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Antonio Carlos & Jocafi, the legendary duo from Bahia whose music has embodied the soul of Brasil for over five decades, return with a bold new collaboration: Jazz Is Dead 026. Introduced to Adrian Younge and Ali Shaheed Muhammad by Beto Barreto of Baiana System, the meeting was instant magic. “The first time we met, it was like family,” they recall. That kinship led Younge and Muhammad to invite the duo to Los Angeles, where they carried a handful of ideas and created new songs on the spot—an intuitive, improvisatory process that defines the Jazz Is Dead ethos.
The story of Antonio Carlos & Jocafi begins in Salvador at the close of the 1960s, when the pair first joined forces as composers and performers. In 1971, their debut album Muita Zorra! introduced Brasil to a sound that was both rooted in Bahia’s folk traditions and attuned to the modern pulse of samba, funk, and MPB. From that record came Você Abusou, an anthem that became one of the most recorded songs in the history of Brasilian popular music. The duo quickly distinguished themselves through their ability to channel the everyday life, humor, and struggles of Bahia into universal songs that resonated across the country and beyond.
Through the 1970s and 1980s, Antônio Carlos & Jocafi wrote and recorded music that blended the sacred and the profane, Afro-Brasilian traditions and urban funk, biting satire and joyous celebration. Their compositions were picked up by some of the greatest voices of their generation: Clara Nunes, Gal Costa, Maria Creuza, and Sérgio Mendes among them. They also contributed to television and cinema, writing theme songs that became part of Brasil’s cultural fabric. Despite their success, they remained deeply tied to Bahia, drawing constant inspiration from Salvador’s streets, the Mercado Modelo, the rhythms of candomblé, and the irreverent humor of the people.
Now, with Jazz Is Dead 026, Antônio Carlos & Jocafi reaffirm their creative vitality while introducing their timeless Bahian spirit to a new generation. “Adrian’s love for Brasil is greater than that of many Brasilians,” they say, noting how deeply he listens, studies, and channels the rhythms, stories, and feelings of their culture. The result is an album that bridges Salvador’s Mercado Modelo with the global stage, weaving Bahia’s folkloric traditions into Jazz Is Dead’s analog soul.
This collaboration stands not only as a continuation of their journey but also as a testament to the enduring power of Bahia’s music—a sound that carries history, resistance, and joy in every beat. From Você Abusou to Jazz Is Dead 026, Antônio Carlos & Jocafi remain essential voices in the evolving story of Brasilian music.
Includes unlimited streaming of Antonio Carlos & Jocafi JID026
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Antonio Carlos & Jocafi, the legendary duo from Bahia whose music has embodied the soul of Brasil for over five decades, return with a bold new collaboration: Jazz Is Dead 026. Introduced to Adrian Younge and Ali Shaheed Muhammad by Beto Barreto of Baiana System, the meeting was instant magic. “The first time we met, it was like family,” they recall. That kinship led Younge and Muhammad to invite the duo to Los Angeles, where they carried a handful of ideas and created new songs on the spot—an intuitive, improvisatory process that defines the Jazz Is Dead ethos.
The story of Antonio Carlos & Jocafi begins in Salvador at the close of the 1960s, when the pair first joined forces as composers and performers. In 1971, their debut album Muita Zorra! introduced Brasil to a sound that was both rooted in Bahia’s folk traditions and attuned to the modern pulse of samba, funk, and MPB. From that record came Você Abusou, an anthem that became one of the most recorded songs in the history of Brasilian popular music. The duo quickly distinguished themselves through their ability to channel the everyday life, humor, and struggles of Bahia into universal songs that resonated across the country and beyond.
Through the 1970s and 1980s, Antônio Carlos & Jocafi wrote and recorded music that blended the sacred and the profane, Afro-Brasilian traditions and urban funk, biting satire and joyous celebration. Their compositions were picked up by some of the greatest voices of their generation: Clara Nunes, Gal Costa, Maria Creuza, and Sérgio Mendes among them. They also contributed to television and cinema, writing theme songs that became part of Brasil’s cultural fabric. Despite their success, they remained deeply tied to Bahia, drawing constant inspiration from Salvador’s streets, the Mercado Modelo, the rhythms of candomblé, and the irreverent humor of the people.
