ANTÔNIO ADOLFO (Rio de Janeiro, February 10, 1947)

            Antônio Adolfo Maurity Sabóia, who was a teenager, took up an ear piano course (which aroused his taste for this instrument), which was created in the Santa Teresa district, a traditional stronghold of artists. And went on to study classics with a musician, colleague of his violinist mother in the orchestra of the Municipal Theater of Rio. In the 60s, enturmado in the ambience bossanovista of the historical Beco of the Bottles, after forming the Trio 3-D, with Nelson Serra (battery) And the Argentine Catcho Pomar (bass and vocals), recorded in 1964 the historical album Tema 3-D (RCA Victor label), playing piano and arranger, as well as making his debut as a composer in the track that gives the album its name. This one also had the special participation of drummer Dom Um Romão in classics such as Consolação (Baden Powell, Vinicius de Moraes) and The Death of a God of Salt (Roberto Menescal, Ronaldo Bôscoli).

With the success achieved, to the renewed balance of jazz samba, Antônio Adolfo released yet another two albums with the group, altering each edition, but with repertoire and notable performances of talented youngsters: The Trio 3-D Invites (RCA Victor, 1965), with special participation of Raul de Barros (trombone), Paulo Moura (alto sax), among others, and Conjunto 3D: Much Na Onda (Copacabana, 1967), including Beth Carvalho, Eduardo Conde Delmiro (guitar), besides the presence of the rhythmists Rubens Bassini and Jorginho Arena.
It was at this time that he met his future partner more constant, Tibério Gaspar (recently deceased), and soon emplaced a resounding success with the vibrant Sá Marina, played by Wilson Simonal in his LP Alegria, Alegria Vol. 2 (Odeon, 1968). The following year, the duo ranked 2nd in the IV International Festival of the Popular Song of TV Globo, with the song Juliana, defended by the group A Brazuca, with the singers Bimba and Julie and other musicians, accompanying their electric piano, a Rarity at the time. Also in that year, she released the LP Antônio Adolfo & A Brazuca (Odeon label), in the repertoire, evidently Juliana and new signatures with Tibério Gaspar, like Teletema, of great repercussion in the soundtrack of the novel Véu de Noiva, by Janete Clair (Rede Globo , 1969).
Adolfo and Tiberius returned to shine, in 1970, in the V International Festival of the Popular Song of TV Globo, when revealing the singer Toni Tornado that, in great performance loaded with improvisations and unusual dances (accompanied by Trio Tenderness, and of Antonio Adolphus to the piano ), Won the audience and the jury with the song BR-3, a waltz that turned into dizzying soul music. After releasing two more albums Antônio Adolfo & A Brazuca (Odeon, 1971), and Antônio Adolfo (Philips, 1972), in which he sings several new compositions, the composer felt the need to deepen his musical knowledge, traveling to the United States. Previously, he had worked with Nadia Boulanger, a French teacher and composer of classical music, and classes with maestro Guerra-Peixe. With David Baker, renowned composer and performer, author of several jazz books, he took a course at the Indiana University of Music.
Back in Brazil, in 1977, Antônio Adolfo went to independent production of his albums (with more elaborate songs), he created the label Artezanal, with historical release of LP Feito Em Casa, including pearls signed by him such as: Peace Day, Variations , Where are you going? (Voice of the author), The Lights Are Shining, with the participation of notable musicians, mentioning Danilo Caymmi and Franklin (flute), Jamil Joanes and Luizão Maia (bass), Marcio Montarroyos (trumpet), and more. The following year he performed at the Pixinguinha Project, along with Carmélia Alves and Oswaldinho do Acordeom.
Sequentially repeats the dose of the label Artezanal, always producing with the mastery of his piano and inspired compositions: Encontro Musical (1978) participations by Erasmo Carlos (voice) and Rildo Hora (harmonica) in Leve Como O Vento, by Joyce Moreno Voice) in Cançoneta; Viralata (1979) a festival of rhythms in pieces such as Cascavel, Paraíba do Sul, Bingo in My Flat, Northeast. Also in 1979, he returned to the Pixinguinha Project, this time accompanied by the Bahia singer Walter Queiroz and Danilo Caymmi.
