An intoxication session of Wayne Shorter’s compositions.
Antonio Adolfo – Hybrido: From Rio To Wayne Shorter – AAM Music AAM0711 54:49 [MP3 on Amazon]****:
(Antonio Adolfo – piano & arrangements – electric piano on #1; Lula Galvão – electric guitar; Jorge Helder – double bass; Rafael Barata – drums & percussion; André Siqueira – percussion; Jessé Sadoc – trumpet; Marcelo Martins – tenor & soprano saxophones – flute on #3; Serginho Trombone – trombone; Zé Renato – vocal on #2; Claudio Spiewak – acoustic guitar on #3)
It was clear from the time Wayne Shorter joined Art Blakey’s Jazz Messengers in 1959 that he was a young talent who would go on to establish himself as one of the more gifted tenor saxophone players of his era. His composing pedigree became obvious during the period he was part of the Miles Davis band from 1964-1970. His compositions from this association, and later with Weather Report, were destined to become jazz standards. In this release Hybrido by the Brazilian pianist and composer Antonio Adolfo, takes a Latin look at these compositions and comes up with a winner.
All of the arrangements of the compositions were written by Adolfo and he has done masterly work in capturing the essence of Shorter’s musical intentions. They are replete with conceptual textures that are cleverly imaginative. Each track is an immensely satisfying listening experience.
The sessions starts out with “Deluge” from the album JuJu and it is an effervescent interpretation with strong solos from trumpeter Jessé Sadoc and tenor saxophonist Marcelo Martins. Alfonso is heard to good effect on electric piano. One of Shorter’s most recognizable numbers is “Footprints” which is made satisfyingly evocative by a wordless vocal from Zé Renato. There is some nifty guitar from Lula Galvão and pianist Adolfo has a well thought-out solo along with a brief trombone interlude by Serginho Trombone (sic).
“Beauty And The Beast” is lovingly presented with a charming samba beat that has some bossa elements. Marcelo Martins on flute gives the number a fluid thoughtfulness, with pianist Adolfo again adding his harmonic coloration. Miles Davis’ 1967 album Sorcerer brought “Prince Of Darkness” to the public. The version offered here is propelled by the rhythmic undertow of drummer Rafael Barata and percussionist André Siqueira with some beseeching soprano sax from Marcelo Martins.
“Speak No Evil” comes from Shorter’s album of the same name with this offering featuring the inherent intricate compositional forms that Shorter devised. Trombonist Serginho has a muscular intervention that is followed by a lyrical tenor solo from Marcelo Martins. Pianist Adolfo shows his impeccable taste during his solo interlude.
The only non-Shorter piece is “Afosamba” by Antonio Alfonso. It has a lilting samba beat as the name implies, is crisply redolent, and is a perfect fit for the theme.
While Wayne Shorter’s compositions always sound good, this session is especially intoxicating.
TrackList: Deluge; Footprints; Beauty And The Beast; Prince Of Darkness; Black Nile; Speak No Evil; E.S.P; Ana Maria; Afosamba
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