VA • Bossa Nova And The Rise Of Brazilian Music In The 1960s

 

VA • Autour De Minuit - Bossa Nova

Astrud Gilberto, Baden Powell, Caetano Veloso, Elis Regina, Gal Costa, jazz, Joao Gilberto, Jobim, Stan Getz, Lalo Schifrin, Coleman Hawkins ...

VA • Bossa Jazz The Birth Of Hard Bossa, Samba Jazz And The Evolution Of Brazilian Fusion 1962-73

 

Review by John Bush
Elenco wasn't notable only for the packaging and design of its album covers -- a strident black-and-white color scheme, leavened only by occasional reds and grays. The label also produced most of the best Brazilian music of the mid-'60s, that fertile time just after the bossa craze had kicked off worldwide and before psychedelia and fascism were about to force the unlikely birth of tropicalia. This two-disc reissue of all things Elenco is a treasure for fans of Brazilian music; for the record, Bossa Jazz has a companion volume called Brazil Bossa Beat!, but the crossover between jazz and beat is liberal. Here are many, if not most, of the figures who were in the process of making Brazilian jazz one of the most potent and fertile scenes in post-bop jazz, with Airto Moreira, Eumir Deodato, Sergio Mendes, Baden Powell, João Donato, Tamba 4, and of course, Antonio Carlos Jobim. (Even the artists less familiar to those outside the Brazilian sphere, such as Zimbo Trio and Sambalanço Trio, produced top-flight work.) Soul Jazz has done many favors to Brazilian music, but this labor of love belongs near the top.

 

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Reseña de John Bush
Elenco no sólo destacó por el embalaje y el diseño de las portadas de sus discos, con una estridente combinación de colores en blanco y negro, suavizada sólo por ocasionales rojos y grises. El sello también produjo la mayor parte de la mejor música brasileña de mediados de los años 60, esa época fértil justo después de que la moda de la bossa se desatara en todo el mundo y antes de que la psicodelia y el fascismo estuvieran a punto de forzar el improbable nacimiento de la tropicalia. Esta reedición de dos discos de Elenco es un tesoro para los aficionados a la música brasileña; que conste que el Bossa Jazz tiene un volumen complementario llamado Brazil Bossa Beat, pero el cruce entre el jazz y el beat es liberal. Aquí están muchas, si no la mayoría, de las figuras que estuvieron en el proceso de hacer del jazz brasileño una de las escenas más potentes y fértiles del jazz post-bop, con Airto Moreira, Eumir Deodato, Sergio Mendes, Baden Powell, João Donato, Tamba 4 y, por supuesto, Antonio Carlos Jobim. (Incluso los artistas menos conocidos para los que no pertenecen al ámbito brasileño, como Zimbo Trio y Sambalanço Trio, produjeron trabajos de primera categoría). El Soul Jazz ha hecho muchos favores a la música brasileña, pero este trabajo de amor pertenece a la cima.

VA • The Girls From Ipanema [Best Of Bossa Nova]

Stan Getz, Astrud Gilberto, Baden Powell, Bob Brookmeyer, Charlie Byrd, Stan Getz, Wes Montgomery, Quincy Jones, Cal Tjader, Joao Gilberto, George Benson, Oscar Peterson, Walter Wanderley, Toots Thielemans ...

Baden Powell & Vinicius De Morães • Os Afro-Sambas

 

VA • Exotic Jazz

 

Baden Powell • Guitar Poet

 

Biography by Alvaro Neder
Baden Powell is a Brazilian musician with a solid international reputation. A gifted instrumentalist and composer, he bridges the gap between classical artistry and popular warmth and was a key figure in the bossa nova movement.

Born in Varre-Sai in the state of Rio de Janeiro, he was baptized after his grandfather, a musician and conductor himself, whose father was an admirer of the Boy Scouts founder. When he was four months old, his family moved to the hill of São Cristóvão in the city of Rio. His father, the violonista Lino de Aquino, promoted regular get-togethers (rodas) of chorões at his home, at which famous names of Rio's music used to play, such as Pixinguinha, his brother China, the sambista Donga, and so many others. At eight, his father took him to Rádio Nacional where Powell met Meira (Jaime Florence), a famous violonista at the time a member of Benedicto Lacerda's regional. Powell would study violão with him for five years. Through Meira, a broad-minded musician, he discovered classics such as Segovia and Tarrega, along with Brazilian masters such as Garoto and Dilermando Reis. At nine, he presented himself at Renato Murce's show Papel Carbono on Rádio Nacional, winning first place as a guitar soloist. At 13, he used to run from school, earning his first cachets at the neighborhood parties. After finishing high school, he joined the cast of Rádio Nacional as an accompanist. In that time, he traveled through Brazil with the radio's singers. In 1955, he joined Ed Lincoln's trio, playing jazz at the Plaza nightclub. The place was a focal point for musicians, journalists, and aficionados interested in jazz. It should be regarded as the second place where bossa nova was being generated (the first being Cantina do César, after Johnny Alf's first appearances), contrary to the common notion of bossa being born at Zona Sul (South side's) apartments.

