Great grooves from Jackson Conti – not a dude, but a duo – one that features Madlib teamed with Mamao, drummer from the legendary Azymuth! The album's got a really unique feel – one that mixes Madlib's chunky, fuzzy style of production with some of the cleaner, jazzier Azymuth grooves of late – a combination that shouldn't work so well, but which comes across with really amazing results! There's a bit of beats on the set, but a fair bit of the percussion is acoustic too – making for more warmth than before from Madlib – almost a transplantation of the Yesterday's New Quintet sound to the sunnier Rio scene. Keyboards have a strong role too – often with the sort of edgey, compelling tones you'd hear on the first few Azymuth recordings of the 70s – and other instrumentation includes bits of guitar, flute, sax, and other well-placed touches – but all used in weird ways that are somewhere between typical jazz and Brazilian modes. Titles include "Upa Neguinho", "Xibaba", "Sao Paulo Nights", "Brasilian Sugar", "Mamaoism", "Berumba", "Papaya", "Segura Esta Onda", "Sunset At Sujinho", "Tijuca Man", and "Waiting On The Corner". (Deep Funk, Brazil) LP, Vinyl record album

5 years after they made their first set of groundbreaking Braziliany jazz tracks together, Bud Shank and Laurindo Almeida went back into the studio to record another great batch for Pacific Jazz. That second set of sessions is captured here in its entirety, and it features Shank and Almeida playing with the looser rhythm team of Gary Peacock and Chuck Flores on a number of short groovy tracks that clearly had a big influence on the bossa generation. Titles include "Frio y Color", "Sunset Baion", "Harlem Samba", "Blowing Wild", "Xana-Lyn", and "Serenade For Alto". (Jazz, Brazil) LP, Vinyl record album

Great grooves from Jackson Conti – not a dude, but a duo – one that features Madlib teamed with Mamao, drummer from the legendary Azymuth! The album's got a really unique feel – one that mixes Madlib's chunky, fuzzy style of production with some of the cleaner, jazzier Azymuth grooves of late – a combination that shouldn't work so well, but which comes across with really amazing results! There's a bit of beats on the set, but a fair bit of the percussion is acoustic too – making for more warmth than before from Madlib – almost a transplantation of the Yesterday's New Quintet sound to the sunnier Rio scene. Keyboards have a strong role too – often with the sort of edgey, compelling tones you'd hear on the first few Azymuth recordings of the 70s – and other instrumentation includes bits of guitar, flute, sax, and other well-placed touches – but all used in weird ways that are somewhere between typical jazz and Brazilian modes. Titles include "Upa Neguinho", "Xibaba", "Sao Paulo Nights", "Brasilian Sugar", "Mamaoism", "Berumba", "Papaya", "Segura Esta Onda", "Sunset At Sujinho", "Tijuca Man", and "Waiting On The Corner". (Deep Funk, Brazil) LP, Vinyl record album