Rio, Choro, Jazz…, by Beto Feitosa – Ziriguidum – Rio

What chorinhos Ernesto Nazareth may have in common with jazz? For the pianist, composer and arranger Antonio Adolfo Rio, too. What it proves to CD River, Choro, Jazz ... which launches worldwide for its AAM seal. In Brazil the album has distribution for the label Sound Room.

The album celebrates 50 years of Antonio Adolfo career and can be considered as a new approach, this time much more bold, jazzy and less parsimonious, for the album recorded by him in 1981 with the composer's repertoire. Since then Adolfo is recreating the work of also carioca Ernesto Nazareth in their daily studies and shows.

Soon after his successful participation in the project Ernesto Nazareth 150 years later, which took place in November at CCBB of Belo Horizonte, Antonio decided it was time to make a new record on CD. For the show devoted more than three months preparing repertoire, new harmonies and forms, finally new arrangements. This task was important yet his experience as a pianist and composer, practically signing new partnerships. The piano musician presented the show alongside Jorge Helder to (bass) and Rafael Barata (drums). Back in Rio, readily engineered the recording and added holdings of Marcelo Martins (flute and soprano sax), Claudio Spiewak (guitar and guitar) and Marcos Suzano (percussion).

Student of the work of Nazareth, Antonio Adolfo see the strong influence of Brazilian musician classical music (mainly Chopin), the polka, the Lundu, as well as the phrasing of ragtime pianists. The work of the composer has several approaches already recorded, but for the first time his music has a more jazzy reading. Antonio tried to influence that had contact from the time the legendary Beco das bottles, but I do not buy another turns crying in the balance sheet of American ragtime to reach an explosion in jazz samba. And for the rag part has with the accession of two banjos: one played by the US Bob Whitlock, and another by the Brazilian guitarist Rick Ferreira. On the CD's nine compositions of Nazareth and Antonio Adolfo, which opens the disc.

Nazareth reread with free spirit, a unique dive for the Brazilian public and which also serves to put the work of the composer in the international jazz circuit, where Ernesto Nazareth is virtually unknown. Antonio Adolfo brings more surprise in this tropical climate of its jazz very Brazilian, who in recent years has found interested public abroad, earning awards and appearances at major festivals.