¡¡Viva The Latin Jazz!!
|Kennedy Center Arts, Washington D.C.|
|Grammy Nominated Brazilian Pianist|
Is Pleased To Announce His
CD Release Show for
"Encontros – Orquestra Atlantica"
Saturday, October 13th
Sets 8 & 10:30 pm
BLUE NOTE RIO
Av. Borges de Medeiros, 1424
Lagoa, Rio de Janeiro - RJ, 22430-042, Brazil
+55 21 3799-2500
Antonio Adolfo – piano, Jorge Helder - bass, Williams Mello - drums, Dada Costa - percussion, Diogo Gomes - trumpet & flugelhorn, Gesiel Nascimento - trumpet, Danilo Sinna - alto sax & flute, Marcelo Martins - tenor sax & flute, Levi Chaves - baritone and soprano saxes, Aldivas Ayres - trombone, Wanderson Cunha - trombone, Marcos Nimrichter - accordion.
PIANIST-COMPOSER ANTONIO ADOLFO
TEAMS UP WITH A BRAZILIAN BIG BAND
FOR A MEMORABLE RECORDING OF NEW BRAZILIAN JAZZ
ENCONTROS RELEASED BY AAM ON JULY 11
Throughout the past 40 years, Antonio Adolfo has had a very busy career as a pianist, composer and arranger. Born and raised in Rio de Janeiro, his teachers included Eumir Deodato and Nadia Boulanger (in Paris). A jazz pianist since the mid-1960s in Brazil, Adolfo worked with such major singers as Leny Andrade, Flora Purim, Elis Regina and Milton Nascimento and has recorded more than 25 albums as a leader. A major name for decades, his music combines together Brazilian rhythmic styles with jazz. His previous recording, Antonio Adolfo "HYBRIDO - From Rio to Wayne Shorter,” was a 2018 Grammy finalist.
As a bandleader, Antonio Adolfo has mostly been featured with small groups that showcase his music and his solo abilities. However he has long considered it a major goal to someday record an album with a larger ensemble, a big band that had a full understanding of both Brazilian music and jazz.
Encontros - Orquestra Atlantica is the realization of that dream. After having seen a performance in Rio de Janeiro by Orquestra Atlantica, a Brazilian jazz orchestra founded in 2012, Antonio Adolfo was so impressed that he invited the group to be a major part of his new recording. With up to seven horns and several guests, Adolfo had many new tone colors at his disposal along with the powerful sound of a big band. The result is an exciting set comprised of nine of Adolfo’s compositions plus Miles Davis’ “Milestones.” The inventive arrangements of Jesse Sadoc and Marcelo Martins mix together the sound of big band jazz with such Brazilian styles as the Samba, Bossa Nova, Baiao, Frevo, and the Afoxe to create memorable and infectious music.
The program begins with “Partido Samba-Funk,” a tune that combines Samba with the type of Brazilian funk often heard at dance parties in Rio and Sao Paulo. The colorful percussion, the horn riffs, and the solos by Adolfo, altoist Danilo Sinna, and trumpeter Jesse Sadoc (who makes a particularly explosive statement) get Encontros Orquestra Atlantica off to a stirring start.
“Pentatonica,” a melodic piece with strong forward momentum, has spots for guest guitarist Leo Amuedo and tenor-saxophonist Marcelo Martins along with some singing by Ze Renato.
“Atlantica,” which Adolfo named after the big band, is a warm medium-tempo ballad. The concise bass, flute and piano solos are strong assets during the atmospheric work.
“Luizao” is a tribute to the late great bassist Luizao Maia, an innovator in reinventing the way that the samba is played on bass, and a member of Antonio Adolfo’s early groups. The mostly straight ahead performance by the big band is highlighted by valve trombonist Serginho Trombone’s inventive solo.
The set’s lone standard, “Milestones,” is a combination of boppish jazz and Frevo. The rapid ensemble work by the horns is quite impressive and there are also excellent solos from Adolfo and accordionist Marcos Nimrichter.
Brazilian music often alternates in the same piece (and sometimes the same chorus) between happiness and a melancholy mood. “Saudade” gives listeners a good example of that unique feel, accentuated by the playing of flugelhornist Jesse Sadoc.
Capoeira is an unusual Brazilian dance that is combined with martial art. The berimbau, a one-string instrument, is a major part of that style. “Capoeira Ya” has a strong hint of both the berimbau and flamenco guitar in Nelson Faria’s playing along with impressive trumpet and piano solos.
