#AntonioAdolfo ....

Miami Jazz Coop presents this Monday at Open Stage, in Coral Gables, FL."Tropical Infinito" CD Release Party. pic.twitter.com/PWggiefv59

— Antonio Adolfo (@AntonioAdolfo) August 27, 2016

Antonio Adolfo: Finas Misturas

Antonio Adolfo
Finas Misturas (fine mixtures)

Musicians:
Antonio Adolfo (piano)
Leo Amuedo (electric guitar)
Claudio Spiewak (acoustic guitar)
Marcelo Martins (tenor sax and flute) 
Jorge Helder (double bass)
Rafael Barata (drums and percussion)

Tracks:
1- Floresta Azul (Blue Forest), by Antonio Adolfo 
2 - Balada (Ballad), by Antonio Adolfo 
3 - Giant Steps, by John Coltrane 
4 - Con Alma, by Dizzy Gillespie
5 - Misturando (Mixing), by Antonio Adolfo 
6 - Memories of Tomorrow, by Keith Jarrett 
7 – Naima, by John Coltrane 
8 - Tres Meninos (Three Little Boys), by Antonio Adolfo 
9 – Crystal Silence, by Chick Corea and Neville Potter 
10 - Time Remembered, by Bill Evans


Antonio Adolfo talks about the CD:
For a while I’ve been thinking of recording an album combining the work of my Jazz Masters with my own music. Naturally, since there are so many masters that wouldn’t fit into one album, I decided to include just a few.

I put together a group of five super talented musicians to join me in this new project. 
The recording took place in one week during the peak of Rio de Janeiro’s summer in December of 2012. In this instrumental album, a piece by pianist Keith Jarrett for instance, incorporates elements of a Brazilian Toada, or a tune by Coltrane, that of a Quadrilha.

Similarly, in one of my songs, I use a blues phrasing blended with a Brazilian Northeastern scale. Additionally, a Calango may be combined with a Samba or a Baião, and a Spanish chord could be mixed with a Bossa Nova. 

I have used this same kind of mixture also on Dizzy Gillespie, Chick Corea and Bill Evans’ tunes.

Music borders vanish giving rise to fine musical mixtures seasoned by Jazz and Brazilian phrasing.

Produced and Arranged by Antonio Adolfo

CD - Lá e Cá / Here and There,,,,

CD Lá e Cá/ Here and There

This new CD picks up where we left off with the critically acclaimed 2007 release, Antonio Adolfo and Carol Saboya Ao Vivo/Live.

Last year, after our performance at the Jazz Impression Concert presented by South Florida Jazz at the Rose & Alfred Miniaci Performing Arts Center, Carol and I came up with the idea of recording something similar to what we had presented there with a quartet before a wonderful audience. The song list was based on the 2007 CD and included some tunes that appear on this Lá e Cá/Here and There CD.

Then, during my visit to Rio in December 2009, we went into a studio and recorded the songs for the new CD with several great Brazilian musicians as if we were performing live. I feel that’s the very best way to play music, and that’s what we’ve done on Lá e Cá. On the other hand, during recent years I’ve been focusing my work on phrasing, especially Brazilian phrasing, and it has become a passion and even a teaching subject during classes with my music students.

About the songs:

- Cascavel (“rattlesnake”) is a song I composed in 1974. Since then it has been played and performed by many different musicians.

- All the Things You Are is a lovely song that I normally use as one of the first examples in my classes on how to phrase in a Brazilian way. It carries a very rich and seductive combination of harmony and melody and can become very Brazilian if we apply certain phrasing techniques. This tune has inspired other Brazilian composers to write melodies based on a very similar harmony.

- Minor Chord one of my most recent compositions—written less than a year ago and it has only minor chords. I’d never written a song with only minor chords before. But, as you can hear, “minor chord” doesn’t necessarily mean sad chord or sad music.

- A Night in Tunisia – Since I started playing jazz, when I was 17 years, this song has captivated me, perhaps because of the terrific combination of jazz and Latin that composer Dizzy Gillespie created.

