CD Hybrido – From Rio to Wayne Shorter, by Graham Colombé – Jazz Journal

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It’s less than a year since I reviewed Adolfo’s previous release (JJ October 2016] and this retains the same front line as before though all three are in action on only five of the nine tracks. In fact Sadoc and the well-named trombonist have only a couple of solos each and it’s Martins who’s the chief soloist with four outings on soprano, two on tenor and some atmospheric flute on Beauty And The Beast. That track also has an interesting contrast between acoustic and electric guitars – an example of the imagination Adolfo brings to his arranging, further illustrated by the word- less vocals on Footprints. His notes explain the CD title in terms of applying Brazilian rhythms to the eight compositions by Wayne Shorter which provide the first eight tracks and which “especially inspired me through his melodies and harmonies”. It’s probably the soprano of Martins which most aptly brings out the value of these pieces, producing a lyricism which is in contrast with his fiercer approach on tenor. I don’t mind the paucity of trumpet solos, since Sadoc’s Morgan-influenced trumpet is rather stiff rhythmically, but I’d have liked to hear more from the impressive trombone player. Galvao’s guitar is prominent in both solo and accompaniment and entirely appropriate at all times without showing much individuality. The same could be said for Adolfo’s piano playing but his leadership was crucial in choosing an excellent concept and bringing it successfully to fruition. The two percussionists are of course important for that success and also make an irreproachable contribution. If you haven’t yet become acquainted with Adolfo’s music this could be a good place to start.

Graham Colombé