![]() Together they sculpt an intriguing set of thoughtfully arranged songs such as “Watch What Happens” and “Bye Bye Blackbird,” jazz standards like “Take Five” and Don Cherry’s “Art Deco,” along with two revealing Brenza originals. Roberta Brenza – It’s My Turn To Color Now (Origin): “Her delightfully casual and welcoming voice, defying gravity in a manner not unlike a legend such as Blossom Dearie or peer Kat Edmonson, has the special charm that’s easy on the ears with the potential to stir your heart. (John Ephland) Coming to performing later in life, Chicago-based vocalist/songwriter Roberta Brenza makes the most of this debut recording experience as she enlists a brilliant team of playmates - producer & drummer Matt Wilson, pianist Dawn Clement, bassist Cameron Brown, and saxophonist Stacy Dillard, along with special guest, legendary vocalist Sheila Jordan. This album so ably demonstrates that Antonio Adolfo, age 75, known for his talent in cover arrangements, also knows a thing or two about writing wonderful originals.” Click here to listen to samples on this set. Quiet, smooth horn harmonies and flowing piano notes leave the listener uplifted and filled with joy. Closing out this excellent collection of originals is Toada Moderna, Modern Tune. Zabumbaia takes us to Pernambuco and dancing. The zabumba is a carried bass drum of the Northeast often heard with a triangle and flute. Minor Chord has noir shadows and Jobim winks. Feito Em Casa is the opportunity for tenor saxophone expansions it is a long way from Brazil. ![]() Nearly a 1980’s TV theme, Pretty World, is a piano-dominant song against saxophone improvisations and guitar licks so, naturally, the next piece is Teletema, with sweet trombone phrasing. With snare drum introduction, Cascavel scoots along with trumpet and guitar solos. Emaú, the following work, meaning ‘it’s bad,’ has the contemporary connotation, being brassy street funk. Next comes a fusion of the Northeast Brazilian baiao syncopated duple dance meter with boogie-woogie and American saxophone blues. The opening piece is Heart of Brazil, a sophisticated Cariocan exposition with fine solos of trombone and piano and a bossa beat. This happy, comfortable album of gentle dances and ballads mixed with moderately up-tempo studies is perfect for early evening listening. The musical sound of Adolfo is mellow, richly arranged jazz with broad harmonies flavored with Brazilian rhythms and the spirit of Rio de Janeiro, his home town, and urban America, site of his Florida music school. For this surprisingly varied album, Ricardo Silveira is the guitarist, and of course Adolfo is at the keyboard. His group consists of the usual suspects found on many of his large discography: Jorge Helder, acoustic bass Rafael Barata, drums and percussion Rafael Rocha, trombone Marcelo Martins, tenor saxophone and flute and Danilo Sinna, alto saxophone. ![]() Antonio Adolfo – Octet And Originals (AAM): “After having recently issued two superb albums featuring respectively the music of Milton Nasciamento and Antonio Carlos Jobim, pianist/composer/band leader/educator Antonio Adolfo turns to his own creations.
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