Antonio Adolfo - Jobim Forever

Styles: Piano Jazz, Bossa Nova
Year: 2021
File: MP3@320K/s
Time: 49:00
Size: 112,5 MB
Art: Front

(5:31) 1. The Girl from Ipanema
(5:09) 2. Wave
(5:20) 3. A Felicidade
(5:25) 4. How Insensitive
(5:20) 5. Favela (O Morro Não Tem Vez)
(6:11) 6. Inutil Paisagem
(4:04) 7. Agua De Beber
(7:00) 8. Amparo (Intro: Por Toda a Minha Vida)
(4:57) 9. Estrada Do Sol

Really, is there anyone who does not like Antonio Carlos Jobim (Tom)? Antonio Adolfo, the pianist, arranger, and producer behind this wonderful recording, seems to have lived in a parallel universe to many of us. He says, and it rings true, at the age of twelve, Jobim's music was "love at first sight" in Brazil. Well, it was love at first sight in New Jersey too, via Stan Getz and "A Garota de Ipanema" ("The Girl from Ipanema"). Getz may have been the vehicle, but the message was Jobim and Vinicius de Moraes. Years later, living in Latin America, Jobim seemed to be everywhere to a listener. It was hard to walk into a pretty common restaurant chain and not hear his music. "Wave" was, no less, the melodic identifier for an FM station in Mexico City in the 70s. The Brazilians had done their work and done it well.

Here is mostly Tom Jobim from the '60s, and beautifully done it is too. Hearing his oeuvre together makes a listener realize that Jobim, too, had favorite devices, harmonies, and licks. But somehow they always managed to sound fresh, fetching, and alluring. He drew you into his music by pure sensuality. The fact that sensational musicians were drawn to his work did not hurt much either. And that remains true of this recording. The playing is very impressive.

We get "Ipanema," "Wave," "Felicidade," "Insensitive," "Agua de Beber," and a few less familiar items, including "Amparo," "Inutil Paisagem" and "Estrada do Sol." The players, primarily Brazilian, one assumes, are simply first-rate, as are the arrangements, which are fresh, if familiar. Comparisons are invidious, but Jesse Sadoc on trumpet and flugelhorn is as good as you will hear. Antonio Adolfo, who both produced and arranged the session, is a compelling pianist in this idiom. Danilo Sinna and Marcelo Martins on reeds and flutes surface repeatedly, springlike, to spread beauty everywhere. "Estrada de Sol," features Martins on a gorgeous, evanescent flute solo.

When Lula Galvão joins on guitar, the magic is nearly complete, until Adolfo enters once more. Gil Evans of "Quiet Nights" comes to mind to a listener of a certain age, but with far less dissonance. This is a beautiful, spellbinding recording. If you dig Tom Jobim and Brazilian music from the '60s, how can you miss?
By Richard J Salvucci https://www.allaboutjazz.com/jobim-forever-antonio-adolfo-aam-music__28422

Personnel: Antonio Adolfo: piano; Jesse Sadoc: trumpet; Marcelo Martins: woodwinds; Danilo Sinna: saxophone, alto; Rafael Rocha: trombone; Lula Galvão: guitar; Jorge Helder: bass, acoustic; Rafael Barata: drums; Dada Costa: percussion; Paulo Braga: drums; Zé Renato: voice / vocals.

Jobim Forever

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Antonio Adolfo & Orquestra Atlantica - Encontros

Styles: Piano Jazz, Big Band
Year: 2018
File: MP3@320K/s
Time: 53:01
Size: 122,6 MB
Art: Front

(5:19)  1. Partido Samba-Funk
(4:29)  2. Pentatonica
(4:33)  3. Atlantica
(4:21)  4. Luizao
(4:29)  5. Milestones
(6:42)  6. Saudade
(4:51)  7. Capoeira Yá
(6:12)  8. Africa Bahia Brasil
(5:03)  9. Delicada Jazz Waltz
(6:58) 10. Sa Marina

