Hamilton de Holanda Trio Celebrates The Music Of Jacob do Bandolim

Jacob do Bandolim (14.02.1918 - 13.08.1969)

This year Brazil celebrates the Centennial of Jacob do Bandolim, the great master of choro mandolin. Some official events have already been settled and more will follow during 2018 paying homage to the musical legacy of Jacob do Bandolim. Among other musicians, who lead the legacy of Jacob further, is Hamilton de Holanda . Hamilton de Holanda has just released a set of 12 recordings celebrating the music of Jacob do Bandolim, issued by the Brazilian Deckdisc label as digital download and in the vinil LP format

Hamilton de Holanda Trio - Jacob 10ZZ (Deckdisc, 2018)

Hamilton is accompanied by Guto Wirtti (acoustic bass) and Thiago da Serrinha (percussion), and the title of the disc refers to the 10 string bandolim used by Hamilton as well as the word jazz. Hamilton explains further in the notes published at his blog, quote "I looked for a title with few letters and a direct sound that could give meaning to the conception of this work. It's Jacob's choro with a hint of jazz. Not necessarily all tracks are of this genre, but they have this way of playing, which uses a lot of improvisation and solos created at the time of recording. The name summed up the spirit of the album well" - The disc has 12 tracks, ten of them featuring compositions by Jacob do Bandolim and the remaining two are a composition by Jacob's son, Sérgio Bittencourt, who wrote the tune titled Naquela Mesa following Jacob's death in 1969, and Hamilton's own Serenata Jacarepaguá composed in studio during recording of the disc, a homage to the location in Rio da Janeiro where Jacob lived and opened his house for the famous choro meetings which helped this music to evolve and survive during a difficult time in Brazil. The twelve recordings have all been uploaded by Deckdisc at YouTube in the audiovideo format, below I'll insert some examples to give you an impression of this great project production, which will be followed by more later this year according the info at Hamilton's blog. Hamilton uses Jacob's unique 10 stringed bandolim in all tracks, it's the first time this instrument has been recorded.

Hamilton de Holanda with Jacob's 10 string bandolim (photo by revistadachoro.com)

The recorded repertoire of tunes by Jaob do Bandolim comprises both well known compositions like Remelexo, Alvorada, Assanhado and Mágoas, a.o. and lesser known tunes, even some of which Jacob did not record himself (Saracoteando). Here is first Hamilton de Holanda trio performing Alvorada

Next is a rendition of Jacob's Assanhado, a tune attributed the term choro-jazz by many critics, Hamilton convincingly demonstrates inspiration from modern jazz improvisation in this recording of the tune

Another up-tempo composition by Jacob do Bandolim is Bole-Bole, a samba-choro first recorded on a 78 rpm by Jacob in 1951. Here is the version recorded by Hamilton de Holanda trio

As mentioned above the twelve recordings by the Hamilton de Holanda trio are the first in a series of recordings featuring the music of Jacob do Bandolim in a contemporary interpretation by one of Brazil's greatest bandolim players. You have the opportunity to listen to all tracks at YouTube, here or at streaming audio services like Spotify a.o. - the vinil version has not yet been released outside Brazil, I think. - To end this small presentation of the project, here is Hamilton's Serenata Jacarepaguá 

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Jo

keepitswinging.domain@gmail.com

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Dexter Payne Quartet + 1 - Pra Você

Dexter Payne

Since the bossa nova wave hit the music scene in the U.S.during the 1960s there has been a growing interest in Brazilian music traditions among non-Brazilians, some of this interest naturally generated inspiration in musicians to further explore the vast musical landscape of Brazil. Clarinetist Dexter Payne is an example of a musician who has seriously devoted his interest and skill to explore and incorporate Brazilian music in his own musical repertoire with success. According to his website, Dexter Payne went on a walk-about playing with bands and artists from Tijuana to Buenos Aires, during this odyssey he stayed in Brazil for ten months where he recorded with samba vocalist Beth Carvalho and met composer and percussionist Thiago de Mello with whom he collaborated and recorded four acclaimed CDs (- more info on Dexter Payne's CDs, here ). Back in the U.S. he founded his own quintet that has specialized in Brazilian instrumental music from samba and choro to baião and other traditions from the Northeast of Brazil. Earlier this year this ensemble released a CD titled Pra Você (- in English meaning 'for you') that is in focus here.