Now, with Jazz Is Dead 026, Antônio Carlos & Jocafi reaffirm their creative vitality while introducing their timeless Bahian spirit to a new generation. “Adrian’s love for Brasil is greater than that of many Brasilians,” they say, noting how deeply he listens, studies, and channels the rhythms, stories, and feelings of their culture. The result is an album that bridges Salvador’s Mercado Modelo with the global stage, weaving Bahia’s folkloric traditions into Jazz Is Dead’s analog soul.
This collaboration stands not only as a continuation of their journey but also as a testament to the enduring power of Bahia’s music—a sound that carries history, resistance, and joy in every beat. From Você Abusou to Jazz Is Dead 026, Antônio Carlos & Jocafi remain essential voices in the evolving story of Brasilian music.
Includes unlimited streaming of Antonio Carlos & Jocafi JID026
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Antonio Carlos & Jocafi, the legendary duo from Bahia whose music has embodied the soul of Brasil for over five decades, return with a bold new collaboration: Jazz Is Dead 026. Introduced to Adrian Younge and Ali Shaheed Muhammad by Beto Barreto of Baiana System, the meeting was instant magic. “The first time we met, it was like family,” they recall. That kinship led Younge and Muhammad to invite the duo to Los Angeles, where they carried a handful of ideas and created new songs on the spot—an intuitive, improvisatory process that defines the Jazz Is Dead ethos.
The story of Antonio Carlos & Jocafi begins in Salvador at the close of the 1960s, when the pair first joined forces as composers and performers. In 1971, their debut album Muita Zorra! introduced Brasil to a sound that was both rooted in Bahia’s folk traditions and attuned to the modern pulse of samba, funk, and MPB. From that record came Você Abusou, an anthem that became one of the most recorded songs in the history of Brasilian popular music. The duo quickly distinguished themselves through their ability to channel the everyday life, humor, and struggles of Bahia into universal songs that resonated across the country and beyond.
Through the 1970s and 1980s, Antônio Carlos & Jocafi wrote and recorded music that blended the sacred and the profane, Afro-Brasilian traditions and urban funk, biting satire and joyous celebration. Their compositions were picked up by some of the greatest voices of their generation: Clara Nunes, Gal Costa, Maria Creuza, and Sérgio Mendes among them. They also contributed to television and cinema, writing theme songs that became part of Brasil’s cultural fabric. Despite their success, they remained deeply tied to Bahia, drawing constant inspiration from Salvador’s streets, the Mercado Modelo, the rhythms of candomblé, and the irreverent humor of the people.
Now, with Jazz Is Dead 026, Antônio Carlos & Jocafi reaffirm their creative vitality while introducing their timeless Bahian spirit to a new generation. “Adrian’s love for Brasil is greater than that of many Brasilians,” they say, noting how deeply he listens, studies, and channels the rhythms, stories, and feelings of their culture. The result is an album that bridges Salvador’s Mercado Modelo with the global stage, weaving Bahia’s folkloric traditions into Jazz Is Dead’s analog soul.
This collaboration stands not only as a continuation of their journey but also as a testament to the enduring power of Bahia’s music—a sound that carries history, resistance, and joy in every beat. From Você Abusou to Jazz Is Dead 026, Antônio Carlos & Jocafi remain essential voices in the evolving story of Brasilian music.
Includes unlimited streaming of Antonio Carlos & Jocafi JID026
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Me dá de “bebê”
Bota ‘pá fervê”, “vatapá”
Nesse “transcetê”
Bota mais dendê
“Qu’esse” trelelê vai “prestá”
Pega no ganzê
Traz o “rompilê”
Chama Marinez prá sambar
Nesse “fuzuê”
Nesse “manguacê”
Me traz Zé Mané pra tocar
Depois de “cumê”
Depois de “bebê”
Traz o “bafurê pá fumá”
Que eu vou me “benzê”
Vou me “refazê”
Vou “agradecê, bodiá”
Bota “pá fervê”
Bota “pá quebrá”
“Qu’esse rala-bucho”
Tá um “pega-pra-capá”
Canarin da Alemanha
Quem lhe ensinou a cantar
Canarin da Alemanha
Quem lhe ensinou a cantar
Foi sabiá laranjeira, o'curió do Pará
Foi sabiá laranjeira, o'curió do Pará
Canarin da Alemanha
Me traz notícias de lá
Se meu amor me espera
Ou se cansou de esperar
Canarin da Alemanha
Canta pra me consolar
Se meu amor me espera
Se vai com outro casar
Cachi calagandan Bis
Cachi calagandan
Cachi calagandan, calagandan, calagandan
Fui no Tororó beber água e não achei
Encontrei menina linda por quem me enamorei… e no lago, a lua cheia, violões em serenata
Seus cabelos que eram louros
Se tornaram cor de prata
Laiá, Lará!
