Central to the project are the trio of production gurus Kassin and Lancelloti, and singer Moreno Veloso, son of the godfather of Tropicalia, Caetano Veloso. Their +2 series, released earlier this year, re-invoked their forefathers’ unique blend of old and new. All three appear here in various roles as musicians, producers and songwriters working alongside household Brazilian musicians such as samba legend Wilson das Neves, Rodrigo Amarante, singer with Brazilian rock band Los Hermanos, and actress and singer Thalma de Freitas.

Gafieira itself was a mixture of American big band, Latin jazz, and various samba styles. Orquestra Imerial’s reworking of Gafieira resembles Tropicalia’s musical cannibalism: taking existing styles and fusing them with new ideas. The juxtaposition of traditional samba with modernism and established samba musicians with young innovators results in a fresh, light-hearted interpretation of a forgotten style.

The album begins with three long lost tracks from the 40s and 50s, an energised nod to the original innovators. From there it swings joyfully through to the bossa like ‘O Mar E O Ar’, followed by Moreno Veloso’s softly sung ‘Jardim de Alah’, reminiscent of his fathers subtle vocal style. The mood picks up again on ‘Era Bom’, Wilson das Neves and Max Sette’s vocal duet navigating us playfully around the already familiar rhythms. Nina Becker closes the album with ‘Supermercado de Amor’: a Sgt Pepper like fairground of sound.

Carnaval Só Ano que Vem is enough to bring a touch of sunshine to even the greyest day. Orchestra Imperial’s cool tribute is full of playful innovation. It’s a panorama of a forgotten era, whilst at the same time giving an insight into a thriving modern music scene.