CD front: Pra Você, DEXOFON 1401

The shown CD was recorded in 2012 and Dexter Payne (clarinet) is accompanied by Bill Kopper (guitar and 7-string guitar), Dave Willey (accordion), Raoul Rossiter (drums, pandeiro) and Victor Mestas Pérez (piano), all very competent musicians with a deep understanding of various Brazilian instrumental music genres. There are nine tracks on the CD and the over-all impression of the performed music is an uplifting experience. The music clearly reflects the gafiera repertoire and atmosphere, the genuine Brazilian ball-room tradition of danceable instrumental music with roots in samba and choro - a well known example of this music style is the gafieira jazz project initiated by pianist Cliff Korman in collaboration with Brazilian clarinetist Paulo Mouro a.o., read more here.

Clarinetist Dexter Payne

Dexter Payne and his musicians pay tribute to one of the originators of the gafieira tradition on the CD, Severino Araújo, recording their version of Araújo's 'Chorinho pra você'. Zeca Freitas' 'Alma Brasileira' introduces the CD and the lighthearted atmosphere of the disc, and there are further two famous choros by Jacob do Bandolim, 'Doce de coco' and 'Assanhado', the last mentioned in a new arrangenment, 'Conversa de botequim' by samba composer Noel Rosa, three modern pieces: 'Sampa' by Caetano Veloso, 'Playground' by renowned guitarist Nelson Faria, 'Lembrei do Ceará' by composer, accordionist Marcelo Caldi and finally an example of the collaboration between Dexter Payne and Thiago de Mello, 'No Wolf at the Door'. - Below I'll insert some examples of the recorded music that has been uploaded on YouTube. The CD is available for purchase here, and you have the opportunity to listen to all tracks in streaming audio here 

Dexter Payne (cl), Victor Mestas Pérez (p), Bill Kopper (g), Dave Willey (acc)

As mentioned above, the CD takes off with Zeca Freitas' 'Alma Brasileira', here recorded live in a concert last year featuring guest performer Mitchell Long on electric guitar

The tune 'Playground' by Nelson Faria was recorded live in an intimate video-performance

Finally, from the same intimate session here is Dexter Payne Quartet + 1 performing Caeteno Veloso's 'Sampa'

The music presented here are great examples of the Brazilian influence on skilled musician like Dexter Payne and his quintet, and the CD is well worth lending your attention for listening and dancing celebrating the new year in a couple of days ahead.

A Happy New Year 2015 to all readers of the blog - and thanks for your support so far!

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Jo

keepitswinging.domain@gmail.com

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The Record Debut of Laurindo Almeida

Laurindo Almeida

Choro, samba and other popular music genres of Brazil often seem to be categorized as 'Latin', when you browse through career profiles of artists in various sources available at the web or in short articles in printed books designated to give an overview of the musical background of a certain artist. This procedure seems to be the norm regarding musicians having their main career in jazz or popular music in the USA, however, the word 'Latin' does not state the tradition of the various musical sources supposed to be contained in the concept - in short, the 'Latin'-word is unclear and without a precise meaning, making the word easy to use by journalistst and writers appealing to a public more interested in the colour of the underwear of the artist than the musical background.

I was reminded of this, when I tried to look up information in English about the early career of Laurindo Almeida (1917-1995), the well-known Brazilian guitarist having his main career in the USA. In the general comprehension, Almeida is known as a 'Latin' guitar player, who had his breakthrough in the USA late 1940s as a member of Stan Kenton's big band, later in the 1950s he would be the first to inspire jazzmusicans to be interested in Brazilian music styles through a co-operation with Bud Shank, with whom Almeida made some now famous recordings in 1951,introducing 'jazz samba' to an American public. When Almeida moved permanently to the USA mid-1950s, his career spanned both jazz, classical and popular music - his work as a composer, arranger and guitarist during his American career is impressive, he made more than 800 compositions and participated in a great number of recordings - info about this chapter of his career is easily found in articles written in English. Anyway, here I like to put some focus on his early career in Brazil by pointing to his first recording under his own name, made 1938.

