Emílio Santiago – Emílio Santiago (1975) {João Donato, Azimuth, Wilson das Neves..)

Emilio Santiago (1975)
1975, CID (8008)
CD Reissue, CID (0074102)1 Bananeira
(Gilberto Gil, João Donato)
2 Quero alegria
(Guilherme de Brito, Nelson Cavaquinho)
3 Porque somos iguais
(Pedro Camargo, Durval Ferreira)
4 Batendo a porta
(Paulo César Pinheiro, João Nogueira)
5 Depois
(Otávio Daher, Ivan Lins)
6 Brother
(Jorge Ben)
7 La mulata
(Paulo Sergio Valle, Marcos Valle)
8 Nega Dina
(Zé Keti)
9 Doa a quem doer
(Ivan Lins)
10 Sessão das dez
(Édson Lobo, Tita, Renato Rocha) 

Truth be told, I am not a huge fan of Emilio Santiago. In fact all I have is this album, ‘Comigo é assim’ and `Feito Pra Ouvir` which might be his most famous from the 70s. But his early stuff is worth checking out, especially this debut album. This one is, in fact, pretty bad-ass. Emilio was sort of a protege, or at least a `discovery` of Roberto Menescal, who wrote the liner notes for this album and produced `Feito Pra Ouvir` a few years later.

In truth this album may be most interested for the insane lineup of musicians who contributed to it. João Donato’s contribution on the electric Rhodes is the most obvious — as is the song he co-wrote with Gilberto Gil, “Bananeira”, as solid a piece of Brazil funk as you could find. Donato also gives the track “La mulata” (penned by the brothers Valle) a salsa-style arrangement that stands out quite nicely. The funk-fusion band Azimuth provides backing on one track only, Jorge Ben’s “Brother.” Now, ‘Brother’ is from what many regard as Ben’s best album ever — A Tábua de Esmeralda — but for me that song has always been the weakest link in the great chain of that record. Here, I dare say that Emilio may surpass the original, and with big credit due to Azimuth, who make the song hit much harder than Ben’s laid-back style.

You can see the rest of the big names who helped out on this record on the CD tray like Wilson das Neves, Copinha, Ivan Lins, Dori Caymmi… Keeping in mind that the lineup of the musical backing changes on every track, sometimes entirely, the album is remarkably consistent in its sound. Emilio’s interpretations of sambas from the likes of Nelson Cavaquinho and João Nogueira are still growing on me, and perhaps they never will… His voice veers towards the schmaltzy style that would make him famous in the 80s and 90s. He is definitely not alone in giving classic samba that kind of slick treatment, but I will always prefer ‘samba do morro’ to ‘samba de calçada’ I guess..

By the way, his name is Emilio Santiago, in case you can’t read it clearly on the front cover of the album.  Bio in Portuguese

Carioca, começou a cantar em festivais universitários nos anos 70, quando freqüentava a faculdade de Direito. Participou também de programas de calouros na televisão, chegando às finais de um concurso no programa Flávio Cavalcanti, na TV Tupi. Foi crooner da orquestra de Ed Lincoln, e cantou em boates e casas noturnas. Seu primeiro compacto foi lançado em 1973 com “Transa de Amor” (S. Tapajós/ M. Amaral) e “Saravá Nega” (Odibar), o que abriu portas para participações em programas de rádio e televisão. Dois anos depois a CID grava o primeiro LP, “Emílio Santiago”, com músicas de Jorge Ben (“Brother”), João Donato (“Bananeira”) e outros. No ano seguinte assinou contrato com a Polygram, que lançou os dez discos seguintes. Foi eleito o melhor intérprete do Festival da TV Globo de 1985 com a música “Elis Elis” (E. Natolo Jr./ M. Simões). Em 1988 mudou para a gravadora Som Livre, onde iniciou o projeto “Aquarelas Brasileiras”, dedicado exclusivamente ao repertório de música brasileira. Lançou sete discos pelo projeto, alcançando a marca de 4 milhões de cópias vendidas. No final da década de 90 lançou discos fora do Aquarela Brasileira, inclusive um em homenagem ao cantor Dick Farney.

