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The duo, highly inspired by Hyldon's seminal work in the '60s and '70s, revisits' the spirit of this epoch while creating a modern-day classic. Hyldon's unique voice and lyrical depth, combined with Younge's innovative analog production, ensures this album will not be forgotten. JID023 is one of the last recordings featuring Hyldon's long-time collaborator and friend, the late drummer Ivan \"Mamao\" Conti of Azymuth. Hyldon, a musical pioneer and early contributor to the \"Black Rio\" movement is a genius in synthesizing the sounds of MPB, Tropicália and Black American R\u0026amp;B. His unique voice, coupled with his rich arrangements and laid-back grooves set him apart from the contemporaries of the time. In '75, his remarkable debut album, Na Rua, Na Chuva, Na Fazenda changed the sound of Brazil forever. Hyldon's earnest and experimental approach in creating that album served as the inspiration for Younge's production on the new JID023. Months before Mamao's untimely passing, Adrian Younge and Hyldon invited the legendary drummer to join them at Younge's Linear Labs studio in Los Angeles. Mamao and Hyldon shared a rich musical history - Azymuth, Mamao's group, served as the rhythm section for much of Hyldon's work, including his iconic 1975 LP, Na Rua, Na Chuva, Na Fazenda. Their goal was ambitious: to craft an album that would stand alongside Hyldon's finest achievements, one that would captivate fans who love his unique blend of psychedelic and soulful \"Música Brasileira.\" The result is nothing short of remarkable.\"Producing a Hyldon album was a dream come true. I've studied his catalog for so many years and highly respect the way he mixed the sound of The Beatles, with that of Marvin Gaye and Tim Maia. I'm still enamored by the fact that he is even a better singer now than he was, in what many deem, his prime. Also, we greatly miss our dear friend and contributor Mamao, the late drummer of Azymuth. We dedicated this album to his memory, and we wish he could have had the chance to hear the finished album.\" - Adrian YoungeSongs such as \"Olhos Castanhos\" evoke the ethereal nature of The Beatles \"Strawberry Fields\" as the mellotron flutes and Hyldon's vulnerable performance captivates our hearts. Mamao's gritty and funky drumming on \"Nhanderuvucu (The Creator of God)\" showcase what made him a leading pioneer in Brazil's samba funk scene. Apart from the remarkable drumming, multi-instrumentalist Younge accomplishes the unthinkable by playing every other instrument on JID023. The experimental fusion of horns, analog synthesizers and acoustic instrumentation on songs like \"Viajante de Planeta Azul\" take listeners on a funky journey to the blue planet; a fictional space that Hyldon lyrically describes with passion and conviction. Hyldon JID023 is an unexpected, yet remarkable addition to the canon of Brazilian Music. 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Something About April III (SAA III), Adrian Younge pushes the musical franchise forward with fearless conviction, surpassing it's predecessors as an essential piece in today's vinyl culture. \"Something About April III is the album I wanted to make when I created the first album in 2011. However, I didn't have the musical knowhow and experience to create the sound that was buried deep in my soul. Essentially, SAA III is the album that has taken me fifteen years to uncover and fully realize. From a cratediggers' perspective, it's the album I've been diggin' for in the deepest crates of my soul. A lost album I finally found. I hope this LP resonates with you as much as it has for me.\" Throughout the years, Younge has earned the title of America's black genius: a master at reviving the lost art of analog recording in a digital world. The Emmy-award winning composer, multi-instrumentalist and orchestrator has received comparisons to the finest works of Ennio Morricone as well as The Beatles relentless pursuit for sonic innovation. The Something About April collection has stood the test of time for contemporary vinyl enthusiasts and producers, being sampled by DJ Premier, Jay-Z, Common, 50 Cent and more. With so much experimentation, SAA III is Younge's boldest journey into the unknown, drawing from the heritage of this heavily sampled collection to shape the future of his legacy.Emboldened by the success of SAA I and II, Younge closes the trilogy with grander compositions for his uniquely inspired vinyl collecting audience. As the proceeding albums synthesize the boundaries between American and European cinematic soul, part 3 does the same, but with a bold twist: Brazilian Psychedelica!Inspired by the great Brazilian records of the '60s and '70s, Younge records an all-Brazilian choir of vocalists, hand-picked by the Grammy-award winning Brazilian composer, Céu. Songs like \"Nunca Estranhos\" and \"O Som Do Amor\" highlight the talented vocalists over fuzzed out drum breaks and complexed orchestral arrangements akin to Arthur Verocai's eponymously album in '72. \"Nossas Sombras\" takes listeners back to a time when groups like Os Mutantes and Antonio Adolfo \u0026amp; A Brazuca pioneered mind-blowing sounds for Brazilian counterculture. Others such as \"A Minha Fantasia\" and \"Esperando Por Você\" evoke the essence of Brazilian soul singers Tim Maia and Cassiano, as if they were sampled by Rza for an unreleased Wu-tang album from the '90s. 