{"id":4774,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/mario-adnet-jobim-jazz\/"},"modified":"2011-01-01T22:21:10","modified_gmt":"2011-01-01T22:21:10","slug":"mario-adnet-jobim-jazz","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=4774","title":{"rendered":"Mario Adnet &#8211; Jobim Jazz"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" src=\"stories\/..\/storypix\/JobimJazz.jpg\" height=\"120\" width=\"120\" align=\"right\" border=\"1\"\/><font size=\"3\" color=\"Blue\" face=\"Verdana\" style=\"font-face:verdana; font-size:16px\"><strong>Mario Adnet<\/strong><\/font>  <br \/><font size=\"2\" color=\"Blue\" face=\"Verdana\" style=\"font-face:verdana; font-size:14px\"><strong>Jobim Jazz<\/strong><\/font>    <font face=\"Verdana, Helvetica\" color=\"#000000\" size=\"1\" style=\"font-face:verdana; font-size:11px\"><br \/>(Adventure Music &#8211; 2007)<br \/> by Mark Ruffin<\/p>\n<p><\/font>  <font size=\"2\" style=\"font-face:verdana; font-size:13px\" face=\"Verdana, Helvetica\">  Mario Adnet last name looks like some kind of on-line ad agency, ad-net, but my Brazlian friends assure me it is Adnet.  He is a guitarist and historian of what is called <strong>samba jazz.<\/strong>  It&#8217;s samba with more meaty brass arrangements and harder edged improvisation than most samba music that comes out of Brazil.  The biggest proponents of the style are composers <em>Antonio Carlos Jobim<\/em> and  <em>Moacir Santos<\/em>, who was in the midst of an artistic comeback when he died last summer at the age of 80.  Adnet was Santos&#8217; right hand for the last six years of his life, and was one of the main forces behind that <strong>Jobim Symphonic project<\/strong> from two years ago.  Clearly, the sonic legacy of both men is clearly safe in the hands of this gifted arranger.     <\/p>\n<p>  However&#8230; this is not just another Jobim tribute record, it&#8217;s part of a historic documentation of rare Jobim songs, some making their North American debut.  These beautiful gems only confirm what we already know; few people in the world can craft as beautiful a melody as Antonio Carlos Jobim.. just take a listen to <em>Paulo Free Flight<\/em> and you&#8217;ll hear the wordless vocals of Brazilian vocalist Joyce and some Stan Getz like sax riffing.  The song, written in 1983, was from a Brazilian movie Gabriela and was inspired by his son Paulo Jobim.    <\/p>\n<p>   A lot of this album sounds like Brazilian movie music because it is from Brazilian movies Jobim scored, and also from a track from the only non-Brazilian music he scored.  Some of it sounds almost like music from a  Fellini movie music in its whimsicalness and punchy brass.    There are Jobim standards too like <em>So Danco Samba, Stone Flower<\/em>, which was made famous by Carlos Santana and <em>Orpheus Frevo<\/em> from the most famous movie with Jobim songs, Black Orpheus.       <\/p>\n<p>   But again for me it&#8217;s these unearthed Jobim melodies that really attract me to this album, like <em>Syncopated Sunday<\/em> featuring Nailo Proveta on sax.  Other names on this CD that may be known to American (besides Joyce) include the fabulous guitars of <strong>Romero Lubambo<\/strong> from Trio De Paz and <strong>Ricardo Silviera<\/strong>, and trombonist <strong>Vitor Santos<\/strong>.          <?php require($DOCUMENT_ROOT . \"_footer.htm\");   ??><\/font><\/body><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mario Adnet Jobim Jazz (Adventure Music &#8211; 2007) by Mark<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-4774","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4774","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4774"}],"version-history":[{"count":0,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4774\/revisions"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4774"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4774"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4774"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}