At that time, Powell began to compose "Deve Ser Amor," "Encontro Com a Saudade," "Não é Bem Assim," and his first big hit, 1956's "Samba Triste," with lyrics by Billy Blanco and which would be recorded by Lúcio Alves in 1960. In 1962, he met his future partner, Vinícius de Moraes, a composer, poet, singer, and diplomat. Their first song was "Canção de Ninar Meu Bem," a great success from the beginning. Following that, they came up with "Samba em Prelúdio" (recorded still in 1962 by Geraldo Vandré/Ana Lúcia), "Consolação" (recorded by Nara Leão), "Samba da Bênção," "Tem Dó," "Só por Amor," "Bom Dia, Amigo," "Labareda," and "Samba do Astronauta" (recorded by Powell in 1964). At this point, Powell was already a renowned musician and composer, with good connections on the artistic scene and wide exposure in the media. In that year, he accompanied Sílvia Telles at her famous show at the Jirau nightclub. In 1963, he recorded his first LP, Um Violão na Madrugada (Philips). In that year, he traveled to Paris where he presented himself at the Olympia theater with great success, using a repertoire of classical music and his own compositions. He also played regularly in a season at the Bilboquet nightclub and composed the soundtrack to the movie Le Grabuje. In 1964, he returned to Brazil and recorded the LP À Vontade, which included a composition by Tom Jobim and Vinícius, "Samba do Avião." He also wrote, in that year, the samba "Berimbau" with lyrics by Vinícius. Other duo's compositions that year were "Além do Amor," "Valsa sem Nome," "Deve ser Amor," "Canção do Amor Ausente," "Consolação," "Deixa," "Amei Tanto," "Tempo Feliz," and "Samba da Bênção." The latter was included in Claude Lelouch's movie Un Homme et une Femme, under the title "Samba Saravah."

Traveling to Bahia, Powell stayed there for six months and researched the Afro traditions developed on Brazilian soil, especially the musical tradition emanating from the ancient sorcery rituals of candomblé and umbanda. The next phase of his compositional association with Vinícius would be called by Powell as the Afro-sambas, mirroring the findings of that period: 1965's "Tristeza e Solidão" and "Bocoché" and 1966's "Canto do Xangô" and "Canto de Ossanha," the latter recorded by Elis Regina in 1966 with great success. Taking Bahia folklore, Powell added his Carioca touch, bringing the Afro tradition a more Brazilian feeling. In 1999, Powell, recently converted, regretted and deplored the Afro-samba phase as "devil's music" in a controverted and disappointing interview.

In 1965, fundamental singer Elizeth Cardoso presented Powell/Vinícius' "Valsa do Amor que Não Vem" at the first Festival of Brazilian Popular Music (TV Excelsior), São Paulo, winning second place. The next year, Aluísio de Oliveira produced another album by Powell, this time for his own landmark label Elenco, that deeply engaged in the use of the best musicians, leaving the commercial side in the background; unfortunately, it caused the excellent label's demise some years later. Taking advantage of the Brazilian tour of Caterina Valente, who was being accompanied by drummer Jimmy Pratt, de Oliveira took him and recorded Baden Powell Swings With Jimmy Pratt. Also in that year, TV Excelsior promoted the National Festival of Popular Music, at which novice Milton Nascimento won fourth place with "Cidade Vazia" (Powell/Lula Freire) and Powell with Vinícius recorded their Afro-sambas "Canto de Xangô," "Canto de Iemanjá," and "Canto de Ossanha" for Forma, along with "Berimbau" and "Samba da Bênção." He also took a season with Elis Regina at Rio's nightclub Zum-Zum. The LPs O Mundo Musical de Baden Powell (Barclay/RGE), recorded in France; Baden Powell ao Vivo no Teatro Santa Rosa (Elenco); and Tempo Feliz

