Antonio Adolfo HYBRIDO - from Rio to Wayne Shorter

Antonio Adolfo
HYBRIDO - from Rio to Wayne Shorter
AAM Music

Brazilian composer-pianist-arranger Antonio Adolfo explains about his latest project which focuses on the music of Wayne Shorter, "The mixing of races and different cultures is irreversible in today's world. In music, this trend has been happening for a long time and has resulted in a very healthy hybridism of different musical genres. …The music of the great Wayne Shorter is predominant in this recording. It has especially inspired me through his melodies and harmonies, which have continued to influence musicians of several generations and continents." Adolfo also notes that Shorter himself has been influenced by the music of different cultures. Focusing primarily on Shorter's repertoire from the 60's, he is joined on this project by Lula Galvão - (electric guitar); Jorge Helder - (double bass); Rafael Barata - (drums and percussion); André Siqueira - (percussion); Jessé Sadoc - (trumpet); Marcelo Martins - (tenor/soprano saxes, flute); Serginho Trombone - (trombone); Claudio Spiewak - (acoustic guitar on #3) and Zé Renato - (vocals on #2).

There is plenty of superb musicianship starting with "Deluge," the only performance on which the leader plays Fender Rhodes piano. It is followed by nicely reimagined "Footprints," with Renato's vocalization joining the horns as the breezy tempoed adaptation has a  cleanly articulated solo from Galvão followed by some gruff trombone, piano and a short bass break. "Beauty and the Beast," derives from one of Shorter's mid-seventies collaboration with legendary Brazilian composer, musician and singer Milton Nascimento and the bossa nova flavored rendition here sports not simply a typically sonorous arrangement, but a feathery flute solo from Martins along with Adolfo's lyrical solo with Spiewak chording on acoustic guitar with Martins switching to soprano.

"Prince of Darkness" from Miles Davis "ESP" album is nice reworked with colorful rhythmic accents and soaring, lyrical soprano sax, dancing piano, lithe, scintillating guitar with a sparkling rhythm section. A heated "Black Nile" has an energetic horn ensemble  with Martins' brawny tenor sax, and nicely developed solos from Adolfo and Galvão. Brazilian rhythms are incorporated into the rendition of "Speak No Evil" with  rousing trombone, focused, vigorous tenor sax, and with the leader's imaginative free-flowing playing. It is followed by Adolfo's deconstruction of "ESP" with Martins spotlighted with his graceful soprano along with some thoughtful, nimble chordal playing from Galvão and Adolfo's choice playing. "Ana Maria," from the collaboration with Nascimento is a lovely Bossa performance with exquisite piano, Martins' soaring, twisting soprano and Galvão's shimmering guitar.

Adolfo's original "Afosamba," provides a lively conclusion with Sadoc's fiery, brash trumpet featured along with dynamic percussive interplay leading to more delightful piano on a composition that displays the influence Shorter has had on Adolfo himself. It concludes a well conceived and performed tribute to one of music's most significant figures for over half a century. With Adolfo's arrangements, the marvelous ensemble playing and the thoughtful, as well as imaginative, solos make for a fascinating, superb recording.

I received my review copy from a publicist.

Antonio Adolfo Tropical Infinito

Antonio Adolfo
Tropical Infinito
AAM Music

This writer was introduced to the Brazilian pianist and composer-arranger Antonio Adolfo on the album "Copa Village," a collaboration between Adolfo, his daughter-singer Carol Saboya, and the German born vibraphonist-harmonica player, Hendrik Meurkens. Adolfo, who remains a vital performer and composer, as well as educator, had brought us his latest recording "Tropical Infinito." He informs us that this is his first with horns in a number of years. Playing with him is a fine group that includes Jessé Sadoc, Trumpet and Flugelhorn; Marcelo Martins, Tenor Sax and Soprano Sax; Serginho Trombone, Trombone; Leo Amuedo, Electric Guitar; Claudio Spievak on Acoustic Guitar; Jorge Helder, Double Bass; Rafael Barata, Drums; and André Siqueira and Rafael Barata, Percussion.