 

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(edit/update, March 20, 2013 – Emílio passed away today, only in his 60s too..  So I fixed the links here and reposted, but without any other changes.  Maybe in the coming weeks I’ll try to get another of his records up here..)

Grupo Fundo de Quintal – Seja Sambista Também (1984)

I had been planning a different samba album for today, a vinyl rip of a somewhat-scarce album, but I just couldn’t manage to finish editing it before the weekend. So instead I am bringing you yet another title from Fundo de Quintal, their fourth LP, and the second on which Arlindo Cruz plays a huge roll (appropriate for a huge guy) as a player and songwriter. The band is really hitting its stride here. I had the honor of seeing him play a live show for free this year and I have never seen so many women going crazy over a large man. I swear I saw some panties thrown on stage although the night is kind of hazy in my memory. Among the great “in-house” songwriters in the group there is also a collaboration between Zeca Pagodinho and Cruz in the credits, as well as a closing number from Jorge Aragão who had left at this point.

Not a dull moment here, folks!
For more info — and for more great music — be sure to visit the page for “Samba é no Fundo de Quintal” (1980) also here at Flabbergasted Vibes

Grupo Fundo de Quintal – Seja Sambisa Também (1984) in 320kbs

Grupo Fundo de Quintal – Seja Sambisa Também (1984) in FLAC LOSSLESS AUDIO

Os Originais do Samba (1969)


1969
RCA Victor
BBL 1475
2004 Reissue
RCA Victor Essential Classics1 Cadê Tereza
(Jorge Ben)
2 O rapaz do violão
(Dida)
3 Enlouqueci
(Luiz Soberano, João Sale, Waldomiro Pereira)
4 No morro é assim
(Carlos Magno)
5 Bacubufo no caterefofo
(Bidi, Velha)
6 Despertar do lavrador
(Neoci, Dida)
7 Sei lá Mangueira
(Hermínio Bello de Carvalho, Paulinho da Viola)
8 Domingo da Rosa
(Neoci Dias)
9 Larga meu pé, reumatismo
(Ataulfo Alves)
10 Não ganha se não quiser
(Carlos Magno)
11 Canto chorado
(Billy Blanco)
12 Até meu final
(Bidi, Dida)From the back cover:”Considered the pioneers of the “Pagode” groups (samba with a romantic pop twist) that took our music scene by storm in the late 1980s, Os Originais do Samba were really “original” as their name says, with their joyful, pop samba tracks, with a lot of vocals and percussion. The band’s premier album released in 1969 made instant hits of upbeat samba tracks like Jorge Ben’s “Cadê Tereza”, and instilled a new kind of “swing” to traditional samba tracks. — Rodrigo Fauor”Well well… its a dubious legacy to say the least when you claim late 80s ‘pagode’ as a POSITIVE thing.. Nor would I credit Os Originais with adding some swing to samba as quite a few others were already working on that. Anyway, the review above is right about this being a more pop-oriented samba, but not in a negative way. They are a samba vocal group first and foremost, with a focus on entertaining us with well-executed songs and light humor — not unlike Demônios da Garoa, in that sense. One of their members was even involved in the famous Brazilian comedy TV show Os Trapalhões that ran for many years. They owed a lot of their early popularity to the explosive growth of television as a means of influencing popular tastes in culture consumption. They were a huge hit on the first samba festival televised on São Paulo’s channel 7 (1 Bienal do Samba), after which they became a highly-sought after commodity on TV. I will admit that I prefer their 1970s material to this debut album, as they were influenced by the 70s samba revival to lean towards a rootsier, less-orchestrated sound. But this album is great, and their version of Jorge Ben’s Cadê Tereza is pretty famous and important, so it`s worth having this album for that track alone!