(Forma/Philips) were all recorded in 1966. In that period, he played in the U.S. with Stan Getz. In 1967, he recorded in Paris, France, the album O Mundo Musical No. 2, accompanied by the Paris Symphonic Orchestra. In that year, his O Mundo Musical de Baden Powell was awarded with the Golden Record in Paris and he presented himself at the Jazz Festival in Berlin, Germany, with American jazz guitarists Jim Hall and Barney Kessel. In 1968, a novice Paulo César Pinheiro (now a renowned samba composer) composed with Powell the samba "Lapinha," which was presented by Elis Regina at the TV Record's first Samba Biennial, winning first place. The duo would also compose, among others, "Cancioneiro," "Samba do Perdão," "Meu Réquiem," "É de Lei," "Refém da Solidão," "Aviso aos Navegantes," and "Carta de Poeta." Also from 1968 is the LP Baden Powell (Elenco) with the famous "Manhã de Carnaval" or "Carnival," by Luís Bonfá and Antônio Maria, and the show O Mundo Musical de Baden Powell. In 1969, he recorded Vinte e Sete Horas de Estúdio (Elenco). Next year in Paris, he recorded for Barklay the three-album box set Baden Powell Quartet and the LP Baden Powell, which had Pixinguinha's songs. For Elenco, he recorded the LP Estudos. In 1972, he recorded for Philips the LP É de Lei. Solitude on Guitar was recorded the next year in Germany and in 1974, he recorded in Paris the live LP Baden Powell (Barklay/RGE), and in 1975 recorded the LP Baden Powell Trio & Ópera de Frankfurt. He then moved to Baden-Baden (Germany), staying there for four years. In 1994, already living in Brazil again, he released the record Baden Powell de Rio à Paris. In that same year, he performed together with his sons, Louis Marcel (violão) and Phillipe (piano), at the Cecília Meireles Hall in Rio, with the concert recorded and released on a CD, titled Baden Powell & Filhos, through CID. In 1995, his concert at the Montreux Festival was recorded on CD under the title Baden Powell Live in Montreux. Also in that year, he was awarded with the Prêmio Shell for his complete works. In 1996, he toured in France with Brazilian accordionist Sivuca and recorded the CD Baden Powell Live at the Rio Jazz Club. After spending several weeks in the hospital, Baden Powell died on September 26, 2000, at the age of 63.
https://www.allmusic.com/artist/baden-powell-mn0000765585#biography

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Biografía de Álvaro Neder
Baden Powell es un músico brasileño con una sólida reputación internacional. Un talentoso instrumentista y compositor, cierra la brecha entre el arte clásico y la calidez popular y fue una figura clave en el movimiento bossa nova.

Nacido en Varre-Sai, en el estado de Río de Janeiro, fue bautizado en honor a su abuelo, músico y director de orquesta, cuyo padre era admirador del fundador de los Boy Scouts. Cuando tenía cuatro meses, su familia se mudó al cerro de São Cristóvão en la ciudad de Río. Su padre, el violinista Lino de Aquino, promovía reuniones regulares (rodas) de chorões en su casa, en las que solían tocar nombres famosos de la música carioca, como Pixinguinha, su hermano China, el sambista Donga y muchos otros. A los ocho años, su padre lo llevó a la Radio Nacional, donde Powell conoció a Meira (Jaime Florence), un famoso violinista en ese momento miembro de la regional de Benedicto Lacerda. Powell estudiaría violão con él durante cinco años. A través de Meira, músico de mente abierta, descubrió clásicos como Segovia y Tarrega, junto a maestros brasileños como Garoto y Dilermando Reis. A los nueve años se presentó en el programa Papel Carbono de Renato Murce en Radio Nacional, ganando el primer lugar como solista de guitarra. A los 13 años, solía huir de la escuela, ganando sus primeros cachets en las fiestas del vecindario. Después de terminar la secundaria, se unió al elenco de Rádio Nacional como acompañante. En ese tiempo, viajó por Brasil con los cantantes de la radio. En 1955, se unió al trío de Ed Lincoln, tocando jazz en el club nocturno Plaza. El lugar fue un punto focal para músicos, periodistas y aficionados interesados en el jazz. Debería considerarse como el segundo lugar donde se estaba generando bossa nova( el primero fue Cantina do César, después de las primeras apariciones de Johnny Alf), contrariamente a la noción común de que la bossa nació en los apartamentos de la Zona Sur (South side).