After forty years of gigging around the world with a who's who of jazz instrumentalists and singers, the celebrated Brazilian pianist/composer Antonio Adolfo has realized his life-long dream of writing for and recording with a world-class big band and what a band it is: the remarkable Orquestra Atlantica from Adolfo's home country, formed in 2012 and molded since then into a superior ensemble fully capable of carrying out his every wish and desire. On Encontros, the Orquestra adeptly performs nine of Adolfo's sunny compositions and one jazz standard, Miles Davis' "Milestones," neatly arranged by Atlantica trumpeter Jesse Sadoc (seven tracks) and saxophonist Marcelo Martins (three). As one would expect, the music on offer is expressly Brazilian in tone and temper which places an enormous exclamation mark on the winning side of the ledger. On top of which, Adolfo's themes ranging from samba, Frevo and capoeira to waltz, ballad and Afro-Brazilian are invariably agreeable and charming. Impressive as each one is, however, Adolfo saves the best for last: a big-band arrangement of his biggest hit, "Sa Marina," written in 1967 and released globally as "Pretty World" with lyrics by Alan and Marilyn Bergman. The new version embodies handsome solos by Adolfo and tenor saxophonist Martins, crisp exchanges between baritone Levi Chaves and trombonist Aldivas Ayres, and more exemplary work by the cleanly recorded ensemble.  The opener, "Partido Samba-Funk," is explicitly designed for dancing as well as listening. Adolfo's nimble piano is front and center alongside alto Danilo Sinna and trumpeter Sadoc. 

The ensemble is on top of its game, as it is on "Atlantica," a medium-tempo ballad named for the band and featuring Martins and guitarist Leo Amuedo, and "Luizao," a lively samba that salutes the late bassist Luizao Maia. The forceful solo is by valve trombonist Serginho Trombone (yes, that really is his name). Bop meets Frevo on the impulsive "Milestones," wherein tight ensemble work by the horns enwraps lustrous solos by Adolfo and accordionist Marcos Nimrichter.  The mood darkens on "Saudade," whose fluid rhythms underscore earnest statements by Adolfo's piano and Sadoc's flugelhorn, then lightens again on "Capoeira Ya," which turns the spotlight on an unusual Brazilian dance that is combined with martial art as well as on ace guitarist Nelson Faria. Adolfo teams with alto Sinna to enhearten "Africa Bahia Brazil," which celebrates the African influence in Brazilian culture and precedes the gentle "Delicada Jazz Waltz," whose lyrical solos are neatly designed by Adolfo and Nimrichter. "Sa Marina" rings down the curtain on a consistently bright and pleasing album that was a long time coming but well worth the wait. ~ Jack Bowers https://www.allaboutjazz.com/encontros-orquestra-atlantica-antonio-adolfo-aam-music-review-by-jack-bowers.php

Personnel: Antonio Adolfo: piano;  Nelson Faria, Claudio Jorge, Leo Amuedo: guitars;  Jorge Helder: bass;  Rafael Barata: drums;  Dada Costa: percussion;  Danilo Sinna: alto saxophone and flute;  Marcelo Martins: tenor saxophone and flute;  Marcos Nimrichter: accordion;  Ze Renato: vocals.

Encontros

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Antonio Adolfo - Hybrido: From Rio to Wayne Shorter

Styles: Piano Jazz, Bossa Nova
Year: 2017
File: MP3@320K/s
Time: 54:54
Size: 127,1 MB
Art: Front

(5:50)  1. Deluge
(6:08)  2. Footprints
(6:49)  3. Beauty and the Beast
(6:03)  4. Prince of Darkness
(4:52)  5. Black Nile
(7:40)  6. Speak No Evil
(6:28)  7. E.S.P.
(6:40)  8. Ana Maria
(4:20)  9. Afosamba

