Album Review: Antonio Adolfo – Balaios (AAM Music)

Antonio Adolfo (piano, composer/co-composer, producer, arranger); Lula Galvao (electric guitar, acoustic guitar (track2)); Jorge Helder (acoustic bass); Rafael Barata (drums. Percussion (all tracks, except tracks 6 & 7)); Jesse Sadoc (trumpet, flugelhorn (track2)); Danilo Sinna (alto sax); Marcelo Martins (tenor sax, alto flute (track 2), C flute (track 8)); Rafael Rocha (trombone); Andre Siqueira (percussion (except tracks 6 and 7))

Over a six-decade career, Brazilian pianist, composer and arranger, Antonio Adolfo has given the world a literal amazon of vibrant music bubbling up from his culture and tradition. His canon over two dozen recorded albums demonstrates his brilliant musical vision and the poignancy of the robust material he presents. With Balaios (pronounced bah-lie-ohs and described as a traditional Brazilian wicker basket which carried food and other things on one’s head) Adolfo dives into his vault and shares nine composed or co-composed selections – all superbly revived and recently recorded with his outstanding Brazilian sidekicks. The album provides an engaging retrospective and also an introspective dimension of this outstanding artist.   

 

3D Blues is a hip 16-bar blues with classic Blue Note shades. Written in 1965, it’s a straight-ahead cooker over a deep percussion bed. Fine solos here from tenor saxophonist Marcelo Marlins, trumpeter Jesse Sadoc, and Adolfo. Claudia is a gorgeous bossa. The track, composed in 1969 with Tiberio Gaspar, has an infectious late 60s’ television show theme vibe. Elegant in its simplicity, it is a joyous listen. On it, guitarist Thom Rotella wheels a fine ride in Mongomery-esque style. San Expedito is an animated, highly-rhythmic fast take on Adolfo and family’s personal experience – luckily avoided car accidents. The melody is upbeat and the vibe demonstrates the composer’s obvious gratitude. Fine solos here from alto saxophonist Danilo Sinna and guitarist Lula Galvao. Sambalaio, is pure Brazilian energy with the horns blowing the melody hot and the rhythm section pulsing heavily. Lula Galvao’s guitar cooks up a fierce brew. An exciting and highlight track.

As a superior composer – he studied with Eumir Deodato and the great Nadia Boulanger – Adolfo has mined the enormous Brazilian musical underpinnings and has infused and integrated them with African, European and jazz streams. His material has been picked up and performed and or recorded by such artists as Sergio Mendes and Brasil ‘66, Stevie Wonder, Herb Alpert, Toots Thielemans, Dionne Warwick and many others. His arranging here is such that the small ensemble takes on a larger presence due to Adolfo’s savvy voicings and orchestrating skills.    

Love Will Come is a driving, dramatic melody over an energetic, percussive bed. Presented by the ensemble as a quadrilha (a traditional Brazilian folk dance) and offers a killer solos by Danilo Sinna and trombonist, Rafael Rocha. It is a highlight track. The waltz-configured  My Chant has Adolfo under the spotlight introducing and Sinna rendering the melody. This is a musical portrait in beautiful sonic pastels. Vision is a lovely melody. Slower, yet gorgeous and lyrical, it is another fine Adolfo track with cinematic overtones. Zah Zoom Toom is a samba-funked up curtain-closer. The vibe here is a Rio de Janeiro favela dance party. A fun way to close things out.

With Balaios, Antonio Adolfo continues to deliver his masterful musical message and that of his heritage. There’s a cornucopia of joy, tradition and culture in the balaio he carries. And, it is the listener who gets to enjoy its luscious contents. Nick Mondello