Laurindo Almeida (1917-1995)

Laurindo de Almeida was born 1917 in a small town in the state of São Paulo as a member of a large musical family. His father held an occupation as a railroad worker, but spent his leisure time as an amateur musician participating in serestas (- in English: serenade sessions). His mother was an amateur pianist, who taught Laurindo the basics of music, and a sister taught him to play the guitar in secret, an instrument he was attracted to already as a kid. At the age of 12 he would accompany his father and brothers in the serestas, by 15 he moved to São Paulo to seek his fortune as a musician and to take part in the political riots of the city. In 1932, he met and got aquainted with Garoto (Anibal Augusto Sardinha) while staying at a hospital, and they would later become partners, when Laurindo moved to Rio de Jainero and in 1936 joined as a staff musician at Rádio Mayrink Veiga. Garoto and Laurindo worked together as studio musicians accompanying various popular artist of the time, i.e. Carmen Miranda, and they also recorded together as a duo accompanying other vocalists and instrumentalists.

Laurindo Almeida and Garoto in Rádio Mayrink Veiga studio, c.1936-37
(photo courtesy by Jorge Carvalho de Mello)

Together with guitarist Gastón Bueno Lobo and Garoto Laurindo had success with programs at Rádio Mayrink Veiga performing as Conjunto Hawaiano for some time, displaying a string ensemble influenced by the Hawaiian way of playing the (slide) guitar, probably inspired by the experience of Gastón Bueno Lobo, who had had success playing the Hawaiian slide guitar with Oscar Alemán in Argentina and Europe some years earlier in the Les Loups duo. In 1938, Laurindo and GB Lobo had a co-work as composers of the choro Inspiracão, which was recorded for Odeon on a 78 rpm with GB Lobo playing the lead on Hawaiian guitar accompanied by Laurindo on guitar and Tute, seven string guitar. 

The flip-side of this record (Odeon, 11649-A) contains the first recorded solo by Laurindo Almeida under his own name of his composition Saudade que passa, a waltz that reflects the tradition of choro as the background of Laurindo Almeida's musical language.

The inspiration from choro is also very significant in Almeida's later work, here's an example of a solo version of his composition Braziliance to end this intro to Almeida's mostly unknown record debut in Brazil - enjoy!

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Jo

keepitswinging.domain@gmail.com

Laurindo Almeida is a well known Brazilian guitarist who had his main career in USA both as a composer, jazz guitarist and as a performer of classical guitar music. However, in general reference literature in English there is generally not much information about his early career in Brazil. This entry sets focus on his debut recording under his own name made 1938 in Brazil.

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In Memory of Jacob do Bandolim (1918 - 1969)

Jacob do Bandolim

Jacob Pick Bittencourt - better known as Jacob do Bandolim - was born February 14, 1918, in Rio de Janeiro and passed away August 13, 1969, Rio de Janeiro. Jacob do Bandolim is one of the most important figures in Brazilian choro, and he has left a legacy of recordings and more than 100 compositions which will secure him a place among the best and most respected Brazilian musicians forever. He had his nickname after the instrument he devoted his musical skills - the bandolim is the Brazilian issue of the mandolin, - and he was the originator of a way of playing the bandolim, which has been adopted by countless other bandolinistas in Brazil and elsewhere. Jacob do Bandolim had a profound impact on generations of choro musicians - not only through his work as a musician and composer, but also as a researcher of choro and as a radio and TV host of programs devoted to choro and live performance by both amateurs and professional musicians excelling in this kind of music and related genres. Further, Jacob do Bandolim also arranged informal choro gatherings ( - rodas de choro) at his home and invited special guests to participate and help refining, sharing and evolving musical ideas, a tireless and demanding effort that at times would last for days and nights. All this work was a full time job, nevertheless Jacob do Bandolim had to support his financial income through a 'day job' as an insurance agent or street vendor until the State Govenment secured him employment as a civil servant with a steady income towards the end of his life. Jacob do Bandolim was a victim of a heart attack on August 13, 1969, he died on his way home from a visit to Pixinguinha's house where he had discussed and planned new musicial projects with his mentor and friend. - A more detailed profile of Jacob do Bandolim's career is available here and the official website in Portuguese devoted to everything regarding Jacob do Bandolim can be reached here.