With well over thirty albums to his name, Brazilian composer and pianist Antonio Adolfo has now conjured up a really attractive paean to the master saxophonist and composer Wayne Shorter. The selection of tracks is excellent because it clearly demonstrates just how key a figure Shorter is to jazz. It doesn't replicate the 1988 Blue Note collection The Best Of Wayne Shorter but does include three numbers from that album. "Deluge" offers a warm ensemble-led invocation of this enticing track taken from Ju Ju. Then there's a relaxed version of Shorter's classic "Footprints," embellished by Zé Renato's wordless vocals. "Prince of Darkness" from Miles Davis's 1967 album Sorcerer is lusciously percussion-rich (including a deep tabla-like Baião percussion introduction). "Black Nile" from 1964's Night Dreamer is a satisfying interpretation of the original with bright piano from Adolfo. The elegance of "Beauty And The Beast" is encapsulated in its mixture of bossa and samba (Adolfo refers to it as SamBossa) and is one of two tracks taken from Shorter's "Native Dancer" album which he recorded with Milton Nascimento. 

The title track from Speak No Evil is a model of stately modality with its majestic and memorable theme and rich tenor solo from Marcelo Martins whilst the elegant "Ana Maria," again from Native Dancer, sports some nimble guitar from Lula Galvão. To conclude the set, there's a lone self-penned number by Adolfo, "Afosamba," a perfect example of his first-rate talent as a composer. The arrangements throughout are strong and for those familiar with all the Shorter tracks it affords them a new and vibrant dimension. For those unfamiliar with the numbers, the album will serve as an excellent and enticing primer, prior to sampling the original source material. It's also a timely reminder of just how important Shorter is in terms of his illustrious back catalogue of compositions. ~ Jorge Farbey https://www.allaboutjazz.com/hybrido-from-rio-to-wayne-shorter-antonio-adolfo-aam-music-review-by-roger-farbey.php

Personnel: Piano and Arrangements: Antonio Adolfo, electric piano on #1; Electric Guitar: Lula Galvão; Double Bass: Jorge Helder; Drums and Percussion: Rafael Barata; Percussion: Andre Siqueira; Trumpet: Jessé Sadoc; Tenor and Soprano Saxes: Flute on #3: Marcelo Martins; Trombone: Serginho Trombone; Vocals on #2: Zé Renato; Acoustic Guitar on #3: Claudio Spiewak.

Hybrido: From Rio to Wayne Shorter

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Toots Thielemans & Elis Regina - Aquarela do Brasil

Styles: Vocal And Guitar Jazz
Year: 1969
File: MP3@320K/s
Time: 33:32
Size: 77,4 MB
Art: Front

(3:12)  1. Wave
(3:02)  2. Aquarela do Brasil
(2:54)  3. Visão
(2:05)  4. Corrida de Jangada
(2:11)  5. Wilsamba
(2:26)  6. Você (You)
(2:45)  7. Barquinho
(2:15)  8. O sonho
(1:59)  9. Five for Elis
(3:14) 10. Canto de Ossanha
(2:54) 11. Honeysuckle Rose
(4:28) 12. Volta

Jean 'Toots' Thielemans is widely regarded by most people as the most accomplished harmonica player in the world. Of course, that's not all he does and it would be a great injustice to label him as just a good harmonica player. If you are not into Jazz, you may not have heard of his name but you have probably heard his music many times and I suspect you liked it. He is equally good at playing guitar, the accordeon and many other instruments. For instance, you will never hear anyone whistle jazz better than Toots. Born on 29 April 1922 in Brussels, he quickly got interested in music and was playing the accordeon at age 3. Later he started playing the harmonica and the guitar. He got seriously hooked on jazz in earnest during the German occupation and has been influenced predominantly by Django Reinhardt, another Belgian who invented a particular way of playing the guitar, and the legendary Charlie Parker. Other influences were Toots Mondello and Toots Camarata, resulting in Jean Thielemans being nicknamed 'Toots' early on in his career.In an interview in 1983 with a Belgian radio station, he said : “My parents had a pub and each Sunday there was an accordionist. They have told me that when I was in my cradle, I already was imitating the gestures of the musician. One of the clients said “that kid wants to play accordion”. My father bought me a little cardboard accordion, and when I was three I got this little machine. (plays a little bit, accompanied by the barking of his little dog called Duke Yorkshire Ellington Thielemans)”.