En ese momento, Powell comenzó a componer "Deve Ser Amor", "Encontro Com a Saudade", "Não é Bem Assim" y su primer gran éxito, "Samba Triste" de 1956, con letra de Billy Blanco y que sería grabado por Lúcio Alves en 1960. En 1962 conoció a su futuro socio, Vinícius de Moraes, compositor, poeta, cantante y diplomático. Su primera canción fue "Canção de Ninar Meu Bem", un gran éxito desde el principio. A continuación, se les ocurrió "Samba em Prelúdio" (grabada todavía en 1962 por Geraldo Vandré/Ana Lúcia), "Consolação" (grabada por Nara Leão), "Samba da Bênção", "Tem Dó", "Só por Amor", "Bom Dia, Amigo", "Labareda" y "Samba do Astronauta" (grabada por Powell en 1964). En este punto, Powell ya era un músico y compositor de renombre, con buenas conexiones en la escena artística y amplia exposición en los medios. En ese año, acompañó a Sílvia Telles en su famoso espectáculo en la discoteca Jirau. En 1963 grabó su primer LP, Um Violão na Madrugada (Philips). En ese año, viajó a París donde se presentó en el teatro Olympia con gran éxito, utilizando un repertorio de música clásica y composiciones propias. También tocó regularmente en una temporada en la discoteca Bilboquet y compuso la banda sonora de la película Le Grabuje. En 1964, regresó a Brasil y grabó el LP À Vontade, que incluía una composición de Tom Jobim y Vinícius, "Samba do Avião."También escribió, en ese año, la samba "Berimbau" con letra de Vinícius. Otras composiciones del dúo ese año fueron "Além do Amor", "Valsa sem Nome"," Deve ser Amor"," Canção do Amor Ausente"," Consolação"," Deixa"," Amei Tanto"," Tempo Feliz "y" Samba da Bênção."Este último fue incluido en la película Un Homme et une Femme de Claude Lelouch, bajo el título "Samba Saravah."

Viajando a Bahía, Powell permaneció allí durante seis meses e investigó las tradiciones afro desarrolladas en suelo brasileño, especialmente la tradición musical que emana de los antiguos rituales de brujería del candomblé y la umbanda. La siguiente fase de su asociación compositiva con Vinícius sería denominada por Powell como las Afro-sambas, reflejando los hallazgos de ese período: "Tristeza e Solidão" y "Bocoché" de 1965 y "Canto do Xangô" y "Canto de Ossanha" de 1966, este último grabado por Elis Regina en 1966 con gran éxito. Tomando el folclore bahiano, Powell agregó su toque carioca, trayendo a la tradición afro un sentimiento más brasileño. En 1999, Powell, recientemente convertido, lamentó y deploró la fase afro-samba como "música del diablo" en una entrevista controvertida y decepcionante.

En 1965, la cantante fundamental Elizeth Cardoso presentó "Valsa do Amor que Não Vem" de Powell/Vinícius en el primer Festival de Música Popular Brasileña (TV Excelsior), São Paulo, ganando el segundo lugar. Al año siguiente, Aluísio de Oliveira produjo otro álbum de Powell, esta vez para su propio sello de referencia, Elenco, que se involucró profundamente en el uso de los mejores músicos, dejando el lado comercial en un segundo plano; desafortunadamente, provocó la desaparición del excelente sello algunos años después. Aprovechando la gira brasileña de Caterina Valente, quien estaba acompañada por el baterista Jimmy Pratt, de Oliveira lo llevó y grabó Baden Powell Swings Con Jimmy Pratt. También en ese año, TV Excelsior promovió el Festival Nacional de Música Popular, en el que el novato Milton Nascimento ganó el cuarto lugar con "Cidade Vazia" (Powell/Lula Freire) y Powell con Vinícius grabaron sus Afro-sambas "Canto de Xangô", "Canto de Iemanjá" y "Canto de Ossanha" para Forma, junto con "Berimbau" y "Samba da Bênção."También se tomó una temporada con Elis Regina en el club nocturno Zum-Zum de Río. Los LP O Mundo Musical de Baden Powell (Barclay/RGE), grabados en Francia; Baden Powell ao Vivo no Teatro Santa Rosa( Elenco); y Tempo Feliz

(Forma/Philips) fueron grabadas en 1966. En ese período, jugó en los EE. UU. con Stan Getz. En 1967 grabó en París, Francia, el álbum O Mundo Musical No. 2, acompañado por la Orquesta Sinfónica de París. En ese año, su O Mundo Musical de Baden Powell fue galardonado con el Disco de Oro en París y se presentó en el Festival de Jazz de Berlín, Alemania, con los guitarristas de jazz estadounidenses Jim Hall y Barney Kessel. En 1968, un novato Paulo César Pinheiro (ahora un reconocido compositor de samba) compuso con Powell la samba "Lapinha", que fue presentada por Elis Regina en la primera Bienal de Samba de TV Record, ganando el primer lugar. El dúo también compondría ,entre otros, "Cancioneiro", "Samba do Perdão", "Meu Réquiem", "É de Lei", "Refém da Solidão", "Aviso aos Navegantes" y " Carta de Poeta."También de 1968 es el LP Baden Powell (Elenco) con el famoso" Manhã de Carnaval "o" Carnaval", de Luís Bonfá y Antônio Maria, y el espectáculo O Mundo Musical de Baden Powell. En 1969 grabó Vinte e Sete Horas de Estúdio (Elenco). Al año siguiente, en París, grabó para Barklay el box set de tres álbumes Baden Powell Quartet y el LP Baden Powell, que tenía canciones de Pixinguinha. Para Elenco grabó el LP Estudos. En 1972, grabó para Philips el LP É de Lei. Solitude on Guitar se grabó al año siguiente en Alemania y en 1974 grabó en París el LP en directo Baden Powell (Barklay/RGE), y en 1975 grabó el LP Baden Powell Trio & Ópera de Frankfurt. Luego se mudó a Baden-Baden( Alemania), permaneciendo allí durante cuatro años. En 1994, ya viviendo nuevamente en Brasil, lanzó el disco Baden Powell de Rio à Paris. En ese mismo año, actuó junto a sus hijos, Louis Marcel (violão) y Phillipe( piano), en la Sala Cecília Meireles de Río, con el concierto grabado y editado en un CD, titulado Baden Powell & Filhos, a través del CID. En 1995, su concierto en el Festival de Montreux fue grabado en CD con el título Baden Powell Live in Montreux. También en ese año, fue galardonado con el Prêmio Shell por sus obras completas. En 1996, realizó una gira por Francia con el acordeonista brasileño Sivuca y grabó el CD Baden Powell en vivo en el Rio Jazz Club. Después de pasar varias semanas en el hospital, Baden Powell murió el 26 de septiembre de 2000, a la edad de 63 años.
https://www.allmusic.com/artist/baden-powell-mn0000765585#biography