Jacob do Bandolim, c. 1950

Jacob do Bandolim recorded his first session featuring César Faria e seu conjunto in October 1947, only two sides were recorded and released on a 78 rpm disc. A choro by Jacob, Treme-treme, was on the A-side

In 1951 Jacob do Bandolim started recording for RCA and was backed by musicians, who had been members of flutist Benedito Lacerda's ensemble, now lead by the cavaquinho player of the grounp called Regional do Canhoto

Jacob and Regional do Canhoto, 1950s

In 1951 Jacob recorded his choro Doce de coco with Regional do Canhoto, a composition that since has been part of the standard choro repertoire

Jacob recorded several sessions with Regional do Canhoto from 1951 to 1961, in 1957 he recorded the choro Noites Cariocas, an all-time hit since then associated with Jacob and the nightlife of Rio

In 1965 Jacob formated his most famous group, Epoca de Ouro, featuring members that had backed him since start of the 1960s under other names such as Jacob e seus chorões and Jacob e seu regional

Jacob and Epoca de Ouro, 1960s

Jacob and Epoca de Ouro had their greatest success with the 1967 recording of the RCA LP-album titled Vibrações, the title track of this album is another choro by Jacob, which forever is associated with him and the spirit of Brazilian choro

After Jacob do Bandolim's untimely death in 1969 the Epoca de Ouro ensemble dissolved, but the group reunited in 1973 and had a profound impact on the revival of choro in Brazil during the 1970s. The Epoca de Ouro is still an active choro ensemble today with new members in the group taking over and continuing a tradition and reliving a body of musical works associated with Jacob do Bandolim and his legacy.

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Jo

keepitswinging.domain@gmail.com

Jacob do Bandolim is a name and figure in Brazilian popular music, who is closely associated with his instrument and the choro music tradition. Jacob do Bandolim sat new standards both regarding the consept of playing  the bandolim and in choro music history. It is now 45 years since Jacob's untimely death, but his legacy lives on and is taken good care of by countless followers of the tradition he initiated, not only in Brazil but worldwide. This entry gives a short view of some of Jacob do Bandolim's recorded musical highlights through his career.

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Pixinguinha and Choro Day

Pixinguinha (1897-1973)

Alfredo da Rocha Vianna Filho (1897-1973), better known as Pixinguinha, was a choro composer, arranger, flutist and saxophonist born in Rio de Janeiro. Through the legacy of the
pioneering choro composers of the 19th century and of the Afro-Brazilian tradition, Pixinguinha produced some of the most important choro works of all time. His work as a composer, bandleader, flutist/reedplayer and originator
of the choro genre is of invaluable importance, historically and from a musical point of view. The work of Pixinguinha may be considered important at the same level as the work of initial American jazz composers like Duke Ellington - both helped shaping a musical form that had success nationally and internationally.

The name and legacy of Pixinguinha is kept well alive in Brazil, in September 2000 President Fernando Henrique Cardoso signed an official document to announce April 23th the National Day of Choro in Brazil in honor of Pixinguinha. Every year since then choro has been celebrated officially on the 23th of April through countless events in Brazil and around the world where Brasilian culture is a part of the local community. Let's follow this tradition and celebrate the day by playing some choro music by Pixinguinha.

Os Oito Batutas (c.1922-23)

Pixinguinha demonstrated ability on both flute and cavaquinho as a kid and started composing at an early age. By the age of 14, he had composed his first choro, 'Lata de leite', and was already an accomplished flute player. In 1913, he made his first choro recordings, and by the time he was 15, he was playing professionally - at 18 he was one of the most popular musicians and choro composers in Rio de Janeiro. In 1919, Pixinguinha formed the legendary Os Oito Batutas (- meaning 'The Eight Remarkable Players' in English). The group consisted of flute (- and later saxophone), guitars, cavaquinho, bandolim, bandola, pandeiro and assorted percussion. - Led by Pixinguinha, Oito Batutas was formed to entertain the audience of Rio's prestigious Cinema Palais in its foyer. Opening on April 7, 1919, the group was a success from its debut. The Carioca élite were taken by surprise by the repertory of maxixes, sertanejo songs, batuques, cateretês, and choros. In 1920, the group performed for the King of Belgium and in the next year they toured Brazil. Returning to Rio, they went to play at the luxurious Assírio Club, accompanying the dancing duo Duque & Gaby. In January 1922, the group departed for Paris, France, financed by millionaire Arnaldo Guinle. Introduced as Les Batutas at the Scherazade club, they performed there for six months with great success. - Also in 1922, they left for Argentina, performing at the Empire Theater (Buenos Aires) and recorded 20 sides for the Argentinean Victor label. Upon their return to Brazil in 1923, they diminished their performances until they soon dissolved the group. - Among the recorded material by Oito Batutas there was a composotion by initial guitar choro originator, João Pernambuco, who was a member of the group for some time - here his choro 'Graúna' is performed by Pixinguinha on flute accompanied by the Batutas 