Still on the label Artezanal, he edited the LPs Continuity (1980), with the presence of singers Emilio Santiago (Every Day That Passes), Silvio César (Leaves the Source to Drop), among others. Antonio Adolfo embraces Ernesto Nazareth (1981), in which he presents the choros Slipping, Dangerous, the tango Bambino "You Me Dá "(the lyrics of Catulo da Paixão Cearense, voice of Zé Luiz Mazziotti), the Expansiva waltz, with the presence of notable musicians Dino (7 string guitar), Jorginho (tambourine), Jacques Morelenbaum (cello), citing only a few; Viva Chiquinha Gonzaga: Antonio Adolfo abraça Chiquinha Gonzaga(1985), the folded carnavalesco Ó Abre Alas and the tango O Forrobodó (duetos of Vital Lima and Nilson Chaves), the song Lua Branca (with clarinet by Paulo Moura), the attractive polka (with the set Nó in Pingo d ' Water) are some of the gems played by the piano master.
In that year, he founded the Antônio Adolfo Musical Center, offering, in partnership with excellent professionals, courses in musical initiation for children and improvement in Harmony, Composition and Arrangement, as well as practical classes for various instruments. Already at the end of the 80's, by the label Som Livre recorded the album Cristalino, totally autoral, accompanied by musicians like Paulinho Braga (drums) and Nelson Faria (guitar), among which we can mention: Agitadinho, Floresta, Bom Dia, Ballad .
In 1996, he returned to the production of discs in the label Artezanal, now associated with the distributor Kuarup, releasing the Antônio Adolfo CD, with arrangements of his own, in concert of harmony and melody in the bands like Zabumbaia, Santo Expedito, Copacabana 54, rereading Instrumental of Juliana (partnership of Tiberius Gaspar), Cristalina (Sharp prize for better music) and Vento A Favor (lyrics of Abel Silva), these in the voice of daughter Carol Savoy. The following year, he returned to the studios to record Chiquinha with Jazz (Artezanal, Kuarup), when he repeated the repertoire of the 1985 LP with new interpretations and accompaniments, which earned him another Sharp award for best arranger in the instrumental category.
In 2005, another partnership Artezanal & Kuarup presented the remarkable CD Carnaval Piano Blues, which only the extreme sensitivity of Antônio Adolfo, could translate into solos and improvisational pianistic beauty exalted by the joy or sadness of bands like Pierrô Apaixonado (Noel Rosa, Hector (Pedro Caetano), Madureira Chorou (Carvalhinho, Julio Monteiro), Exaltation to Mangueira (Enéas Brittes da Silva, Aloysio Augusto), and Cachaça (Mirabeau, Heber Lobato, Lucio de Castro, Marinósio Filho) Da Costa), Remembering Is Living (Aldacir Louro, Aloysio Marins, Adolpho Macedo). Masterpiece! Pure poetry! Again with Carol Saboya, she released Live: Antônio Adolfo and Carol Saboya (Kuarup, 2006), recorded live on the University of Miami / USA Campus and Lá e Cá - Here and There: Antônio Adolfo and Carol Saboya (Saladesom Records, 2010 ), Including American classics, national and copyrights.
In the following year, in independent production, Antonio Adolfo recorded Chora Baião, with emphasis on Node Na Garganta (Guinga), Chora Baião and Chicote (author), Gota d'Água (Chico Buarque), among other precious things. In 2014, Adolfo paid another tribute to the immortal Ernesto Nazareth, with the irreplaceable CD Rio, Choro, Jazz ... (AAM Music), which starts with the track of his own, naming the disc and features Nazareth compositions less Known as Spell, Do not Fall In Another, Heart That Feels, Nene, and other renowned. In the same year, in an exuberant phase of the composer and performer, the Deck Disc label released Antonio Adolfo's Piano, an exciting journey, from the first to the last chord, to feast on Coconut Jam (Jacob do Bandolim), All The Things You Are (Jerome Kern, Oscar Hammerstein II), Sonorous (K-Ximbinho, Del Loro), Naive (Pixinguinha, Benedito Lacerda), Catavento E Girassol (Guinga, Aldir Blanc), and more. To always hear!
His latest work Antônio Adolfo: Tema (AAM Music, 2015), recorded in the United States, recreates with jazz notes and musicians from the carat of Armando Marçal (percussion), Jorge Helder (bass), Marcelo Martins (tambourines) Alegria For All compositions (with Tibério Gaspar), Nature and Every Day (those with Xico Chaves), Trem da Serra.
Antônio Adolfo, an indisputable master of the piano, combines technique and heart, in peculiar compositions of extreme good taste, with his elegant touch, creative, popular and erudite, consecrated internationally.

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