Biography by Alvaro Neder

With a particular blend of traditional samba and humor, Os Originais do Samba became a commercial success, achieving three gold records for their hits “Tá Chegando Fevereiro” (Jorge Ben/João Melo), “Esperanças Perdidas” (Adeílton Alves/Délcio Carvalho), “O Lado Direito da Rua Direita” (Luís Carlos/Chiquinho), “É Preciso Cantar,” and “Tragédia No Fundo do Mar” (Zeré/Ibraim). They also had hits with “Cadê Teresa” (Jorge Ben), “A Dona do Primeiro Andar,” and “Nego Véio Quando Morre.” They performed shows with such artists as Elis Regina, Duke Ellington, Earl Grant, Paulinho da Viola, and Jorge Ben Jor, among others, and recorded albums with Chico Buarque, Toquinho/Vinícius de Moraes, Martinho da Vila, and Jair Rodrigues. Os Originais do Samba was the first samba group to perform and record at the Olympia in Paris, France, also performing at the Carnaval Friends of Brazil Club in San Francisco, CA. The group enjoyed continued success in Brazil and abroad in its second formation. The group started in 1960 as Os Sete Modernos do Samba. The next year they were invited by Carlos Machado to perform the show O Teu Cabelo Não Nega, about Lamartine Babo, and they changed their name to Os Originais do Samba. It was followed by a six-month stay in Mexico and performances in Puerto Rico and Brazil. After settling in São Paulo in 1968 they were invited to back Elis Regina in the I Bienal do Samba on the winning samba “Lapinha” (Baden Powell/Paulo César Pinheiro). Their first album came the next year, Os Originais do Samba (RCA Victor), followed by 18 others through 1997. In 1977 the group’s formation was: Bigode (leader/pandeiro/vocals), Zeca do Cavaco (cavaquinho/banjo), Sócrates (guitar), Rubinho Lima (percussion), Valtinho Tato (percussion), and Gibi (reco-reco, tamborim).

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From Cliquemusic

Grupo formado na década de 60 no Rio de Janeiro por ritmistas de escolas de samba, começou a se apresentar em teatros e show, incluindo o palco do Copacabana Palace, onde realizou o espetáculo “O Teu Cabelo Não Nega”. Fixaram-se em São Paulo depois de excursionar pelo México, e em 1968 acompanharam Elis Regina na música vencedora da I Bienal do Samba, “Lapinha”, de Baden Powell e P.C. Pinheiro. No ano seguinte gravaram a música “Cadê Teresa”, de Jorge Ben, que fez grande sucesso. Participaram de festivais e ganharam discos de ouro pela vendas de suas gravações, principalmente nos anos 70, combinando o canto uníssono, a roupa padronizada e boa dose de humor. Um dos integrantes do grupo, Mussum, sairia para formar Os Trapalhões ao lado de Renato Aragão e Dedé Santana. Tocaram com grandes nomes da música brasileira – como Chico Buarque, Jair Rodrigues, Vinicius de Moraes – e mundial – Earl Grant. Excursionaram pela Europa e Estados Unidos, e foram o primeiro conjunto de samba a se apresentar no Olympia de Paris. Alguns de seus maiores sucessos são “Tá Chegando Fevereiro” (Jorge Ben/ João Melo), “O Lado Direito da Rua Direita” (Luiz Carlos/ Chiquinho), “A Dona do Primeiro Andar”, “O Aniversário do Tarzan”, “Esperanças Perdidas” (Adeilton Alves/ Délcio Carvalho), “E Lá se Vão Meus Anéis” (Eduardo Gudin/ P.C. Pinheiro), “Tragédia no Fundo do Mar (Assassinato do Camarão)” (Zeré/ Ibrahim), “Se Papai Gira” (Jorge Ben), “Nego Véio Quando Morre”. Em 1997 gravaram um CD comemorativo pelos 30 anos de carreira, e atualmente continuam se apresentando no Brasil. Fizeram parte do grupo: Mussum, Rubão, Bigode, Bide, Chiquinho, Lelei, Zeca do Cavaquinho, Sócrates, Rubinho Lima, Valtinho Tato e Gibi.