Herbie Mann • Latin Fever

 

Herbie Mann interviewed in 1964
You see, Brazilian music has shown me that music in general can still remain exciting and dramatic without having an overabundance of drums. In other words, the rhythm can be implied, rather than made obvious. We now have a more subtle approach, playing more straight jazz and bossa novas than anything else.
Sometime ago I spoke rather sharply about the many inferior and unsympathetic bossa nova recordings. I have changed my opinions slightly. I now feel that even though most of the non–Brazilian bossa nova records didn’t manage to capture the subtleties and warmth of the authentic Brazilian article, they shouldn’t be put down completely.
Jazz is a medium for individual approach to a song depending on the feeling or the interpretation of the musicians concerned—and that’s what I feel the majority of American produced bossa nova albums amount to.
In all honesty I think that our own group gets closer to the original than anyone else for a number of reasons. I believe that my own temperament is closer to that of the Brazilians than any American musicians who have entered this particular field. Moreover, the group has had more opportunities of hearing and playing new Brazilian compositions, and my guitarist, Attila Zoller, learned how to play bossa nova and other rhythms from listening to the recordings of guitarist Baden Powell. I consider Baden Powell to be the finest exponent in the world of authentic contemporary Brazilian music. In fact, I used Baden Powell as both musician and composer on the sessions I cut in Rio de Janeiro for Atlantic. I feel that the sessions I cut in Rio are the best examples of the bossa nova and the progressive samba on disc. It’s the only album that really captures the true feeling of this wonderful music.
As far as I am concerned, the bossa nova is a modern samba. Most of the rhythm players in Brazil don’t play set patterns, but improvise as they feel. And do they swing! Unfortunately, many American percussionists stick to repetitious patterns, making for stodgy and uninspired results. During the first week I was in Rio I listened to well over 75 compositions. From these I picked the ones I wished to record, then fixed arrangers, musicians and groups.
The numbers of Baden Powell and Antonio Carlos Jobim which I cut are true bossa novas, while the pieces of Sergio Mendez and Luis Carlos Vinhas are progressive sambas, for which the jazz group improvises on a progressive samba beat. For example, I recorded the late Clifford Brown’s “Blues Walk” with the Sergio Mendez Bossa Nova Rio Group. This fine sextet comprises Mendez on piano, Paulo Moura (alto sax), Pedro Paulo (trumpet), Duval Ferreira (guitar), Otavio Bailly, Jnr. (bass) and Dom Um on drums. On the sides I cut with Baden Powell we used a bass player called Gabriel and alternated with two drummers, Papao and Juquinha.
Besides recording with Powell and Mendez I also cut sides with pianist Luis Carlos Vinhas and his trio and with a large string orchestra conducted by Antonio Carlos Jobim, who also sang and played piano on his now famous composition, “Samba De Una Nota So” (One Note Samba). The other large group with which I recorded was the 17– piece Zezinho E Sua Escola De Samba (Zezinho and His School of Samba). This group is made up of carnival samba players who perform in the streets at a carnival or mardi gras, playing traditional music on such instruments as cuica, reco– reco, pandeiro, frigideira and surdo, among many others.
During trips taking me to South America and the African continent I have collected over a hundred different flutes. For public appearances and recordings I use a concert flute in C, alto flute in G and E flat flute, plus a number of hand– made native flutes. In the future I intend to incorporate more and more folk music from various countries into our programme. The bossa nova will stay a part of my catalogue, along with the music I have gathered from other parts of the world combined with jazz. I feel that gypsy music and the folk music of Eastern Europe and the Middle East contains some wonderful rhythms and melodies to improvise on.