“Africa Bahia Brasil” shows the African influence in Brazilian culture, blending together Afoxe and jazz in a very danceable performance. Danilo Sinna takes a particularly passionate alto solo while Adolfo makes one of his strongest statements of the album.
Contrasting the mood a bit, “Delicada Jazz Waltz” is a gentle piece with a delicate melody. The solos of Adolfo and accordionist Marcos Nimrichter are subtle and pleasing.
Encontros - Orquestra Atlantica concludes with a new version of Antonio Adolfo’s biggest hit, “Sa Marina.” Composed in 1967 and released internationally as “Pretty World” with lyrics by Alan and Marilyn Bergman, the number has been recorded by more than 200 artists. In addition to a fine solo from the leader, this memorable rendition has Marcelo Martins featured on tenor, and there is also a colorful tradeoff between baritonist Levi Chaves and trombonist Aldivas Ayres.
It is very rare for Brazilian jazz to be performed by a big band, particularly one of this quality. Hearing Antonio Adolfo’s music played by a top-notch orchestra casts new light on his writing abilities. Whether one loves Brazilian music, big bands or modern jazz, Encontros – Orquestra Atlantica makes for a memorable and stimulating listening experience.
“Encontros – Orquestra Atlantica”
Street Date: July 11, 2018
Antonio Adolfo – piano, Nelson Faria and Claudio Jorge - acoustic guitars, Leo Amuedo - electric guitar, Jorge Helder – bass, Rafael Barata – drums, Dada Costa – percussion, Jesse Sadoc – trumpet & flugelhorn, Danilo Sinna, alto sax & flute, Marcelo Martins - tenor sax & flute, Marcos Nimrichter - accordion; Ze Renato – vocals, plus other members of Orquestra Atlantica
Let's enjoy now some of the expertise that the percussionist Dada Costa brings to the recording of this wonderful album by maestro Antonio Adolfo and the Orquestra Atlantica: "Encontros" in this session
Friday, November 16th 8 pm
212 E 52nd St, New York, NY 10022 (646) 918-6189
Sergio Pereira - acoustic guitarSunday, November 18th 8pm
Cornelia Street Cafe
29 Cornelia St, New York, NY 10014 (212) 989-9319
Sergio Pereira - acoustic guitarSPAIN
December 7, at 8 p.m.,
Veles e Vents, Valencia, Spain
January 17, 2019
Jazz Club El Mussol,
(Zoho ZM 201808)
Street Date: September 7, 2018
Sergio Pereira-guitar, Saxophonist Alexey Leon, Spain’s alto sax great Perico Sambeat, Cuban-born flutist and longtime New Yorker Oriente Lopez and Valencia, Spain-based trumpeter-arranger VoroGarcia. Sao Paulo-based electric guitarist Marcus Teixeira, French pianist Baptiste Bailly, Valencia-based bassist Ales Cesarini, Cuban-born bassist Ariel Ramirez, Brazilian harmonica virtuoso Gabriel Grossi and two Brazilian-born musicians now residing in New York City, pianist Helio Alves
and drummer Mauricio Zottarelli.
Vocalists Paula Santoro, Sergio Santos and Viktorija Pilatovic lend an air of mystery and allure to the proceedings while rapper Devin Malloy adds the cherry on top of the buoyant opener, Down South.
There’s a certain something inherent in the music of Brazil that goes well beyond the notes and speaks more of the soul of a culture. Like the music of New Orleans, where the feel for an authentic second line rhythm grows out of the pace, the food, the flavor of the Crescent City, the persuasive rhythms of bossa nova and samba are ingrained in the hearts and souls of musicians from Rio de Janeiro and Sao Paulo. For guitarist-composer Sergio Pereira, that feeling is deeply imbedded in his DNA and emerges through his distinctive comping patterns.
“I learned by growing up listening to samba rhythms and playing Brazilian percussion at a local school of samba,” says the 59-year Rio native and longtime resident of New York City. “Since I was a kid I have been always playing samba rhythm, making that ‘batucada’ rhythm with my hands and fingers at school until my teachers would tell me to ‘stopmaking that noise!’ I still do it all the time. It’s addictive.”
Pereira’s samba addiction comes to full fruition in spectacular fashion on his ZOHO debut release Nu Brasil,his follow-upto his acclaimed 2016 debut, Swingando.The title Nu Brasil (“nu” = “naked” in Portuguese) references the beauty of his home country where however social inequality still prevails.