Its a marvelous program of jazz numbers that were part of early sixties jazz and left a deep impression on him when he was becoming a professional musician. With his band, he approaches these from a Brazilian perspective, being samba for all but one selection. In addition to the five standards, he also has four originals included. This is a recording that strikes the listener from the opening notes of "Killer Joe" to the closing original "Luar Da Bahia," with the vivacious grooves, the sinuous horn solos and the clean, lively arrangements. Benny Golson's "Killer Joe" is a crackling good performance with focused, concise solos from Serginho, Sadoc, Martins, Amuedo before the leader himself set against the percolating rhythm and followed by a pepped up tempo transforming another Golson classic "Whisper Not," with fire from Martins, and sparkling piano although, despite the originality of this rendition, loses some of the character of the haunting, classic Lee Morgan recordings. The hot groove suits better Adolfo's own "Cascavel," with punching horns accenting the driving theme set forth by piano-bass with some boisterous playing from Serginho. A lovely tribute to Adolfo's mother "Yolanda, Yolanda," features some wonderful flugelhorn and lithe soprano sax.

A particular highlight for these ears is the performance Oliver Nelson's "Stolen Moments," whose tempo is pretty close to Nelson's classic with Bill Evans, Eric Dolphy, Freddie Hubbard and Roy Haynes with a slight rhythmic accent in the backing and standout playing from Martins and Amuedo (very nice use of chords in his solo). Trumpeter Sadoc provides plenty of fire on Horace Silver's "Song For My Father," while Serginho's growls and slurs provide smoldering heat. After a delightful samba "Partido Leve," with delightful piano and flugelhorn, Barata takes a spectacular drum solo set against the ensemble. The standard "All the Things Your Are," again brings together a sonorous arrangement (or re-imagining of the harmonies) from Adolfo along with a marvelous solo followed by Amuedo's inventive serpentine single note guitar runs.

"Luar Da Bahia" ("Moon Over Bahia") has an evocative and enticing melody with lyrical playing from the leader along with Martin's soprano before Helder's marvelous bass solo, concluding a throughly splendid record of fresh, original takes on jazz classics, superb arrangements and fascinating new compositions that are superbly played.

I received my review copy from a publicist. For a sample, here is "Cascavel" from "Tropical Infinito."

Saboya Adolfo Meurkens Copa Village

A new album “Copa Village” (AAM Music) represents a collaboration between Brazilian singer Carol Saboya; her father, pianist and composer-arranger Antonio Adolfo who now lives in and the German born vibraphonist-harmonica player, Hendrik Meurkens. “Copa” in the disc title refers to Rio de Janeiro’s Copacabana section while the Village refers to Greenwich Village, both being musical meccas in the 1950s and 1960s, when Brazilian and jazz musicians began collaborating in earnest with the emergence of bossa nova in the United States.

In 1969, Antonio Adolfo was pianist with the the legendary Brazilian singer Elis Regina who had just met Toots Thielemans in Stockholm and they recorded a classic recording “Elis & Toots - Aquarela do Brasil.” Several years later he met Meurkens who he refers to as “another incredible harmonica player.” They have played together several times including in Summer 2014 in New York City with his daughter leading to the recording of this album.

For this recording, they are joined by guitarist Claudio Spiewak, bassist Itaguara Brandão, drummer Adriano Santos and percussionist André Siqueira for some fresh takes of Brazilian music, including renditions of five songs penned by Antonio Carlos Jobim; a collaboration between Adolfo and Meurkens; three from Meurkens and two from Adolfo. Included are several celebrated Brazilian music classics starting with the lovely “The Girl From Ipanema (Garota de Ipanema);” and “Aqua De Beber (Water to Drink);” both by Jobim and Adolfo’s “Pretty World” (with English lyrics by Alan Bergman and Marilyn Bergman).

Listening to her lovely singing on “The Girl From Ipanema,” one cannot avoid noting her rendition holds up well to the famous Astrid Gilberto rendition with Meurkens’ harmonica adding to this rendition's charm. “Copa Village,” a collaboration between Adolfo and Meurkens, is a breezy  performance with Saboya’s charming wordless vocal serving as an additional horn-like voice to the harmonica. There is  lovely piano here as the rhythm section provides solid, restrained support. Meurkens "Show De Bola (lyrics by Paulo Sergio Valle)" is lively with spice to the wonderful singing added by Meurkens' vibraphone. The rendition of “Aqua De Beber” is terrific with marvelous harmonica solo and Adolfo’s marvelous piano. Saboya delights on her father’s “Pretty World” that some may know from recordings by Sergio Mendes and Stevie Wonder.

Adolfo’s “Visão” with a lovely Saboyo wordless invocation of the melody is the final track. Originally recorded by Elis Regina and Toots Thielemans on “Aquarela do Brasil”, it is a fitting conclusion to the excellent and enchanting“Cope Village.”

I received my review copy from a publicist. I have made some stylistic changes to the original review that appeared in the May-June 2015 Jazz & Blues Report (Issue 360). Here are Adolfo and Meurkens performing recently.