He made his big breakthrough when he went on European tour with Benny Goodman in 1950. He moved to America in 1952 (and became a US citizen the same year) where he is extremely well-known, especially among the jazz community. Quincy Jones said this about him in 1995 : “I can say without hesitation that Toots is one of the greatest musicians of our time. On his instrument he ranks with the best that jazz has ever produced. He goes for the heart and makes you cry. We have worked together more times than I can count and he always keeps me coming back for more”. Toots hates his favourite instrument, the harmonica, being called a 'miscellaneous instrument'. Indeed, the late Clifford Brown said : “Toots, the way you play the harmonica they should not call it a miscellaneous instrument”. His successes include harmonica solo contributions to film scores for Midnight Cowboy, The Getaway, Sugarland Express, Cinderella Liberty, Turks Fruit (Turkish Fruit), Jean de Florette and others. In 1962 he had a massive hit with 'Bluesette'. He also did many concerts and recordings with legends such as George Shearing, Ella Fitzgerald, Quincy Jones, Bill Evans, Jaco Pastorius, Natalie Cole, Pat Metheny, Paul Simon and Billy Joel. Many people also will remember him from the music used for the 'Old Spice' TV commercial. Toots succeeded in doing something that is very difficult for Jazz musicians: being well-known by the general public and still practice high-class Jazz. Receiving the high appreciation of his peers and connoisseurs is no mean feat and Toots is regularly voted first in his category in the famous Down Beat Jazz Magazine in the USA by critics and public. In 1981, Toots suffered from a major stroke that left part of his body with little feeling. Today he has pretty much recovered from the stroke and admits that while he may not be able to play as many notes as he used to, he can still “play the good ones”. He has always suffered from asthma which makes his success even more remarkable. https://musicians.allaboutjazz.com/tootsthielemans

Personnel:  Toots Thielemans (guitar and harmonica), Elis Regina (vocals), Antonio Adolfo (piano), Roberto Menescal (guitar) and Wilson das Neves (percussion).

R.I.P.
Born:  April 29, 1922, Brussels, Belgium
Died: August 22, 2016, Brussels, Belgium

Aquarela do Brasil

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Antonio Adolfo - Tema

Size: 120,5 MB
Time: 51:35
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Latin/Brazilian Jazz
Art: Front

01. Alegria For All (5:38)
02. Natureza (6:07)
03. Phrygia Brasileira (4:23)
04. Sambojazz (5:57)
05. Alem Mares (6:46)
06. Sao Paulo Express (4:17)
07. Todo Dia (4:31)
08. Trem Da Serra (6:06)
09. Melos (5:28)
10. Variations On A Tema Triste (2:18)

What a marvelous disc this is. Absolutely marvelous. Antonio Adolfo and his music have been congenial bedfellows and the Brazilian’s pianism and his music are compelling on many different levels. There is a sense of sharing the sheer sensuous thrill of Mr. Adolfo’s keyboard writing. This is particularly evident in the more virile movements such as the fierce and brilliant “SamboJazz” that nestles in the centre of this disc. But that is not to say that brilliance does not exemplify the other material on Tema, an enigmatic name for this disc. Common to all is a sense of being fleet, but never breathless, with time enough for textures to tell.

At every turn you get a sense of Antonio Adolfo flexing his compositional muscles in this music that goes back almost fifty-five years. There is a sense of Mr. Adolfo demonstrating just how much variety could be built around a tema of melodies. In Antonio Adolfo’s hands the music occupies its own world of mood and rhythmic delight. This music is also fashioned in Mr. Adolfo’s unique way with counterpoint that is at once strong-jawed and supple. We are always aware of the music’s subject , for instance, as it peeks through the texture in different registers or reappears stood on its head, yet is never exaggerated as is sometimes the tendency with less imaginative musicians.