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Silvia Telles – Amor de gente moça (1959)


Silvia Telles
“Amor de gente moça — músicas de Antonio Carlos Jobim”Odeon Fonográfica
MOFB 3084
This remaster, 2007

01 – Dindi (Tom Jobim / Aloysio de Oliveira)
02 – De Você Eu Gosto (Tom Jobim / Aloysio de Oliveira)
03 – Discussão (Tom Jobim / Newton Mendonça)
04 – Sem Você (Tom Jobim / Vinicius de Moraes)
05 – Fotografia (Tom Jobim)
06 – Janelas Abertas (Tom Jobim / Vinicius de Moraes)
07 – Demais (Tom Jobim / Aloysio de Oliveira)
08 – O Que Tinha de Ser (Tom Jobim / Vinicius de Moraes)
09 – A Felicidade (Tom Jobim / Vinicius de Moraes)
10 – Canta Canta Mais (Tom Jobim / Vinicius de Moraes)
11 – Só Em Teus Braços (Tom Jobim)
12 – Esquecendo Você (Tom Jobim)

Free translation from the original back cover notes:
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Three strong ingredients make up this LP:

The interpretation and singing of Silvia Telles.
The Music of Antonio Carlos Jobim.
The arrangements of Gaya.

Gaya demonstrates more and more with every effort a perfect understanding of the simplicity with which an orchestra must create a background for a singer.

Antonio Carlos Jobim, here with nine first-rate offerings, continues to prove his talent as the best composer of popular music today. And only Silvinha can give life to these songs.

Silvinha has already surpassed the phase of being only a singer. From this album onward we can call her a grand artist, a grand interpreter.

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Silvia Telles’ short life was a condensation of the pathos and tragedy of musical legends. Although Nara Leão may have been “the muse of Bossa Nova,” Silvia Telles was really the genre’s first real interpreter. (I am discounting Elizeth Cardoso’s “Canção de Amor Demais”, which João Gilberto apparently found repugnant due to Elizete’s strident and brash vocal style which was thought to be very un-bossa nova). She was discovered by Billy Blanco at a young age, and dated João Gilberto as her first boyfriend (a relationship that ended because Silvia’s parents didn’t approve of João’s bohemian lifestyle and lack of a permanent address or steady job). Although her career began in 1955 and included performances along side Dick Farney and Dolores Doran, Silvia was one of the earliest people to record Jobim’s music and eventually became the headlining main act at the first ever concert promoted with “bossa nova” on the flier — a term bequeathed by an anonymous typist or secretary whose identity has never been discovered. Silvia was hugely important to the early history of bossa nova. Recording with other early pioneers like Luiz Bonfa and Lucio Alvez, she became one of the biggest stars on the Elenco label,eventually marrying founder Aloysio de Oliveira, and being one of the first bossa nova artists to perform in the United States and Europe. Her life was tragically cut short when she was killed in a car accident in 1966. She was thirty-two years old.

This is a classic statement in the bossa nova canon, allegedly the first album to consist entirely of compositions in the genre. By which is meant, I believe, that other records by founders such as João Gilberto drew from a diverse repertoire such as classic samba which he then turned *into* bossa nova. The album consists entirely of Tom Jobim compositions, many of which are appearing for the first time here. Although it may be hard for listeners to notice it 50 years after its release, Silvia’s singing was quite innovative in its day, a departure from the more dramatic styles that had been popular in past years. The album opens with “Dindi”, a song covered so many times I won’t even try to list them here. I once debated with myself whether Maysa’s version, recorded a year or so after this one, was superior, but finally decided that Silvia is more true to the spirit of it. Maysa certainly had the pain and suffering in her voice, drawn from the ample amounts of it in her life, but her style still veered towards the dramatic. Silvia was understated and subtle — those qualities that no doubt drew João Gilberto to her immediately. The album is so mellow and soothing that it may pass through your aural cavities without too much notice on the first few listens, or drift on the breeze with that stigmatized tag of “easy listening,” only revealing its nuances with subsequent replays. Check out the instrumental break in ‘Demais’ if you have any doubts, doubling the tempo until Silvia sings half a verse and it winds back down again right in the middle of it! No singers did that kind of thing in Brazilian music in the 1950s! This is the kind of musical modernity that was practically ‘scandalous’ at the time. Remember that, like the title says, this record is music for young lovers. It was also an injection of energy and inspiration to other singers who realized they had to contend with Silvia’s power. It’s no coincidence that Maysa, for example, recorded her own bossa nova album a year later with a nascent Tamba Trio, showing that she too could kick it with the jazz-inflected vocal phrasings. Although her career spanned a little over a decade, it’s been somewhat eclipsed by the prominence of those bossa nova stars whose luminosity, one could argue, owed everything to Silvia’s pioneering work.