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 Entrevista a Herbie Mann en 1964
La música brasileña me ha demostrado que la música en general puede seguir siendo emocionante y dramática sin tener una sobreabundancia de tambores. En otras palabras, el ritmo puede estar implícito, en lugar de hacerse evidente. Ahora tenemos un enfoque más sutil, tocando más jazz y bossa novas que otra cosa.
Hace algún tiempo hablé con bastante dureza sobre las numerosas grabaciones de bossa nova de calidad inferior y poco comprensivas. He cambiado ligeramente mi opinión. Ahora creo que, aunque la mayoría de los discos de bossa nova no consiguen captar las sutilezas y la calidez del auténtico artículo brasileño, no hay que menospreciarlos del todo.
El jazz es un medio de aproximación individual a una canción en función del sentimiento o la interpretación de los músicos en cuestión, y eso es lo que me parece que la mayoría de los discos de bossa nova producidos en Estados Unidos equivalen.
Sinceramente, creo que nuestro grupo se acerca más al original que cualquier otro por varias razones. Creo que mi propio temperamento está más cerca del de los brasileños que el de cualquier músico estadounidense que haya entrado en este campo concreto. Además, el grupo ha tenido más oportunidades de escuchar y tocar nuevas composiciones brasileñas, y mi guitarrista, Attila Zoller, aprendió a tocar bossa nova y otros ritmos escuchando las grabaciones del guitarrista Baden Powell. Considero que Baden Powell es el mejor exponente en el mundo de la auténtica música brasileña contemporánea. De hecho, utilicé a Baden Powell como músico y compositor en las sesiones que grabé en Río de Janeiro para Atlantic. Creo que las sesiones que grabé en Río son los mejores ejemplos de la bossa nova y la samba progresiva en disco. Es el único álbum que realmente capta el verdadero sentimiento de esta maravillosa música.
Para mí, la bossa nova es una samba moderna. La mayoría de los rítmicos de Brasil no tocan patrones fijos, sino que improvisan según sus sentimientos. Y se balancean. Desgraciadamente, muchos percusionistas estadounidenses se ciñen a patrones repetitivos, lo que da lugar a resultados aburridos y poco inspirados. Durante la primera semana que estuve en Río escuché más de 75 composiciones. De ellas elegí las que quería grabar, y luego fijé arreglistas, músicos y grupos.
Los números de Baden Powell y Antonio Carlos Jobim que corté son verdaderas bossa novas, mientras que las piezas de Sergio Méndez y Luis Carlos Vinhas son sambas progresivas, en las que el grupo de jazz improvisa sobre un ritmo de samba progresivo. Por ejemplo, grabé el "Blues Walk" de Clifford Brown, ya fallecido, con el grupo Sergio Méndez Bossa Nova Río. Este excelente sexteto está formado por Méndez al piano, Paulo Moura (saxo alto), Pedro Paulo (trompeta), Duval Ferreira (guitarra), Otavio Bailly, Jnr. (bajo) y Dom Um en la batería. En los lados que grabé con Baden Powell utilizamos un bajista llamado Gabriel y alternamos con dos bateristas, Papao y Juquinha.
Además de grabar con Powell y Mendez, también grabé con el pianista Luis Carlos Vinhas y su trío y con una gran orquesta de cuerdas dirigida por Antonio Carlos Jobim, que también cantó y tocó el piano en su ahora famosa composición, "Samba De Una Nota So". El otro gran grupo con el que grabé fue el de 17 piezas Zezinho E Sua Escola De Samba (Zezinho y su escuela de samba). Este grupo está formado por músicos de samba de carnaval que actúan en las calles en un carnaval o mardi gras, tocando música tradicional con instrumentos como la cuica, el reco- reco, el pandeiro, la frigideira y el surdo, entre otros muchos.
En los viajes que he realizado a Sudamérica y al continente africano he reunido más de cien flautas diferentes. Para las apariciones en público y las grabaciones utilizo una flauta de concierto en do, una flauta contralto en sol y una flauta en mi bemol, además de varias flautas autóctonas hechas a mano. En el futuro tengo la intención de incorporar a nuestro programa cada vez más música folclórica de diversos países. La bossa nova seguirá formando parte de mi catálogo, junto con la música que he recogido de otras partes del mundo combinada con el jazz. Creo que la música gitana y la música folclórica de Europa del Este y Oriente Medio contienen algunos ritmos y melodías maravillosos sobre los que improvisar.