Eu vim de longe sem carinho e sem amor
Ilusões mil, passageiras, na bagagem a minha dor
Minha estrada pontilhada de sofrer
Só você linda menina fez meu mundo reviver
Fui no Tororó beber água e não achei
Encontrei menina linda por quem me enamorei
Seus cabelos que eram louros
Seu olhar que encantava
Era de amor a modinha
Que o seresteiro cantava
Laiá, Lará!
Eu vim de longe, sem carinho e sem amor
Ilusões mil, passageiras, na bagagem a minha dor… e de “maneiras” que no “Tororó” achei… em vez de água, menina… por quem me apaixonei!
Laiá, Lará, Rá, Lará, Lá, Lará, Lará
Meu nome é África!
“Tá com medo por quê?”
Na atitude voraz do tambor 2x
Me chamo África
“Tá com medo por quê?”
No orgulho tenaz dessa cor.
Na lapada do chicote, vem o corte, vem a bagaceira,
Vem a força do legado renegado pelo seu algoz
Vem no jogo do pinote, vem no bote, vem na capoeira
Nessa briga de costados malcriados, vence a nossa voz.
Tá com medo, tá com medo, que essa luta não é brincadeira.
Vai no braço, vai no sangue, vai na raça de gente feroz
Vai no jogo do pinote, vai no bote, vai na capoeira
Nessa briga de costados malcriados, vence a nossa voz.
Quem com ferro fere... com ferro será ferido!
Esse papo de sopapo já cansou o meu ouvido!
Vou sorrir da sua empáfia pra calar o seu rugido!
Não vou mais engolir sapo, meu couro já tá curtido!
Tá com medo por quê?
Ni qui tu quiera me olvidar
Não tem mais jeito qu’eu já fui pra Bacaxá
Nem vem praqui ô… qu’eu não vou lá
Sem documento é que não tem “cara-crachá”
Yo necessito me libertar de um gran amor que começou em Paquetá
“Cê vêi” de Tango, eu chá-chá-chá
Essa “marmota”, eu quero ver no que vai dar
Você trepou no pau d’aroeira
Você provou do meu vatapá
A malaguêta ardeu no tacacá Bis
Adeus, Belém do Pará
Sacou provecho do “carimbó”
Pra-ver-o-pêso desse amor “borocochá”
Curtiu la fossa na Guajará
Vim pra Belém so pra dançar o “Siriá”
Você trepou no pau d’aroeira
Você provou do meu vatapá
A malaguêta ardeu no tacacá Bis
Adeus, Belém do Pará
Peguei um trem nas bandas de Pernambuco que nem maluco e avexado “pá chegá”
Dei um cochilo e acordei “mei’ariado”… E de tão desesperado, fui parar em Quixadá
Quixeramobim, quixamêgo, quixodó
Sem sanfoneiro no sertão não tem forró
“Padinho Ciço” me acode, tenha dó…
E foi só falar no Santo…
Tava no forrobodó, Mossoró
Puxa o fole daqui, puxa o fole de lá…
É zabumba daqui, é zabumba de lá
Rasta pé, Rasta pé, qu’é pra “nóis vadiá”
Rapadura é doce mas não é mole não Bis
Não, não.. E não é mole não!
