The first 2026 release from Jazz Is Dead brings together a remarkable convergence of legacy and innovation, as producers Adrian Younge and Ali Shaheed Muhammad collaborate with legendary Brazilian songwriting duo Antonio Carlos & Jocafi. For Antonio Carlos and Jocafi—icons of Bahia’s rich musical heritage—this project marks their first new recording since the 1990s, making it both a return and a reinvention.
Hailing from Salvador, Bahia, the duo have been shaping Brazilian music since the late 1960s, crafting their own hits while also writing for a wide range of artists across generations. Their sound—deeply rooted in MPB, samba, and Afro-Brazilian traditions—finds new life here through the cinematic, analog-rich lens of Younge and Muhammad. The collaboration itself feels almost fated: introduced in 2022 by Beto Barreto of BaianaSystem, the artists quickly discovered a shared musical language. That connection ultimately led to recording sessions in 2025 at the Jazz Is Dead studio, with additional vocal work captured in Rio at the studio of Kassin.
The resulting album is a rich, genre-blurring tapestry. Across six co-written tracks and two compositions by Younge—featuring soulful vocals from Loren Oden—the project seamlessly merges Brazilian traditions with jazz, funk, soul, and psychedelic textures. It’s a record that honors its roots while pushing confidently into new sonic territory.
Opening track “Rala-Bucho” sets the tone with a driving forró-inspired rhythm layered with funky candombe undertones. The hypnotic vocal interplay of Antonio Carlos & Jocafi rides atop a dense, propulsive groove, with Younge’s multi-instrumental approach—spanning guitars, bass, keys, and flute—creating a dynamic, immersive soundscape. That energy carries into “Canarin Da Alemanha,” a vibrant fusion of MPB and Bahian carnival rhythms, bursting with playful vocal exchanges and intricate instrumental textures.
Elsewhere, the album reveals its versatility. “Menina Do Tororó” offers a joyful blend of samba and MPB, its buoyant acoustic foundation enriched by colorful arrangements of saxophones, keys, and flutes. “Tá Com Medo Por Quê” leans into a funkier direction, driven by electric guitars, horns, and a trance-like bassline that underscores the duo’s effortless vocal charisma.
“Bacaxá” introduces a breezy, midtempo samba with lyrics by Younge, featuring layered instrumentation and subtle psychedelic flourishes, while “Quixodó” presents a modern take on MPB with a light, swinging feel. The final two tracks shift the spotlight to Loren Oden, whose soulful delivery adds a new dimension to the project. “Nunca Mais” blends samba with understated dub influences, maintaining a sultry, hypnotic atmosphere, while “Loca Pasión” closes the album on a high note—its seductive groove weaving together marimba, vibraphone, synths, and lush vocal harmonies into a captivating fusion of soul and Brazilian psychedelia.
What makes this release particularly compelling is its sense of dialogue—between generations, cultures, and musical traditions. Younge and Muhammad’s production does not overshadow the essence of Antonio Carlos & Jocafi; instead, it amplifies it, placing their timeless artistry within a contemporary, globally resonant context.
Jazz Is Dead 026 is more than a comeback—it is a celebration of enduring creativity and cross-cultural collaboration. For longtime fans, it offers a welcome return from two legendary figures. The result is undeniable: a vibrant, forward-looking album that expands the boundaries of both Brazilian music and the Jazz Is Dead universe.
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