- Time After Time– The Chet Baker recording of this song enthralled me and many other Brazilian musicians and composers during the 1950s/60s. It is safe to say that his vocal interpretations (including the one for “Time After Time”) have influenced an entire generation of musicians in Rio/Brazil who, at that time, invented one of the most important Brazilian musical styles: the famous Bossa Nova. 

- Easy to Love – Cole Porter was also one of the most important composers of all times, admired by, among others, Antonio Carlos Jobim. I, too, am a passionate admirer of Cole Porter’s music. Our interpretation of “Easy to Love” recalls the sound of what we used to play in the nightclubs of the Beco das Garrafas (Bottles’ Alley) in Rio, where Brazilian musicians got together to play and discuss jazz during the 50s/60s period.

- Sabiá – The only track with a song exclusively by other Brazilian composers (Antonio Carlos Jobim and Chico Buarque), “Sabiá” is an example of the beauty found in Brazilian music, not necessarily just Bossa Nova. The original lyrics are so beautiful and talk about saudade, a feeling of loneliness and mixture of happiness and sadness found in many Brazilian songs.

- Lullaby of Birdland by the great pianist/composer George Shearing, a genius of jazz piano, who created the George Shearing style. We did this song together with Jobim’s little-known “Garoto,” in the choro style. Combined, the two songs are an example of what Brazilian musicians play in the Gafieiras (popular dance parties), normally with groups comprised of a rhythm section plus horns, especially the trombone.

- So in Love – Here we are with Cole Porter again, interpreted by the quartet plus Carol, phrasing very Brazilian as with the other songs. The combination of melody/harmony recalls, at some moments, the Jobim style.

- Round Midnight – Written by another genius of the piano, Mr. Thelonious Monk, this is one of the most beautiful jazz ballads I’ve ever heard or played. I became even more enamored of the song after watching the film with the same title.

- Every Time We Say Goodbye/Nuvens Douradas – A very passionate melody combined with a harmony that allowed me to create a very soft Brazilian arrangement, especially effective when combined with Jobim’s “Nuvens Douradas” (Golden Clouds).

- Toada Jazz (O Retirante)/Night and Day – “O Retirante” (title of the original vocal version with lyricist Tibério Gaspar), one of the first tunes I ever wrote, ends the album in an instrumental interpretation by the quartet. Back when I wrote this, I was listening to a lot of Bill Evans—another genius of the piano. Maybe the chords he used in his tune “My Bells” had influenced me. Here I’ve combined “O Retirante” with another great Cole Porter tune, “Night and Day.”

Antonio Adolfo

Abertura (Rhapsody in Blue - Aquarela - Garota de Ipanema)

Antonio Adolfo is an important composer....

Bio
Antonio Adolfo is an important composer, having written songs recorded by Nara Leao, Marisa Gata Mansa, Angela Ro Ro, Wilson Simonal, Ivete Sangalo, Leci Brandao, Emilio Santiago, Beth Carvalho, Sergio Mendes & Brasil '66, Stevie Wonder and Herb Alpert among others. Adolfo also had a noted role in the process of making important music available through independent production, through the creation of the pioneer independent label Artezanal.
Photo: Antonio Adolfo & Carol Saboya

His recordings of important and almost-forgotten composers of the belle epoque, like Chiquinha Gonzaga, Ernesto Nazareth and Joao Pernambuco, are noted cultural initiatives. As an arranger, he worked for Leci Brandao, Angela Ro Ro, Elizeth Cardoso, Emilio Santiago, Fatima Guedes, Marcos Valle, Mongol, Nara Leao, O Grupo, Ruy Maurity (his brother), Sueli Costa, Vinicius Cantuaria, Rita Lee, Zeze Motta, and others. The son of Yolanda Maurity, a music teacher and violinist of the orchestra of the Teatro Municipal do Rio de Janeiro, Antonio Adolfo began to study music very early.