In the late 1920s, Pixinguinha was hired by RCA Victor to lead the Orquestra Victor Brasileira, and during his tenure there he refined his skills as an arranger. It was common for choro musicians at the time to improvise their parts based on a simple piano score, but the growing demand for radio music from large ensembles required fully realized written scores for every instrument, and Pixinguinha was one of the few composers with this skill. It was in this role that he created some of his most famous compositions, i.e. 'Lamentos' and 'Carinhoso' - Here is inserted the original recording of 'Lamentos' from 1928 

Benedito Lacerda (flute), Pixinguinha (saxophone), c. 1940

In 1939, Pixinguinha left Victor to join flautist Benedito Lacerda's band, where he took up the tenor saxophone as his primary instrument and continued to compose music for the group. Lacerda's band was a conjunto regional, the name given to in-house bands hired by radio stations to perform music and accompany singers, often live in front of a studio audience. It was with Lacerda that Pixinguinha began another fertile period of composing and recording. Due to economic troubles as the regionais fell out of favor in the late 40s, Pixinguinha had to sell the rights to his compositions to Benedito Lacerda, who for this appears a co-composer of many of Pixinguinha's tunes, even those composed while Lacerda was still a boy. In the recordings with Lacerda, Pixinguinha plays secondary parts on the saxophone while Lacerda plays the flute part on tunes that Pixinguinha originally wrote on that instrument. - Here's an example of the co-work between Pixinguinha and Lacerda, the recording of Pixinguinha's choro 'Vou vivendo' (1946)

By the mid 1950s, changing tastes and the emerging popularity of samba and American jazz in Brazil led to the decline of the choro regional as other genres became dominant on the radio. Pixinguinha spent his time in retirement, appearing in public only on rare occasions. - Here's a rare film from this period showing Pixinguiha and his conjunto playing his famous choro 'Um a zero' - enjoy!

Pixinguinha's music continues to inspire and challenge musicians of all kind to play their version of his famous compositions, here's a new uploaded video showing the harmonicaplayer Vitor Lopes performing 'Lamentos' as a solo piece to end this small celebration of Pixinguinha and Choro Day

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Jo

keepswinging@live.nl

Alfredo da Rocha Vianna Filho (1897-1973), better known as Pixinguinha, was a choro composer, arranger, flutist and saxophonist. Pixinguinha produced some of the most important choro works of all time. His work as a composer, bandleader, flutist/reedplayer and originator of the choro genre is of invaluable importance, historically and from a musical point of view. The name and legacy of Pixinguinha is kept well alive in Brazil, in September 2000 Pixinguinha's birthdate on the 23th of April was officially announced the National Day of Choro in Brazil, which has been celebrated every year through various events both in Brazil and other countries since then.

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Rio, Choro, Jazz - A Contemporary Tribute To Ernesto Nazareth

2013 was the 150th Anniversary of the famous Brazilian composer and pianist Ernesto Nazareth, who is considered one of the fundamental sources of Choro - a genuine Brazilian musical artform. The 150th Jubilee of Ernesto Nazareth was celebrated all over Brazil through various events, festivals and new recordings. A renewed interest in the works of Ernesto Nazareth has also resulted in an amazing resource website (- in Portuguese language only), directed and produced by the tireless researcher and pianist Alexandre Dias in co-operation with Instituto Moreira Salles in Rio de Janeiro, to be reached clicking here