Nunca mais
Nunca mais
Nunca mais
Vou me apaixonar
Nunca mais
Nunca mais
Vou abrir
Meu coração
Nunca mais
Nunca mais
Vou cantar
Sobre amor
Nunca mais
Nunca mais
Nunca mais
Mas se for você, for você, for você, for você,
Vou cantar,
Uma melodia
La la la la
La la
La La
Tou te amando
Tou te amando
Tou te amando como ontem
Tou te amando
Tou te amando
Tou te amando como ontem
Estações sempre mudam,
Sempre mudam
Mas desde o primeiro beijo
Mas desde o primeiro beijo
Beijo em você
Estações pararam hoje
For me to say, hello Juliane
(Não vamos esperar) por amanha
about
Antonio Carlos & Jocafi, the legendary duo from Bahia whose music has embodied the soul of Brasil for over five decades, return with a bold new collaboration: Jazz Is Dead 026. Introduced to Adrian Younge and Ali Shaheed Muhammad by Beto Barreto of Baiana System, the meeting was instant magic. “The first time we met, it was like family,” they recall. That kinship led Younge and Muhammad to invite the duo to Los Angeles, where they carried a handful of ideas and created new songs on the spot—an intuitive, improvisatory process that defines the Jazz Is Dead ethos.
The story of Antonio Carlos & Jocafi begins in Salvador at the close of the 1960s, when the pair first joined forces as composers and performers. In 1971, their debut album Muita Zorra! introduced Brasil to a sound that was both rooted in Bahia’s folk traditions and attuned to the modern pulse of samba, funk, and MPB. From that record came Você Abusou, an anthem that became one of the most recorded songs in the history of Brasilian popular music. The duo quickly distinguished themselves through their ability to channel the everyday life, humor, and struggles of Bahia into universal songs that resonated across the country and beyond.
Through the 1970s and 1980s, Antônio Carlos & Jocafi wrote and recorded music that blended the sacred and the profane, Afro-Brasilian traditions and urban funk, biting satire and joyous celebration. Their compositions were picked up by some of the greatest voices of their generation: Clara Nunes, Gal Costa, Maria Creuza, and Sérgio Mendes among them. They also contributed to television and cinema, writing theme songs that became part of Brasil’s cultural fabric. Despite their success, they remained deeply tied to Bahia, drawing constant inspiration from Salvador’s streets, the Mercado Modelo, the rhythms of candomblé, and the irreverent humor of the people.
Now, with Jazz Is Dead 026, Antônio Carlos & Jocafi reaffirm their creative vitality while introducing their timeless Bahian spirit to a new generation. “Adrian’s love for Brasil is greater than that of many Brasilians,” they say, noting how deeply he listens, studies, and channels the rhythms, stories, and feelings of their culture. The result is an album that bridges Salvador’s Mercado Modelo with the global stage, weaving Bahia’s folkloric traditions into Jazz Is Dead’s analog soul.
This collaboration stands not only as a continuation of their journey but also as a testament to the enduring power of Bahia’s music—a sound that carries history, resistance, and joy in every beat. From Você Abusou to Jazz Is Dead 026, Antônio Carlos & Jocafi remain essential voices in the evolving story of Brasilian music.
credits
released April 3, 2026
Antonio Carlos & Jocafi JID025 Liners
All music composed by Adrian Younge, Antonio Carlos e Jocafi and Ali Shaheed Muhammad unless otherwise noted; produced, recorded, and mixed by Adrian Younge at Linear Labs Studios, Los Angeles, CA; additional vocals recorded at Kassin’s Marini Studio in Rio de Janeiro. Mastered by Dave Cooley for Elysian Masters. Executive Produced by Andrew Lojero. Associate Produced by Adam Block. All songs published by Linear Labs Crew/Sony Music Publishing (GMR) and Fórum da Cultura Produções (LTDA). Graphic Design by Julian Montague. Photography by Linear Labs.