 

Baden Powell • Bossa Nova Guitarra Jubileu

 

Biography by Alvaro Neder
Baden Powell is a Brazilian musician with a solid international reputation. A gifted instrumentalist and composer, he bridges the gap between classical artistry and popular warmth and was a key figure in the bossa nova movement.

Born in Varre-Sai in the state of Rio de Janeiro, he was baptized after his grandfather, a musician and conductor himself, whose father was an admirer of the Boy Scouts founder. When he was four months old, his family moved to the hill of São Cristóvão in the city of Rio. His father, the violonista Lino de Aquino, promoted regular get-togethers (rodas) of chorões at his home, at which famous names of Rio's music used to play, such as Pixinguinha, his brother China, the sambista Donga, and so many others. At eight, his father took him to Rádio Nacional where Powell met Meira (Jaime Florence), a famous violonista at the time a member of Benedicto Lacerda's regional. Powell would study violão with him for five years. Through Meira, a broad-minded musician, he discovered classics such as Segovia and Tarrega, along with Brazilian masters such as Garoto and Dilermando Reis. At nine, he presented himself at Renato Murce's show Papel Carbono on Rádio Nacional, winning first place as a guitar soloist. At 13, he used to run from school, earning his first cachets at the neighborhood parties. After finishing high school, he joined the cast of Rádio Nacional as an accompanist. In that time, he traveled through Brazil with the radio's singers. In 1955, he joined Ed Lincoln's trio, playing jazz at the Plaza nightclub. The place was a focal point for musicians, journalists, and aficionados interested in jazz. It should be regarded as the second place where bossa nova was being generated (the first being Cantina do César, after Johnny Alf's first appearances), contrary to the common notion of bossa being born at Zona Sul (South side's) apartments.

At that time, Powell began to compose "Deve Ser Amor," "Encontro Com a Saudade," "Não é Bem Assim," and his first big hit, 1956's "Samba Triste," with lyrics by Billy Blanco and which would be recorded by Lúcio Alves in 1960. In 1962, he met his future partner, Vinícius de Moraes, a composer, poet, singer, and diplomat. Their first song was "Canção de Ninar Meu Bem," a great success from the beginning. Following that, they came up with "Samba em Prelúdio" (recorded still in 1962 by Geraldo Vandré/Ana Lúcia), "Consolação" (recorded by Nara Leão), "Samba da Bênção," "Tem Dó," "Só por Amor," "Bom Dia, Amigo," "Labareda," and "Samba do Astronauta" (recorded by Powell in 1964). At this point, Powell was already a renowned musician and composer, with good connections on the artistic scene and wide exposure in the media. In that year, he accompanied Sílvia Telles at her famous show at the Jirau nightclub. In 1963, he recorded his first LP, Um Violão na Madrugada (Philips). In that year, he traveled to Paris where he presented himself at the Olympia theater with great success, using a repertoire of classical music and his own compositions. He also played regularly in a season at the Bilboquet nightclub and composed the soundtrack to the movie Le Grabuje. In 1964, he returned to Brazil and recorded the LP À Vontade, which included a composition by Tom Jobim and Vinícius, "Samba do Avião." He also wrote, in that year, the samba "Berimbau" with lyrics by Vinícius. Other duo's compositions that year were "Além do Amor," "Valsa sem Nome," "Deve ser Amor," "Canção do Amor Ausente," "Consolação," "Deixa," "Amei Tanto," "Tempo Feliz," and "Samba da Bênção." The latter was included in Claude Lelouch's movie Un Homme et une Femme, under the title "Samba Saravah."

Traveling to Bahia, Powell stayed there for six months and researched the Afro traditions developed on Brazilian soil, especially the musical tradition emanating from the ancient sorcery rituals of candomblé and umbanda. The next phase of his compositional association with Vinícius would be called by Powell as the Afro-sambas, mirroring the findings of that period: 1965's "Tristeza e Solidão" and "Bocoché" and 1966's "Canto do Xangô" and "Canto de Ossanha," the latter recorded by Elis Regina in 1966 with great success. Taking Bahia folklore, Powell added his Carioca touch, bringing the Afro tradition a more Brazilian feeling. In 1999, Powell, recently converted, regretted and deplored the Afro-samba phase as "devil's music" in a controverted and disappointing interview.

