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Antonio Adolfo: Hybrido

C. Michael Bailey By

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Pianist/composer Antonio Adolfo has been a golden musical fixture in his native Brazil. He did not cross my radar until 2010 with his recording La e Ca: Here and There (AAM), which he recorded with jazz singer (and daughter) Carol Saboya. This revelation gave me two artists for the efforts of covering one. From that recording, followed Finas Misturas (Fine Mixtures) (AAM, 2013); Rio, Choro, Jazz (AAM, 2014); and Tropical Infinito (AAM, 2016)

Adolfo is always happy to record a thematic collection of songs, and does so presently with the music of Wayne Shorter. The results are what one would expect with one master interpreting another, like reading Goethe by lightning storm. Adolfo chooses mostly songs from the 1960s and ends the disc with his original composition, "Afosamba" which both captures and sums up the entire project by presenting Adolfo's beautifully light touch in composing and arranging, featuring trumpeter Jesse Sadoc, whose presence is potently felt throughout the recording. Adolfo's interpretation of "Footprints," features vocals by Ze Renato, who wordlessly sings Shorter's cherished melody, before affording guitarist Lula Galvao much deserved solo space. "Prince of Darkness" from Miles Davis' The Sorcerer (Columbia, 1967) is given a Baiao restyling by Adolfo, giving wings to Marcelo Martins' soprano saxophone solo. Adolfo divides his time between acoustic and electric piano, always playing this his famous light touch that has so thoroughly informed his playing from the beginning.

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