Steve Albini). Here Come The Lights takes a step into the future, as folk-art tales are interspersed with psych rock magic and post-punk sensibilities amidst swooping and motoric guitars, sound effects and metronomic happenings, in this rich tapestry of life. A Song For Europe teases, cracking, and fizzing onto our radar, this ‘love affair to Europe’ is a celebration of a continent and moments in time, complete with virtuoso guitar, full backing choir and grunge atmospherics. Firefly has a pure folk aesthetic, sound effects, symphonies, and percussion combine in a call to find one’s true strength. BBQ Head picks-up more of a groove, interspersed with rapping style lyrics fused with the fuzzy intermission of 7 Bells. Lazy Eyes takes on a more mournful and melancholic hue, depicting a couple’s evasive looks over dinner, as they avoid the elephant in the room, cracks into a soaring space-rock ending. A Tree takes us on a kaleidoscopic journey into the forest, as EvEns takes a moment out from modern life, where he and his dog Rudy escape into the autumnal wilderness. A Bee takes on a more high glam Roxy Music appeal meets 70s novelty pop, fun and exhilarating. The album is polished off with a song of hope called Happy New Year, metronomic beginnings, gentle Hammond orchestrations weigh-up the importance of friendship and the meaning of success. Multi-instrumentalist and talented musician Stephen EvEns tours with his own guitar and full band line-up. The album welcomes a whole host of Brixton Hill Studios collaborators, accompanied by former Echobelly/Curve bassist Debbie Smith, Cardiacs alumni Bob Leith and William D. Drake, and Hurtling guitarist and sometime My Bloody Valentine keyboard player Jenny Macro, Stephen EvEns plays live at The Lexington, alongside labelmates from Onomatopoeia

One of the finest groups of the late 50s, the Jazz Lab was co-led by the inimitable horn players Gigi Gryce and Donald Byrd. Although the group worked extensively from February to September of 1957 it broke up shortly after. However, all of their albums together have become jazz classics, among them the group’s first LP, presented here. 180-gram VIRGIN VINYL LIMITED EDITION. The Complete Album + 1 Bonus Track

An essential figure in the fusion between jazz and bossa nova, pianist and composer Sérgio Mendes has over 55 releases under his own name. He was nominated for an Academy Award for Best Original Song in 2012 for "Real in Rio" from the animated film Rio. This release presents the complete original album In the Brazilian Bag!, which finds him on piano in the company of American alto sax player Bud Shank, guitarist Rosinha de Valença, Sebastião Neto on bass, and Chico Batera on drums. Singer Wanda de Sah contributes her vocals on a few songs