At seven, he began his violin studies with Paulina D'Ambrozzio. At 15, he took up piano, studying with Amyrton Vallim. In 1963, he joined the group Samba Cinco, which performed in the famous Beco das Garrafas on Rio's 52nd street. In 1964 Adolfo was invited by Carlos Lyra and Vinicius de Moraes to be a musician for their play Pobre Menina Rica (at Teatro de Bolso), beginning to accompany important names of MPB. Adolfo formed the group 3-D for that gig, and continued to perform with it until 1968, having recorded four LPs.

In that year, he became acquainted with Tiberio Gaspar, with whom he wrote important songs such as "Juliana," "Sa Marina," "Teletema," and "BR-3." "Caminhada" made it to the finals of the II FIC (Rio's International Song Contest), 1967. The next year, Wilson Simonal recorded "Sa Marina" with success. In that year "Visao" was included in the III FIC. In 1969 Adolfo accompanied Elis Regina in her tour through Europe. Back to Brazil in the same year, he wrote music for soap operas and participated in the IV FIC (1969) with "Juliana" (written with Tiberio).

The song was defended by Adolfo's group A Brazuca, and took second place. With that group he toured Brazil and Peru, recording two albums through Odeon. In 1970, "Teletema" (with Tiberio) took second place in an International Festival (Song Olympiad) in Athens, Greece, in Evinha's interpretation, which achieved popular success also in Brazil. "BR-3" won the national phase of the V FIC, in Toni Tornado's interpretation. In 1971 Adolfo moved to the U.S.. In 1972 he returned to Brazil, beginning to write alone, and recording Antonio Adolfo (Philips).
Photo: Antonio Adolfo and Carlos Lyra.
In that year he studied with David Baker at Indiana University. Adolfo was a member of the band that backed Elis Regina in two European tours, finding time in between for a stint with the classical Nadia Boulanger, having studied also with Guerra Peixe and Esther Scliar. Back in Brazil, he developed his career as pianist, arranger, and producer. But even more deserving of attention is his work as a pioneer in the independent production field, which awakened artists and public to the necessity of opening alternative routes to non-commercial productions.

In 1977 he launched his independent label Artezanal with the album Feito em Casa, with only originals. Encontro Musical, released in the same year, brought again originals and only one song, "Sa Marina," written together with Tiberio. The album had the participation of Joyce and Erasmo Carlos. Viralata (1979) had mainly originals, and Continuidade had special guests. The albums were propelled by shows throughout Brazil, together with artists like Tiao Neto, Vitor Assis Brasil, Carmelia Alves, Oswaldinho do Acordeom, Alaide Costa, Sidney Miller, Walter Queiroz, and Danilo Caymmi, among others.

In 1984 Adolfo released through the label Funarte a tribute album dedicated to the compositions of Joao Pernambuco, with participation of No em Pingo D'agua. In 1985 he paid tribute to Chiquinha Gonzaga, a seminal Brazilian female conductor, pianist, and composer, interpreting her songs in Viva Chiquinha Gonzaga, with participation of Nilson Chaves and Vital Lima. The album Os Pianeiros is dedicated to belle epoque piano composers. In the same year he participated in the first Carioca experience of teaching popular music/jazz in the Centro Calouste Gulbenkian, together with Pascoal Meirelles, Helio Delmiro, Ary Piassarollo, Paulo Russo, and others.

Seeing the potential of the sector, he opened his Centro Musical Antonio Adolfo, also developing workshops in the U.S. and Europe. Adolfo published music education material in Brazil and abroad, including the video Secrets of Brazilian Music and two books with companion CD Brazilian Music Workshop (1996) and Phrasing In Brazilian Music (2007), both published by Advance Music, together with seven other books through Lumiar publishing (Brazil).

Photo: AA and Oscar Castro-Neves (during Tribute to Jobim)

In 1996 he received the Premio Sharp award for his instrumental composition "Cristalina," from his album Cristalino (1993). In 1997 released Chiquinha com Jazz (Artezanal), which also was awarded the Premio Sharp, and so was the album Antonio Adolfo. Since then Adolfo released the CDs Puro Improviso, Viralata, Feito em Casa, Os Pianeiros, Carnaval Piano Blues and Antonio Adolfo & Carol Saboya Ao vivo/Live, this one was released both in Brasil and in the US, andf the brand new Antonio Adolfo and Carol Saboya La e Ca/Here and There.

