Chora Baiao, by MuzeMusic

The Antonio Adolfo’s subtle, agile and determined piano is back bringing rejoice and a happy surprise in his new album “Chora Baião”(AAM Music-2011), produced and arranged by Antonio, and mixed by Alex Moreira.
The cover features a beautiful semi-abstract image made by Bruno Liberati. In this image there is a spiral inside the eye. This view symbolizes a move of diving inside as the moment that Antonio is living. This disc is even clearer showing the link that Antonio Adolfo has been promoting since his latest album “Here and There” (2010), which is to connect with his initial musical career ( the Trio 3D). Not as a remake or a nostalgic redemption, but as an opening of a new possibility in his own music. It is very clear on “Chora Baião” the flow of the Trio’s musicality mingling with his genuine musical realm, which has always been working with Brazilian musical elements into a jazzy atmosphere.

In “Chora Baião” the music of Antonio Adolfo reworks songs from two renowned Brazilian composers from Rio de Janeiro, Chico Buarque and Guinga. The album becomes a gift to the work of these two musicians when you listen to the beauty and the smoothness of the arrangements presented with a virtuous performance of Antonio Adolfo (piano), Leo Amuedo (guitar), Jorge Helder (bass), Rafael Barata (drums) and Marcos Suzano (percussion). The Brazilian jazz singer, Carol Saboya, appears on three tracks with her delicate and delicious voice.

In the set of 11 songs are many precious moments. In “Hey Parrot Give Me Your Foot”(Guinga), the initial track, brings a lurking tambourine, the piano and the silence who dictates the pace. Pure jazz. In “Lump in My Throat” (Guinga) the piano sings samba-canção while the clean guitar of Leo Amuedo hosts the music as a daydream. There are many precious fragments piled up in this delightful album.

The careful treatment given to Chico Buarque’s music demonstrates an interesting reverence that Antonio has to the composer. Reverence and affection. In “Rio’s Two Brothers Hill” (Chico Buarque) the beautiful melody wins a suspended frame by the piano while the cuica kepts echoing in the background. In the “Drop of Water”(Chico Buarque) the music loses its drama and won an unrevealed lightweight and, it can be said, became danceable.

Antonio still presents in his new album three of his own music, two unreleased before.The title-track “Cry Baião”(Antonio Adolfo) with energetic rhythms of syncope that reminds of Ernesto Nazareth bouncing in a jazz ballad, where once again the silence sew into the tense moment of the music. The small “Tearful Blues”(Antonio Adolfo), with just a minute and twenty-seven seconds of duration, translates into a whisper an absolute Antonio Adolfo in an Oscar Peterson genial way and release.The recovery of “Whipping”(Antonio Adolfo) (originally recorded the album Homemade, 78) is like a mandatory rereading viewing album. Perhaps because in 78 when Antonio Adolfo possibly introduced the frenetic in his own way to make jazz music, as well as elements of Northeastern music. The Quartet and the Master dominated and did very, very great.
– Cries the Baião!