Ernesto Júlio Nazareth (1863 - 1934) was born in Rio de Janeiro and learned to play the piano as a child with his mother. After her passing away in 1873, Ernesto continued his piano studies and began composing. His first piece, the polka "Você Bem Sabe" was written and published when he was just 14 years of age. He had and open ear for the popular music beeing played in the streets and favoured by choro musicians, his own works for piano were influenced by maxixe, lundu, habañera and choro. Nonetheless, as a classical musician he would not allow such popular denominations into his own music, instead he would classify his pieces as i.e. 'Brazilian tangos'. - Nazareth worked as a pianist at the prestigious movie theater Odeon of Rio de Jainero, where he wrote one of his most famous compositions, "Odeon". Many musicians would go to the Odeon theater just to see and hear Nazareth play. Later he got a job at a music shop to support his living and growing family, there he was hired to play the sheets asked for by customers. Among the music sheets were his own compositions and according to some sources he was very demanding towards people, who themselves would try to play his pieces, frequently telling the possible buyer to interrupt the performance! - By the late 1920'ies Nazareth began facing hearing problems that worsened towards the end of his life. A depression following the passing away of his daughter and wife intesified the decay of his mental health - he was hospitalizied in 1933 and died the following year. - Ernesto Nazareth left a legacy of compositions favoured by both classical and popular musicians. His first composition labeled 'choro' is "Apanhei-te Cavaquinho", other well-known pieces are "Brejeiro", "Ameno Resedá", "Bambino", "Dengoso", "Travesso", "Fon Fon" and "Tenebroso". Nazareth's popular works remain a core repertoire of Brazilian choro, performed by numerous artists in various settings to this day. His extensive work is composed of more than 200 pieces.

CD cover: Rio, Choro, Jazz ... AAM Music, 2014

A new CD by the Brazilian pianist, composer, arranger and producer Antonio Adolfo is a tribute to the music of Ernesto Nazareth recorded last year and released a couple of weeks ago at Adolfo's own label, AAM Music. The CD has ten tracks, nine of them are compositions by Nazareth and the title track is a new composition by Antonio Adolfo, a contemporary interpretation of the different musical influences that are the inspiration of this project: choro and jazz. The musicians taking part in the recorded ten tracks are: Antonio Adolfo (piano, arranger), Claudio Spiewak (guitars), Jorge Helder (bass), Marcelo Martins (flute, soprano saxophone), Rafael Barata (drums, percussion) and Marcos Suzano (percussion). - The nine featured compositions by Nazareth are "Feitiço" (1897), "Brejeiro" (1893), "Fon-fon" (1913), "Tenebroso" (1913), "Não caio noutra" (1881), "Coração que sente" (1903), "Cuéra" (1912), "Nenê" (1895) and "Odeon" (1909) - the audio of the last mentioned in Antonio Adolfo's new arrangement has been uploaded at YouTube

What caracterizes Adolfo's interpretations of Nazareth's music is the freedom of improvisation, an element exposed in both choro and jazz, here in a contemporary form that may be considered a hybrid between the two genres. The result is neither traditional jazz nor choro, but a mixture that blows fresh air into Nazareth's musical themes through be bop inspired improvisation - in the liner notes Adolfo mentions Bill Evans as an inspiration working with the arrangements featured on the disc.

Antonio Adolfo

Antonio Adolfo (b 1947) grew up in a musical family in Rio de Janeiro and began his studies at the age of seven. At seventeen he was already a professional musician. His teachers include Eumir Deodato and Nadia Boulanger. During the 60's he led his own trio and toured with singers Elis Regina and Milton Nascimento. Adolfo wrote tunes that gained great success and have been recorded by such artists as Sérgio Mendes, Stevie Wonder, Herb Alpert, Earl Klugh, Dionne Warwick, and others. He won International Song Contests on two occasions. As a musician and arranger he has worked with some of the most representative Brazilian names, besides having released several albums. In 1985 he created his own school of music in Rio de Janeiro. Currently he is conducting a music school in Hollywood and teaches Brazilian music and jazz. More info on Antonio Adolfo's career at his official website, here 

Antonio Adolfo, photo by Paul Constantinides

The new arrangements of Nazareth's music by Antonio Adolfo continue and extend a longtime fascination with the founders of Brazilian Choro music, Adolfo released another CD featuring music by Nazareth and Chiquinha Gonzaga in 1991 and he has participated in other choro and jazz projects in Brazil as well. To end this small review of the new CD, here's another audio take from the CD uploaded at YouTube, Nazareth's "Fon-Fon"

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Jo

keepswinging@live.nl

The new CD by Antonio Adolfo, renowned Brazilian pianist, composoer, arranger, producer and educator, sets focus on 

the music of initial Brazilian Choro composer Ernesto Nazareth. The ten tracks feature nine pieces composed by Nazareth in new arrangements by Antonio Adolfo leaving space for improvisation that draws inspiration from both choro and modern jazz, the tittle track reflects the mixture of both choro and jazz in a contemporary concept of the hallmarks of both musical genres. The CD is produced by Antonio Adolfo and released at his own label, AAM Music and is available for purchase at Amazon and other online retailers, recommended.

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