1) Rala-Bucho
a. Musicians:
i. Adrian Younge: Pedal Harp, Electric bass guitar, Fender Rhodes piano, Electric guitars, Hammond B3 organ, Baritone, Sopranino and Alto saxophones, Flute, Percussion
ii. Jocafi: Nylon guitar
iii. Marcel Carmargo: Electric guitar
iv. Leo Costa: Drums
v. Gibi Dos Santos: Percussion
b. Lyrics: Written and performed by Antonio Carlos e Jocafi
c. Background vocals: Letícia dos Santos Pedroza, Nayana Araujo Duarte, Leonardo Bruno Baptista and Murilo Oliveira dos Santos
2) Canarin da Alemanha
a. Musicians:
i. Adrian Younge: Electric bass guitar, Fender Rhodes piano,
Hammond B3 organ, Electric guitars, Percussion
ii. Jocafi: Nylon guitar
iii. Leo Costa: Drums
iv. Gibi Dos Santos: Percussion
b. Lyrics: Written and performed by Antonio Carlos e Jocafi
c. Background vocals: Letícia dos Santos Pedroza, Nayana Araujo Duarte, Leonardo Bruno Baptista and Murilo Oliveira dos Santos
3) Menina Do Tororó
a. Musicians:
i. Adrian Younge: Electric bass guitar, Fender Rhodes piano,
Percussion, Sopranino and Alto saxophones, Flutes, Piccolo
ii. Jocafi: Nylon guitar
iii. Leo Costa: Drums
iv. Gibi Dos Santos: Percussion
b. Lyrics: Written and performed by Antonio Carlos e Jocafi
c. Background vocals: Letícia dos Santos Pedroza, Nayana Araujo Duarte, Leonardo Bruno Baptista and Murilo Oliveira dos Santos
4) Tá Com Medo Por Quê?
a. Musicians:
i. Adrian Younge: Fender Rhodes piano, Electric guitars, Baritone,
Sopranino and Alto saxophones, Flutes
ii. Ali Shaheed Muhammad: Electric bass guitar
iii. Jocafi: Nylon guitar
iv. Leo Costa: Drums
v. Krishna Booker: Percussion
b. Lyrics: Written and performed by Antonio Carlos e Jocafi
c. Background vocals: Letícia dos Santos Pedroza, Nayana Araujo Duarte, Leonardo Bruno Baptista and Murilo Oliveira dos Santos
5) Bacaxá
a. Musicians:
i. Adrian Younge: Electric bass guitar, Fender Rhodes piano, Electric guitars, Baritone, Sopranino and Alto saxophones, Flutes,
Percussion
ii. Jocafi: Nylon guitar
iii. Leo Costa: Drums
iv. Gibi Dos Santos Percussion
b. Lyrics: Written and performed by Antonio Carlos e Jocafi
c. Background vocals: Letícia dos Santos Pedroza, Nayana Araujo Duarte, Leonardo Bruno Baptista and Murilo Oliveira dos Santos
6) Quixodó
a. Musicians:
i. Adrian Younge: Electric bass guitar, Fender Rhodes piano, Electric guitars, Baritone, Sopranino and Alto saxophones, Percussion
ii. Jocafi: Nylon guitar
iii. Leo Costa: Drums
iv. Gibi Dos Santos: Percussion
b. Lyrics: Written and performed by Antonio Carlos e Jocafi
c. Background vocals: Letícia dos Santos Pedroza, Nayana Araujo Duarte, Leonardo Bruno Baptista and Murilo Oliveira dos Santos
7) Amigo Adrian
a. Musicians:
i. Adrian Younge: Pedal Harp, Electric bass guitar, Electric sitar, Marimba, Monophonic synthesizers, Sopranino and Alto saxophones, Flutes,
ii. Jocafi: Nylon guitar
iii. Marcelo "Bucater" Checchia: Drums
iv. Gibi Dos Santos: Percussion
8) Nunca Mais
a. Musicians:
i. Adrian Younge: Electric bass guitar, Fender Rhodes piano, Hammond B3 organ, Monophonic synthesizer, Electric guitar,
Sopranino and Alto saxophone, Flutes, Percussion
ii. Jocafi: Nylon guitar
iii. Marcelo "Bucater" Checchia: Drums
iv. Gibi Dos Santos: Percussion
b. Lyrics: Written by Adrian Younge; performed by Loren Oden
9) Loca Pasion
a. Musicians:
i. Adrian Younge: Electric bass guitar, Electric guitar, Monophonic synthesizers, Vibraphone, Marimba, Sopranino and Alto saxophones, Flutes, Percussion
ii. Jocafi: Nylon guitar
iii. Marcelo "Bucater" Checchia: Drums
iv. Gibi Dos Santos: Percussion
b. Lyrics: Written by Adrian Younge; performed by Loren Oden
Founded in 2017 by music producers Adrian Younge, Ali
Shaheed Muhammad (A Tribe Called Quest), concert producer Andrew Lojero and industry veteran Adam Block, Jazz Is Dead is a global movement experienced through community and culture. We travel the world searching for rare records and the artists that created them....more
