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In“It Ain't My Fault”, an R&B classic written by Smokey Johnson, Leães makes sketches and crosses that recall the blues and jazz tradition made in the 1950s/60s. There are still elements of funk and New Orleans piano, one of the favorite abodes of his spirit.


“Hunky Dory Boogie”flagship of the trio, usually played with vocal accompaniment and in a different arrangement, but here we hear it in an instrumental version. 

In“Chill & Real Blues”, Leães himself tells us his version of the facts: “That moment was totally unusual, because we decided to just play a slow blues song on the spur of the moment. However, many feelings dammed throughout isolation emerged in this creation. The title references the idea of 'relaxing and healing' any kind of pain, especially when performing on stage”.

“Song for JB”takes us to Eden de Leães, R&B in the Wonderland of one of its main references, James Booker.

Emerged as a habanera, a Cuban style that is one of the cornerstones of jazz, tango, maxixe and blues/rhumba in New Orleans,“Odila y Maneco”honors a very special couple. In this rescue, the inevitable memory of the musician's grandparents appears swirling around the room,   with Leães, at the piano, cradling this family dance.    

“Money Honey”is an ideological symbol of this formation, perfect synchrony of the trio and the instrumental music that draws on blues and jazz, alternating at times the swing of these rhythms with the swing of samba.

The boogie-woogie“Home Brew”flirts with jazz subgenres in which the left hand marks the beat, and the right releases itself in an improvisational rhythm.

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