A collection of ten thoughtful compositions, this superb set features contributions from a luxuriant crew of 18 world-class musicians including Cuban-born saxophonist Alexey Leon, Spain’s alto sax great Perico Sambeat, Cuban-born flutist and longtime New Yorker Oriente Lopezand Valencia, Spain-based trumpeter-arranger Voro Garcia. Also on board for Pereira’s sophomore release are Sao Paulo-based electric guitarist Marcus Teixeira, French pianist Baptiste Bailly, Valencia-based bassistAles Cesarini, Cuban-born bassist Ariel Ramirez, Brazilian harmonica virtuoso Gabriel Grossiand two Brazilian-born musicians now residing in New York City ispianist Helio Alvesand drummer Mauricio Zottarelli.
Vocalists Paula Santoro, Sergio Santosand Viktorija Pilatoviclend an air of mystery and allure to the proceedings while rapper Devin Malloyadds the cherry on top of the buoyant opener, Down South. Says the composer, “I started to work on this song last summer while vacationing ‘down south’ in Puglia, Italy. Changing environment and location often provides me with great vibes for inspiration. It’s a happy samba groove with a magical soprano sax solo from Alexey. Devin’s rap is basically describing the experience of failure in pursuit of your dreams and talks about how life will continue to evolve and will pick you back up after you've fallen.” Bailly adds a cascading piano solo here while Pereira contributes an appealingly melodic, clean-toned solo on electric guitar.
East River is Pereira’s poignant reflection on the view from his Upper East Side neighborhood in Manhattan. “I frequently jog on the East Side by the East River and many times, after the jog, I just sit on a bench next to the 59thStreet Bridge looking over Roosevelt Island and Long Island City,” he explains. “It’s very peaceful there with the nice breeze from the river, the sounds of boats going by and the FDR Drive humming with vehicles.” The easy-going number opens with sparse solo piano before being joined by lush strings arranged by Garcia. Pereira plays the opening strains of the melody on his nylon string acoustic then scats simultaneously with his solo on this affecting number, which also carries a slight tinge of melancholy. As he explains, “When my older daughter, now 23, was 4 or 5 years old, we lived on Roosevelt Island. We had an amazing time together there and I miss those moments. The strings bring out the melancholic moments I had, which I dearly miss, when my daughter was little.”
The seductive Arpoadoris an ode to the beach of that name on the south side of Rio de Janeiro where Pereira spent a lot of his youth. “This was my favorite beach, where I used to wake up really early in the morning to go surfing with friends,” he recalls. “Cool and hip crowds used to hang out there at sunset. People fell in love, hearts were broken and memories were left behind. It’s reminiscing about the time when I was 19, right before I moved to New York — some of the best moments of my life.” Singer Santoro narrates the story of love, passion, beach, summer and the sea with an enchanting delivery that combines the smooth allure of bossa nova and the freewheeling abandon of jazz in her delicious scatting passages and call-and-response exchanges with pianist Bailly near the end of the piece.
Greta is an affecting jazz waltz that Pereira wrote for his newly-born niece. “She is sweet, mellow, easy and tender just like this song,” he says. Flutist Lopez brings the mellowness, tenderness and jazziness that the song calls for while singer Sergio Santos doubles Pereira’s tender electric guitar melody with some sweet falsetto singing. Drummer Zottarelli deftly underscores the proceedings with some briskly swinging brushwork.
The energized title trackNu Brasilis fueled by Pereira’s infectious comping and showcases Lithuanian-born singer Pilatovic, who engages in some rapid-fire scat-and-trumpet exchanges with Garcia at the tag. Originally an instrumental, lyricist Paulinho Nunes brings new life to the upbeat piece while Pilatovic, singing in Portuguese with a ‘Carioca’ accent, brings a jazzy flair to this groovy samba.
Garcia arranges the strings on the lush Per Teand offers a warm, melodic flugelhorn solo on this inviting number. The tight Joao Donato-influenced samba/bossa Sambinhacomes charging right out of the gate with guitar and harmonica locked in tandem on the buoyant theme. Sao Paulo-based electric guitarist Marcus Teixeira, a former teacher of Pereira’s, contributes a Bensonesque solo over the percolating undercurrent provided by drummer Zottarelli and bassist Ramirez. Pianist Alves adds some jazzy improvising on this infectious groove while harmonica ace Grossi contributes remarkably flowing legato lines over the top.
