Outro Tom – Canções de Antonio Adolfo

TRACK BY TRACK BY CAROL SABOYA

01 - “Outro tom”: This was the first song I chose for the album because I think the melody matches my way of singing. It was also the first one I recorded for myself, at home, on the piano, to see how it would turn out. It really had to be on the album.

02 - “Até que venha o amor”: It’s is very powerful song I sung in my first professional show. It talks about independent producers, and I’ve always recorded my albums independently. So I thought it was important to include it. It’s an upbeat song.

03 - “Silêncio da aldeia”: This song is not part of any of my father's albums. It’s on an Erasmo Carlos album, recorded only by him. My father told me that the lyrics were written in a little house in Espírito Santo, where he spent some time with my mother. So it took me back in time, to a period when I didn’t even existed. I pictured that environment, and it was beautiful. I was eager to sing it.

04 - “Carola / Acalanto” I mixed together these two songs that my father wrote for me. “Carola” is from the album “Encontro musical” and “Acalanto” from “Feito em casa.” Both were originally recorded without lyrics, although, Acalanto did have lyrics. So I’m recording it with lyrics for the first time. I combined them myself, because they fit: both songs were made for me.

05 - “Aonde você vai” : It is a big hit, a song that went viral on the platforms and has a regional vibe, unlike the rest of the album. I invited Renato Teixeira to sing with me because he also likes the song. And he’s currently working on songs with my father, so they have been meeting a lot. We had sung together before, and I think the lyrics are very up to date.

06 - “Deixa a fonte despejar”: This is from the album “Continuidade”, from 1980. I love the way it was musically constructed, and the lyrics are broad, applicable to different situations. The chorus has a strong feel. I always wanted to sing it. It’s part of my emotional memory; I don’t know why I always think about this song.

07 - “Por que é que você se esconde?”: I had never heard this song. It wasn’t part of my emotional memory. It’s part of a 1972 album that wasn’t initially part of my research. But I listened to it and I felt the songs had a different vibe: feeling of freedom from the1970s. It was a big challenge, because it took me out of my comfort zone. . I thought important to include a song from this album, for it has a strong vibe, slightly different from my usual style, but I think I managed to bring it into my way of singing.

08 - “A cada dia que passa”: It is a wonderful recording by Emílio Santiago , parto of my father’s album “Continuidade.” I’ve always loved listening to it. It was also very present in my childhood; I already knew the melody and lyrics. We gave it a modern, contemporary feel, but the melody is still there. The lyrics too; they’re very up to date. Somethings really stay with us, right? And it’s beautiful too! I enjoyed a lot recording it.

09 - “Já é hora”: I love the phrasing of this song. I love the way I sang it; I think I brought a Blues-like phrasing to it. It has a sense of space and silence at the same time. I can’t say it’s one of my favorites because all the songs on the album are, but I really like it.

10 - “Alegria de Carnaval”: We end the album with “Alegria de Carnaval,” which has a special aesthetic, since we used the tracks with the original instruments recorded at that time (in 1979) combined with modern bass, drums, guitars and vocals. So, we have Antonio Adolfo on Fender Rhodes in 1979, with the brass section including Binho, Zé Carlos, and Serginho Trombone, along with modern guitar (Gabriel Quinto), bass (Guto Wirtti), and drums (Renato Máximo). The vocals, performed originally by the Viva Voz group, were recorded by me, Amanda, and Joana, my daughters, together for the first time. It’s an incredible meeting of 1979 with 2024, which, thanks to technology, we managed to achieve. And there’s Antonio Adolfo’s count at Sonoviso, an amazing studio from that time. We kept that count on the album, ending the album on a high note!