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Before \u003ci\u003eNew Blue Sun\u003c\/i\u003e was recorded,\u003cspan class=\"m_7159343681203041968gmail-apple-converted-space\"\u003e \u003c\/span\u003efilmmaker Dexter Navy films André\u003cspan class=\"m_7159343681203041968gmail-apple-converted-space\"\u003e in\u003c\/span\u003e Venice Beach, California. 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Even he might have forgotten the name his parents gave him one December day in 1949 in New York, where he was born and later played his first tune on what would become his signature instrument-the harmonica. Sugar Blue was born.For many years, James, now known as Sugar Blue, honed his technique through countless encounters, sessions, and concerts, some more fruitful and rewarding than others. His collaborations were numerous, especially with Louisiana Red, Johnny Shines, and Roosevelt Sykes. Yet, Sugar Blue's name, like those of his peers, often appeared in newspapers and on concert and bar posters-though rarely in large print or as the headliner. This limited his fame and kept him from truly taking off. Sugar took on various odd jobs to make ends meet, even working as a shoeshiner in Harlem.Meanwhile, some of his friends, like Memphis Slim, were forging their own paths-paths that sometimes took surprising turns. Following a tour in France, Memphis Slim (born in 1915 in Memphis) decided to settle in Paris. This decision proved pivotal, as Memphis Slim was later officially named an Ambassador-at-Large by the U.S. Senate. He held this prestigious role as the \"Blues Ambassador\" until his death in February 1988 in Paris, where he spent his final years collecting honors and medals. Recognized as one of the architects of the \"Chicago Sound,\" he was even made a Commander of the Order of Arts and Letters by French Minister of Culture Jack Lang in 1986.One day, Sugar decided to head to Europe himself, drawn by glowing reports, especially about France's long-standing love for jazz and blues. There, he reconnected with Memphis Slim, Ray Charles' former guitarist Mickey Baker, and pianist-composer Booker T. Laury, all of whom praised his talent. However, like many musicians, Sugar soon discovered that Paris was far from a promised land. He faced numerous struggles and setbacks after his arrival. That is, until a miraculous day in 1977.While playing his harmonica in the Paris Métro, Sugar Blue crossed paths with Mick Jagger. The Rolling Stones were in Paris, recording at Pathé-Marconi studios in Boulogne-Billancourt for an album that would go on to have an incredible legacy: Some Girls, often regarded as their best album with guitarist Ron Wood. At the time, the Stones were stuck, feeling that something was missing from their work but unsure what it was.When Jagger heard Sugar Blue and his harmonica electrify the subway, inspiration struck. He decided on the spot to include the harmonica and it's extraordinary player in the unfinished tracks of the album. Within hours, Sugar Blue made his mark, embedding his harmonica into various songs, particularly \"Miss You\" and \"Some Girls,\" infusing them with an irresistible new sound. In addition to Billy Preston, who influenced the band's musical choices, many other musicians contributed to the album, including Faces pianist Ian McLagan, former King Crimson member Mel Collins on saxophone, Bad Company drummer Simon Kirke on congas, and Creedence Clearwater Revival's John Fogerty.At a time when punk was booming and disco dominated airwaves worldwide, \"Miss You,\" the lead single from Some Girls released in 1978, shot to number one on the Billboard Hot 100. Sugar Blue became famous, and the tracks he contributed to gained a unique and instantly recognizable sound.As for the harmonica itself, it experienced a revival, propelled by Sugar Blue's Stonian flourishes, becoming a defining instrument of rock and blues. Sugar Blue's career took off, not just in terms of sales but also in creative success. During this period, he released multiple albums and performed in countless concerts and festivals. 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