PercussionistDavid Gadeajoins Pereira to fuel this fiery samba groove.
The minor key Trem Do Tempocarries a tinge of melancholy on top of an undulating Ixeja rhythm. Lopez contributes a lovely flute solo while Santoro delivers the alluring Portuguese lyrics in her own inimitable style. Nunes again brings new life to the song with his thoughtful lyrics, which tell us a story about life and the passage of time: “Life is like a train/it slips through your hands/it does not stop in every station. Life is to be lived at each moment. Live it…live it…and live it.”
14 Clicks Away, a slow bossa nova fueled by Zottarelli’s brushwork and Pereira’s steady comping, features an elegant solo by pianist Alves and also showcases Sambeat in Getz-ian mode on this restful, gently grooving number.
The album closes with the jazzy bossa nova Lascia Stare,which fluctuates between sadness and happiness and features Pereira doubling the melody with Grossi. “I always heard the more melancholic first part of the song with a harmonica, so Gabriel was my number one choice to deliver that feeling,” says Pereira.” The leader’s electric guitar solo here is typically melodic and flowing while Bailly adds sparkle with his piano solo. The title, Pereira explains, is an Italian expression which roughly translates to ‘let it go’ or ‘don’t bother yourself with it.’”
Here Sergio Pereira Band in Sala Clamores - Jazz, in Madrid-Spain:
New York CD Release
"Mad Romance and Love"
Friday, November 2nd
Jazz at Kitano
66 Park Ave
New York, NY 10016
Mad Romance and Love
(Jumo Music 1007)
Street Date: July 6, 2018
Maurice Frank-vocals, John DiMartino-piano, arrangements,
Eric Alexander-tenor sax, Aaron Heick-soprano sac, clarinet, alto flute,
Paul Meyers-guitar, Luques Curtis-bass,
Obed Calvaire-drums, Samuel Torres-percussion
1. Dream Dancing 4:43
2. How Little We Know (How Little It Matters) 2:393. Slow Hot Wind 4:41
4. Don’t Worry ‘Bout Me 4:31
5. Day Dream 4:41
6. Save Your Love For Me 4:35
7. Yesterdays 3:44
8. Yellow Days 3:43
9. Baubles Bangles and Beads 3:47
10. She’s Funny That Way 4:00
11. In My Life 3:13
12. On the Street Where You Live 5:26
Maurice Frank is a native New Yorker. He grew up listening to the great singers of the 50’s and 60’s and it left its mark on him.
Mad Romance and Love is his debut release. It’s heart felt and striking for its warmth, sensitivity and choice of songs. The musicians are top notch! Featuring the groove tones of tenor saxophonist Eric Alexander and pianist/arranger John DiMartino, who provides a palette of swing and latin colors. Performing on the East Coast and beyond and now residing in Florida, “Moe’s” new release is a sophisticated sound coming from a “new to the scene”, yet seasoned artist, who is a fresh interpreter of both standards and not frequently heard songs.
“What I feel so abundantly from Maurice’s singing is a deep and honest affinity for the ballad, the love song and the swinger.Congratulations for nailing a gem of a recording.” —Benny Green
Maurice Frank Notes:
"The best way to demonstrate how some of the great jazz and popular vocalists have inspired me, and show them respect, is to always be aware of their continual influence to my interpretations," Maurice said. "To me It's the highest form of praise."
He also is a devotee of melodic lyricism. The legendary trumpet player and vocalist Chet Baker once stated, "It's all about the lyric, and I could not agree more," said Maurice. "To do any tune justice, vocally or instrumentally, you have to understand the lyrical groove. "
Maurice's musical roots go back to his years growing up in South Yonkers, New York, listening to many of the jazz greats of the day. As a child, I could be heard on weekends singing for the locals to the jukebox in his parent's neighborhood saloon. Even then, singing was at the core of his performances. "I'll never forget, they would play, Nat Cole, Sinatra, Mel Torme, Ray Charles, Louie Prima, and Tony Bennett among many others for me to sing along with," Maurice said.
As a child he studied drums and tenor sax, but as his talents grew, Maurice sang more and more frequently performing with his high school jazz / rock ensemble, singing regularly in a local rock group, and occasionally performing with his teachers on wedding and society gigs.
Today Maurice continues to perform regularly making the tunes he loves to sing his own!