Silvia Telles – Amor de gente moça (1959) in 320 kbs em pe three

Silvia Telles – Amor de gente moça (1959) in FLAC LOSSLESS AUDIO

Full artwork, log, cue, m3u, and a bottle of cognac included.

For those interested there is also a vinyl rip of this album from an original pressing over at Loronix.

Baden Powell – Swings with Jimmy Pratt (1963)

 

“Baden Powell Swings with Jimmy Pratt”
Elenco ME-4, 1963

Musicians: Baden Powell (git)
Jorge “Jorginho” Ferreira da Silva, Copinha (fl)
Moacir Santos (sax, vcl)
Sandoval (cl)
Sergio Barroso (b)
Jimmy Pratt (dr)
Rubem Bassini (perc)
unknown piano playerProduction: Aloysio de Oliveira
Direction: Jimmy Pratt
Production Manager: Peter Keller
Studio: Philips of Brasil
Sound Engineer: Norman Sternberg
Recording Technician: Celio Martins
Cover Layout: Cesar G. Villela
Photos: Francisco PereiraGuitar Model: Author 3 by luthier Reinaldo DiGiorgioAlso issued as: Developments (LP, 1970)
O Mestre do Violao Brasileiro (CD-Box, 2003)

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Flabbergasted Vinyl Transfer Specs:

Original Elenco (ME-4) pressing -> Pro-Ject RM-5SE turntable / Sumiko Blue Point 2 cartridge / Pro-Ject Speedbox power supply -> Creek OBH-18 MM Phono Preamp -> M-Audio Audiophile 2496 soundcard. Recorded at 24-bit / 96 khz resolution to Audacity. Click Repair on very light settings to remove some clicks and popsm, some manual click removal using Audition. Track splitting in Adobe Audition 3.0. Dithered to 16-bit using iZotope M-Bit noise-shaping. Converted to FLAC and mp3 using DbPoweramp. ID tags done with Foobar2000.

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I don’t know anything about Jimmy Pratt other than he plays the skins on a whole bunch of jazz records from the 40s and 50s, having done sessions with Charlie Parker, Stan Getz, Zoot Sims, Oscar Pettiford, Bud Shank, and Anita O’Day. Busy guy. But this record may be one of the most famous he played on. Partly because he essentially receives co-billing on the marquee with Baden. But also he was, in a way, in the right place at the right time to really connect with the Bossa Nova explosion.

From the back cover:

“When the drummer Jimmy Pratt was in Brazil accompanying Caterina Valente, he heard Baden play guitar like everyone that was exposed to Baden’s art, he was profoundly enthusiastic. The enthusiasm provoked the idea for this recording. And from the recording was also born a friendship and mutual admiration between the two artists. ‘Baden Powell Swings with Jimmy Pratt’ is a tribute from Baden to his friend and American colleague.” – Aloysio de Oliveira

The observent among might notice Mr. Pratt apparently did not make the photo session for the album or else closely guards his image against potential feitiço and witchcraft.. He is absent from the shots taken in the recording studio, unless we are looking at the back of his head in the shot where Vinicius de Moraes appears for no particular reason — it’s an instrumental record bereft of his lovely lyrics, he didn’t play anything, and he only has a writing credit on the very first tune, ‘Deve Ser Amor.’ Anyway, I find it amusing.

In the photo to the right of this we see Baden playing into a Neumann U-87 microphone, and looking like he wants to walk into the control room and slap somebody. I’m not sure why because it’s a great-sounding recording.