Works
Antonio Adolfo has been playing different musical styles with several contexts:
- Piano solo
- Duo (several possibilities)
- Trio (piano, bass and drums)
- Quartet (trio and horns)
- Quintet (trio and two horns)
- Octet - trio, guitar, percussion and three horns)

Recordings:
Antonio Adolfo can play as instrumentist (piano, keyboards and violin), arranger, artistic producer and recording producer)

Soundtrack composer:
Besides his work as composer with more than 400 compositions recorded, AA has worked as the composer of soundtracks for movies and TV

Contact.
Centro Musical Antonio Adolfo
Phone: (5521) 2274-8004/2294-3079
Phone/Fax (5521) 2239-2975



Educator:

In 1985, Antonio Adolfo has made a decision in creating Centro Musical Antonio Adolfo to teach in a modern Brazilian way what people need to become a musician. Nowadays, a big amount of musicians, students and enthusiasts come to his Centro Musical located two blocks from the famous Ipanema beach to learn music.

Antonio Adolfo has a vast experience as an educator since 1975 and has released seven books in Brasil and two books (including CD and/or video) for the International market. As an specialist in Brazilian music, Adolfo has been travelling around the globe teaching what can be considered one of the most sophisticated types of music.

Antonio Adolfo is also member of IAJE (International Association For Jazz Education) and IASJ (International Association Of Schools Of Jazz). Recently, Antonio Adolfo created an experimental school of Brazilian music in Hollywood, Florida: www.antonioadolfo.net

Bossa Cuca Nova - Clinics Annouced by Antonio Adolfo School of Music

ANTONIO ADOLFO SCHOOL OF MUSIC PRESENTS TWO GREAT CLINICS WITH

CRIS DELANNO (singer) - Brazilian vocal phrasing and techniques

ALEX MOREIRA (PRODUCER, KEYBOARDIST) - The creative process of BossaCucaNova

(Both are integrants of the sensation and world famous Bossa Cuca Nova)

Cris Delanno
Singer, composer, musician, song writer and vocal coach, started singing professionally at the age of five, at the Municipal Theatre of Rio de Janeiro children’s choir. At the age of 17 was invited to sing with the Bossa Nova pianist Luiz Carlos VInhas. With eight albuns released, she’s been on stage around the world with some important artists like Roberto Menescal, Carlos Lyra, Simoninha, Ed Motta, Andy Summers (The Police) and she’s the singer of the group Bossa Cuca Nova. Composed songs with Joyce, George Israel, Gustavo Black Alien and Alex Moreira.
Just released a book on Popular Singing Techniques: “Mais que Nunca é Preciso Cantar”.
http://www.myspace.com/crisdelanno

Alex Moreira
Alex Moreira is a music producer, sound engineer, composer, one of Bossa Cuca Nova’ founder, 2 times Latin Grammy nominee. Produced artists like: Bossa Cuca Nova, Carlos Lyra, Cris Delanno, Paula Morelembaum, Leo Gandelman, Nico Rezende, Clara Moreno, Vitor Ramil, among others. Wrote songs with Marcos Valle, Carlos Lyra, Celso Fonseca, Roberto Menescal, Cris Delanno.
Produced and recorded movie scores with Leo Gandelman and Jaques Morelembaum.
As a sound engineer has recorded over 150 albums of various Brazilian artists.
http://www.myspace.com/alexmoreira

Bossa Cuca Nova: The fusion of great dance/pop styles and Bossa Nova
http://www.bossacucanova.com

Wednesday, Nov 11th at 6:30PM (Cris Delanno) and 8PM (Alex Moreira)
Antonio Adolfo School Of Music 2040, Sherman St Hollywood, FL 33020
http://www.antonioadolfo.net/
antonioadolfo@antonioadolfo.net
http://jazz-bluesflorida.blogspot.com/