REPERTOIRE

1. OUTRO TOM (Continuidade 1980)
2. ATÉ QUE VENHA O AMOR (Continuidade 1980)
3. SILÊNCIO DA ALDEIA (Recorded by Erasmo Carlos on his album Pelas Esquinas de Ipanema in 1978)
4. CAROLA / ACALANTO (Encontro Musical 1978)
5. AONDE VOCÊ VAI (Feito em Casa 1977) – Special guest: Renato Teixeira
6. DEIXA A FONTE DESPEJAR (Continuidade 1980)
7. POR QUE É QUE VOCÊ SE ESCONDE? (Antonio Adolfo 1972)
8. A CADA DIA QUE PASSA (Continuidade 1980)
9. JÁ É HORA (Continuidade 1980)
10. ALEGRIA DE CARNAVAL (Viralata 1979) – This is the only track in collaboration with Tibério Gaspar – Special guests: Amanda Saboia and Joana Nunes

MUSICIANS

Guto Wirtti (bass, synths, acoustic guitars, and backing vocals)
Renato Massa (drums)
Gabriel Quinto (acoustic guitar and electric guitar)
Carol Saboya (vocals and piano)
Jesse Sadoc (trumpet)
Andre Siqueira (percussion)
Special Guests: Antonio Adolfo, Renato Teixeira, Amanda Saboia, and Joana Nunes

About

Carol Saboya has prepared an album full of affection. This is the feeling imprinted on all the ten songs of OUTRO TOM, the fourteenth work by the singer from Rio de Janeiro.

The reason that led Carol to create this album was to celebrate both the her 25 year’s career and the her father´s, Antonio Adolfo, 60 years career as composer, arranger, producer, and conductor. It’s focused on a period when Carol, as a child, attended shows, tours, recordings, compositions... The girl who was raised in an environment of sheet music and harmonies followed the path opened by her father and discovered her talent for singing.

“Carol always lived in a musical environment, and used to accompany me to shows. She enjoyed spending time on the backstage, and she was always deeply connected with my music,” recalls Antonio, who is in the lineup of this year's Rock in Rio Festival edition.

The journey through Antonio Adolfo's work, however, does not include hits. It focuses on a period between 1972 and 1980, when he set himself apart from the mainstream industry to focus on musical craftsmanship and, by doing so, becoming a pioneer of the Brazilian independent market.

With access to her father's collection, Carol opened the piano and deeply studied each song based on the original scores, establishing an intimate relationship with the lyrics, melodies, which allowed her to create her own interpretations. With this expertise, for the first time, the singer herself plays the piano on five of ten tracks of the album.

All songs chosen by Carol had their lyrics written by the maestro, except "Alegria de Carnaval" by Tibério Gaspar, a key partner of Antonio.

The album has a strong pop and light vibe, different from Carol's previous works. Alongside producer and bassist Guto Wirtti, Carol sought sounds that referred to the 70s, while still sound contemporary. This is evident throughout the album. ‘Carol, you seem to have born 20 years before you actually did, because you revitalized those songs released in the 80´s and the result is awesome’ jokes Antonio, unable to hide his pride.

This formula is especially present in "Alegria de Carnaval." Carol used the masters from the album "Viralata" as the basis for her current version. Thus, we have an unusual meeting between Antonio's piano and the brass section from 1979, alongside with Carol's and her daughters' (Amanda and Joana) interpretations, guitar, drums, and bass performed in 2024. A family gathering, an artist gathering, that transcends the logic of time.

The honoree also participates in "Outro Tom", which named the album, "Até que venha o amor," and also in a medley combining "Carola" and "Acalanto", songs Antonio wrote as a tribute ti Carol. And he expressed his gratitude: “I am also honored to have been invited to play two tracks with electric piano; this is very important to me”.

The repertoire also includes “Aonde você vai,” which became viral as part of the soundtracks of the HBO series “High Maintenance,” and the feature film “O Homem de Toronto” (2022), starring Kevin Hart and Woody Harrelson. This track features Renato Teixeira, who is doing a collaborative work with Antonio.

Guto, who initially invited Carol to recreate the hits of the band “Antonio Adolfo e a Brazuca” —that released classics like "Sá Marina," "BR3," and "Teletema"—understands the singer's feelings: “I had the same experience. My father is a composer too. When we hear those songs that were composed at home, during our childhood, it really moves us. Carol brought the idea of family music. It’s a great joy and an honor to be able to produce this work”. Carol adds: “He understood the whole dynamic I wanted; it worked well!” Carol, who hadn't released any new work since 2016—her last album being "Carolina"—celebrates this achievement.

OUTRO TOM is an album that sounds new. Songs that not everyone knows, light and contemporary arrangements without losing the rich essence of the 1970s, a team of great musicians, and... the affection present in the entire production, recording, and is now imprinted in these ten songs.