Fantastic playing from everyone involved, including Moacir Santos who contributes his own compositions, Coisas No.1 and Coisas No.2. It`s the clarinet, however, that really slays me on this record: while doing the vinyl transfer and processing, I swear I listened to Coisas No.1 about ten times in a row at one point. When you hear it you will know why. There is nothing groovier on earth.

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Antonio Adolfo e Brazuca (1970) REPOST

 

adolfo

Créditos:
Antônio Adolfo: Piano, Piano Elétrico, Arranjos
Luiz Cláudio Ramos: Guitarras
Luizão Maia: Baixo
Paulo Braga: Bateria
Bimba: Vocais
Luiz Keller: Vocais

This record starts out mellow, low-key.. fairly normal, laid-back MPB for 1970. But by the time you make your way a few cuts in, on the track “Tribute to Victor Manga,” you realize this is an extraordinary album. With vocals that are often in tension with the lush and careful arrangements, with a lot melodic interplay, and with sharp, crisp and always-interesting production, and anchored in the tight rhythm-section of Luizão Maia and Paulo Braga, this is one of the best put-together Brazilian albums of 1970. This is no accident, as Adolfo is probably most famous as an arranger, although for those of us who compulsively read writing credits will have noticed his name cropping up on records by the likes of Toni Tornado (his biggest hit, “B.R. 3”, was penned by Adolfo), Wilson Simonal, and even Elis Regina. On this album, tracks like “Que se dane” with its sarcastic lyrics and funky-as-hell Wurlitzer sounds give way to even stranger pieces like ‘Atenção, atenção!” and the barbs of ‘Transamazonica’. Some very groovy female vocals all over this too. Adolfo would make more ‘respectable’ music of a jazz variety in the later seventies, and these days he runs his own music school and still puts out records every now and again.

The Rhodes electric piano on this album is off the hook. And as Simon says, there is never enough Rhodes in the world..

Dusty Groove says
A lost treasure from Antiono Adolfo — keyboard player, arranger, and one of the greatest Brazilian talents of his generation! Adolfo’s sound and style is contemporaneous with the best work of Marcos Valle, Edu Lobo, and others — and like them, he has an approach that mixes together jazz, MPB, baroque orchestrations, easy scoring, and a bit of funk — similar to the best work of the Blue Brazil generation on EMI/Odeon Records. The approach is one that’s rarely been matched by any other artist — and it’s a strong reason why Adolfo’s records from this period are extremely sought after in the world of collectors. This beautiful album from 1970 has Adolfo working with the group A Brazuca — who bring some wonderful vocal harmonies to the set, mixing with strings, guitars, and some great electric piano work from Adolfo. Includes the breezy classic “Transamazonica”, plus the cuts “Que Se Dane”, “Atencao Atencao”, “Claudia”, “Panorama”, “Tributo A Victor Manga”, “Caminhada”, “Grilopus No 1”, and “Cotidiano”.

 

Adolfo’s bio in English from his own page:

Antonio Adolfo is an important composer, having written songs recorded by Nara Leao, Marisa Gata Mansa, Angela Ro Ro, Wilson Simonal, Ivete Sangalo, Leci Brandao, Emilio Santiago, Beth Carvalho, Sergio Mendes & Brasil ’66, Stevie Wonder and Herb Alpert among others. Adolfo also had a noted role in the process of making important music available through independent production, through the creation of the pioneer independent label Artezanal. His recordings of important and almost-forgotten composers of the belle epoque, like Chiquinha Gonzaga, Ernesto Nazareth and Joao Pernambuco, are noted cultural initiatives. As an arranger, he worked for Leci Brandao, Angela Ro Ro, Elizeth Cardoso, Emilio Santiago, Fatima Guedes, Marcos Valle, Mongol, Nara Leao, O Grupo, Ruy Maurity (his brother), Sueli Costa, Vinicius Cantuaria, Rita Lee, Zeze Motta, and others.