Tema - Antonio AdolfoAnd how Mr. Adolfo can dance at least at his keyboard – in “SamboJazz”, as it is urged into life through subtle dynamics, voicings, articulation and judicious ornamentation. A very different kind of dance reveals itself in “Sao Paulo Express” a Paulista musical vignette in which he takes a more impish view than many, the sonorous drone effect contrasting delightfully with the tripping upper lines. The way he (and his guitarists Leo Amuedo and Claudio Spiewak) has considered the touch and dynamic of every phrase means that these readings constantly impress with fresh details each time you hear them. This is a classic illustration of the exceptional genius of Antonio Adolfo, as a pianist, composer, arranger and guide of the musicians who have given everything of themselves to follow him.

Even the most unassuming numbers such as “Todo Dia” gain a sense of intrigue as he invites the musicians of the ensemble to re-examine this from every angle, again bringing multifarious shadings to the music. And it all flows effortlessly though a journey might have been anything but that. Highlights abound: in the murmuring “Trem da Serra” the pianist’s reactivity leaves other Brasilians – including some guitarists – sounding a touch unsubtle, which is really saying something. This is followed by one of the most extraordinary of pieces on the disc, “Melos”. While many musicians would revel in echoing harmonies expressed in a piece such as this, Mr. Adolfo draws you daringly into his own world. This whispered intimacy extends into his insertion of an ornamented version of “Variations on a Tema Triste” which proves to be a masterclass in ornamentation, yet never overburdening the melodic lines. Fittingly there are long meditative silences as the piece fades.

You can be in no doubt of the thought that has gone into this enterprise from Mr. Adolfo’s ordering of tema which he explains in his brief liner notes to their devolution into the songs themselves. At every turn he harnesses the possibilities of the piano in the service of his music. The result is a clear labour of love , and one in which he shines new light on older music to mesmerising effect, all of which is captured by a warmly sympathetic recording.

Personnel: Antonio Adolfo: piano and electric piano (4); Marcelo Martins: flute, alto flute (2) and soprano saxophone; Leo Amuedo: electric guitar; Claudio Spiewak: acoustic guitar and electric bass; Jorge Helder: double bass; Rafael Barata: drums and percussion; Armando Marçal: percussion; Hugo Sandim: additional Samba percussion.

Tema

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Carol Saboya - Belezas: The Music Of Ivan Lins and Milton Nascimento

Styles: Brazilian Jazz, Bossa Nova
Year: 2012
File: MP3@320K/s
Time: 54:11
Size: 124,4 MB
Art: Front

(4:08)  1. Bola De Meia, Bola De Gude (Sock Ball and Marbles)
(4:12)  2. Who Is in Love Here (a Noite)
(4:26)  3. Abre Alas (Open the Way)
(4:35)  4. Tristesse
(4:33)  5. Beleza E Canção (Beauty And Song)
(4:21)  6. Anima
(3:53)  7. Soberana Rosa (She Walks This Earth)
(4:26)  8. Doce Presença (Sweetest Presence)
(5:37)  9. Tarde (Evening)
(4:50) 10. Tres Pontas (Tres Pontas Town)
(4:23) 11. Velas Içadas (Hoisted Sails)
(4:42) 12. Estrela Guia (Oh, Shining Star)

Brazilian vocalist Carol Saboya's previous recording with her father, pianist Antonio Adolfo La e Ca: Here and There (AAM Music) was one of the highlights of 2010. She returns as headliner on Belezas: The Music of Ivan Lins and Milton Nascimento again, supported by Adolfo and his very fine quartet. Composers Lins and Nascimento represent a late '60s answer to bossa nova, which had dominated Brazilian (and a good bit of American jazz) in the late 1950s and early '60s. Called MPB (Musica Popular Brasileira), this music was less a musical genre and more a combination of original songwriting and updated folk themes. 

The twelve-song recital is sung in Portuguese and English with splendid musical direction by Adolfo and accompaniment by guitarist Claudio Spiewak, whose clean lines and elastic chording properly dress up- tempo pieces like "Tres Pontas" and ballads like "Doce Presenca," which features the excellent Hendrik Meurkens working his Latin harmonica magic. Providng soprano ("Tristesse") and tenor saxophone ("Tarde"), Dave Liebman proves a master of musical barometric pressure, manipulating a song's humidity to effect just the proper sensuousness to complement Saboya's well-balanced soprano.

In what seems an endless flood of Latin jazz, excellence always finds its way and is properly manifested in Saboya and Adolfo. The pair's specific choice of such a narrow wedge of Brazilian music tightens the focus of the disc, making it intelligent and aesthetic entertainment. There is much to be learned and enjoyed about Belezas: The Music of Ivan Lins and Milton Nascimento, and we are lucky to have it to enjoy. 

~ C.Michael Bailey  http://www.allaboutjazz.com/belezas-the-music-of-ivan-lins-and-milton-nascimento-carol-saboya-aam-music-review-by-c-michael-bailey.php
 

Personnel: Antonio Adolfo: piano; Claudio Spiewak: acoustic and electric guitars; Jorge Helder: double bass; Rafael Barata: drums and percussion; Dave Liebman: soprano and tenor saxophones (4, 9); Hendrik Meurkens: harmonica (8).

Belezas: The Music Of Ivan Lins and Milton Nascimento

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Carol Saboya, Antonio Adolfo, Hendrik Meurkens - Copa Village

Styles: Brazilian Jazz, Bossa Nova
Year: 2015
File: MP3@320K/s
Time: 50:26
Size: 116,1 MB
Art: Front

(4:55)  1. The Girl From Ipanema
(4:22)  2. Copa Village
(4:07)  3. Show de Bola
(5:03)  4. O Bôto
(4:09)  5. Como Se Fosse
(4:34)  6. Água de Beber
(5:02)  7. Pois É
(3:26)  8. Pretty World
(4:54)  9. Two Kites
(4:17) 10. Nosso Mundo
(5:33) 11. Visão

Back in 1969, pianist Antonio Adolfo was working with vocalist Elis Regina. While touring through Sweden, Regina and her band had the opportunity to connect with Toots Thielemans, leading to the recording of Elis & Toots (Philips, 1969). Now, more than forty-five years later, Adolfo finds himself in a similar situation, working alongside another sunny Brazilian singer and European harmonica player—vocalist Carol Saboya, who happens to be his daughter, and vibraphonist/harmonica player Hendrik Meurkens. Copa Village finds these three delivering a program of cheery originals and Antonio Carlos Jobim numbers. The album ostensibly draws a parallel between Rio de Janeiro's Copacabana sector and New York's Greenwich Village in the '50s and '60s; the music, however, does not. The cast may include New York-based Brazilians, and Copa Village may have been recorded in The Big Apple, but these sun-dappled songs don't speak to the intense and gritty attitude of that city. This beautiful music flows in the Brazilian breeze, inducing smiles and soothing ears as it flies along.

The album opens with "The Girl From Ipanema/Garota De Ipanema," giving Saboya a chance to work through both the English and Portuguese lyrics connected to this oft-covered song. From there, it's off to the chipper, choro-ish title track, Meurkens' "Show De Bola," and Jobim's lesser-known "O Boto." Each one is different and distinct, yet all are winsome in nature. There are reflective moments to be found further down the line, as everybody slowly glides along on "Pois é" and gently coasts through "Visão," but gaiety and effervescence often win out on this outing. Saboya, Adolfo, and Meurkens prove to be a well-matched set of charmers, delivering seductive and stylish songs in seemingly effortless fashion. ~ Dan Bilawsky  http://www.allaboutjazz.com/copa-village-carol-saboya-aam-music-review-by-dan-bilawsky.php

Personnel: Carol Saboya: vocals; Hendrik Meurkens: harmonica, vibraphone; Antonio Adolfo: piano; Claudio Spiewak: acoustic guitars, electric guitars; Itaiguara Brandao: bass; Adriano Santos: drums; Andre Siquera: percussion.

Copa Village

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