The son of Yolanda Maurity, a music teacher and violinist of the orchestra of the Teatro Municipal do Rio de Janeiro, Antonio Adolfo began to study music very early. At seven, he began his violin studies with Paulina D’Ambrozzio. At 15, he took up piano, studying with Amyrton Vallim and with the internationally renowned Eumir Deodato. In 1963, he joined the group Samba Cinco, which performed in the famous Beco das Garrafas on Rio’s 52nd street. In 1964 Adolfo was invited by Carlos Lyra and Vinicius de Moraes to be a musician for their play Pobre Menina Rica (at Teatro de Bolso), beginning to accompany important names of MPB. Adolfo formed the group 3-D for that gig, and continued to perform with it until 1968, having recorded four LPs. In that year, he became acquainted with Tiberio Gaspar, with whom he wrote important songs such as “Juliana,” “Sa Marina,” “Teletema,” and “BR-3.” “Caminhada” made it to the finals of the II FIC (Rio’s International Song Contest), 1967. The next year, Wilson Simonal recorded “Sa Marina” with success. In that year “Visao” was included in the III FIC. In 1969 Adolfo accompanied Elis Regina in her tour through Europe. Back to Brazil in the same year, he wrote music for soap operas and participated in the IV FIC (1969) with “Juliana” (written with Tiberio). The song was defended by Adolfo’s group A Brazuca, and took second place. With that group he toured Brazil and Peru, recording two albums through Odeon. In 1970, “Teletema” (with Tiberio) took second place in an International Festival (Song Olympiad) in Athens, Greece, in Evinha’s interpretation, which achieved popular success also in Brazil. “BR-3” won the national phase of the V FIC, in Toni Tornado’s interpretation. In 1971 Adolfo moved to the U.S.. In 1972 he returned to Brazil, beginning to write alone, and recording Antonio Adolfo (Philips). In that year he studied with David Baker at Indiana University. Adolfo was a member of the band that backed Elis Regina in two European tours, finding time in between for a stint with the classical Nadia Boulanger, having studied also with Guerra Peixe and Esther Scliar. Back in Brazil, he developed his career as pianist, arranger, and producer. But even more deserving of attention is his work as a pioneer in the independent production field, which awakened artists and public to the necessity of opening alternative routes to non-commercial productions. In 1977 he launched his independent label Artezanal with the album Feito em Casa, with only originals. Encontro Musical, released in the same year, brought again originals and only one song, “Sa Marina,” written together with Tiberio. The album had the participation of Joyce and Erasmo Carlos. Viralata (1979) had mainly originals, and Continuidade had special guests. The albums were propelled by shows throughout Brazil, together with artists like Tiao Neto, Vitor Assis Brasil, Carmelia Alves, Oswaldinho do Acordeom, Alaide Costa, Sidney Miller, Walter Queiroz, and Danilo Caymmi, among others. In 1984 Adolfo released through the label Funarte a tribute album dedicated to the compositions of Joao Pernambuco, with participation of No em Pingo D’agua. In 1985 he paid tribute to Chiquinha Gonzaga, a seminal Brazilian female conductor, pianist, and composer, interpreting her songs in Viva Chiquinha Gonzaga, with participation of Nilson Chaves and Vital Lima. The album Os Pianeiros is dedicated to belle epoque piano composers. In the same year he participated in the first Carioca experience of teaching popular music/jazz in the Centro Calouste Gulbenkian, together with Pascoal Meirelles, Helio Delmiro, Ary Piassarollo, Paulo Russo, and others. Seeing the potential of the sector, he opened his Centro Musical Antonio Adolfo, also developing workshops in the U.S. and Europe. Adolfo published music education material in Brazil and abroad, including the video Secrets of Brazilian Music and two books with companion CD Brazilian Music Workshop (1996) and Phrasing In Brazilian Music (2007), both published by Advance Music, together with seven other books through Lumiar publishing (Brazil). In 1996 he received the Premio Sharp award for his instrumental composition “Cristalina,” from his album Cristalino (1993). In 1997 released Chiquinha com Jazz (Artezanal), which also was awarded the Premio Sharp, and so was the album Antonio Adolfo. Since then Adolfo released the CDs Puro Improviso, Viralata, Feito em Casa, Os Pianeiros, Carnaval Piano Blues and Anatonio Adolfo & Carol Saboya Ao vivo/Live, this one was released both in Brasil and in the US.

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