In 1965, fundamental singer Elizeth Cardoso presented Powell/Vinícius' "Valsa do Amor que Não Vem" at the first Festival of Brazilian Popular Music (TV Excelsior), São Paulo, winning second place. The next year, Aluísio de Oliveira produced another album by Powell, this time for his own landmark label Elenco, that deeply engaged in the use of the best musicians, leaving the commercial side in the background; unfortunately, it caused the excellent label's demise some years later. Taking advantage of the Brazilian tour of Caterina Valente, who was being accompanied by drummer Jimmy Pratt, de Oliveira took him and recorded Baden Powell Swings With Jimmy Pratt. Also in that year, TV Excelsior promoted the National Festival of Popular Music, at which novice Milton Nascimento won fourth place with "Cidade Vazia" (Powell/Lula Freire) and Powell with Vinícius recorded their Afro-sambas "Canto de Xangô," "Canto de Iemanjá," and "Canto de Ossanha" for Forma, along with "Berimbau" and "Samba da Bênção." He also took a season with Elis Regina at Rio's nightclub Zum-Zum. The LPs O Mundo Musical de Baden Powell (Barclay/RGE), recorded in France; Baden Powell ao Vivo no Teatro Santa Rosa (Elenco); and Tempo Feliz

(Forma/Philips) were all recorded in 1966. In that period, he played in the U.S. with Stan Getz. In 1967, he recorded in Paris, France, the album O Mundo Musical No. 2, accompanied by the Paris Symphonic Orchestra. In that year, his O Mundo Musical de Baden Powell was awarded with the Golden Record in Paris and he presented himself at the Jazz Festival in Berlin, Germany, with American jazz guitarists Jim Hall and Barney Kessel. In 1968, a novice Paulo César Pinheiro (now a renowned samba composer) composed with Powell the samba "Lapinha," which was presented by Elis Regina at the TV Record's first Samba Biennial, winning first place. The duo would also compose, among others, "Cancioneiro," "Samba do Perdão," "Meu Réquiem," "É de Lei," "Refém da Solidão," "Aviso aos Navegantes," and "Carta de Poeta." Also from 1968 is the LP Baden Powell (Elenco) with the famous "Manhã de Carnaval" or "Carnival," by Luís Bonfá and Antônio Maria, and the show O Mundo Musical de Baden Powell. In 1969, he recorded Vinte e Sete Horas de Estúdio (Elenco). Next year in Paris, he recorded for Barklay the three-album box set Baden Powell Quartet and the LP Baden Powell, which had Pixinguinha's songs. For Elenco, he recorded the LP Estudos. In 1972, he recorded for Philips the LP É de Lei. Solitude on Guitar was recorded the next year in Germany and in 1974, he recorded in Paris the live LP Baden Powell (Barklay/RGE), and in 1975 recorded the LP Baden Powell Trio & Ópera de Frankfurt. He then moved to Baden-Baden (Germany), staying there for four years. In 1994, already living in Brazil again, he released the record Baden Powell de Rio à Paris. In that same year, he performed together with his sons, Louis Marcel (violão) and Phillipe (piano), at the Cecília Meireles Hall in Rio, with the concert recorded and released on a CD, titled Baden Powell & Filhos, through CID. In 1995, his concert at the Montreux Festival was recorded on CD under the title Baden Powell Live in Montreux. Also in that year, he was awarded with the Prêmio Shell for his complete works. In 1996, he toured in France with Brazilian accordionist Sivuca and recorded the CD Baden Powell Live at the Rio Jazz Club. After spending several weeks in the hospital, Baden Powell died on September 26, 2000, at the age of 63.
https://www.allmusic.com/artist/baden-powell-mn0000765585#biography

///////

Biografía de Álvaro Neder
Baden Powell es un músico brasileño con una sólida reputación internacional. Un talentoso instrumentista y compositor, cierra la brecha entre el arte clásico y la calidez popular y fue una figura clave en el movimiento bossa nova.

Nacido en Varre-Sai, en el estado de Río de Janeiro, fue bautizado en honor a su abuelo, músico y director de orquesta, cuyo padre era admirador del fundador de los Boy Scouts. Cuando tenía cuatro meses, su familia se mudó al cerro de São Cristóvão en la ciudad de Río. Su padre, el violinista Lino de Aquino, promovía reuniones regulares (rodas) de chorões en su casa, en las que solían tocar nombres famosos de la música carioca, como Pixinguinha, su hermano China, el sambista Donga y muchos otros. A los ocho años, su padre lo llevó a la Radio Nacional, donde Powell conoció a Meira (Jaime Florence), un famoso violinista en ese momento miembro de la regional de Benedicto Lacerda. Powell estudiaría violão con él durante cinco años. A través de Meira, músico de mente abierta, descubrió clásicos como Segovia y Tarrega, junto a maestros brasileños como Garoto y Dilermando Reis. A los nueve años se presentó en el programa Papel Carbono de Renato Murce en Radio Nacional, ganando el primer lugar como solista de guitarra. A los 13 años, solía huir de la escuela, ganando sus primeros cachets en las fiestas del vecindario. Después de terminar la secundaria, se unió al elenco de Rádio Nacional como acompañante. En ese tiempo, viajó por Brasil con los cantantes de la radio. En 1955, se unió al trío de Ed Lincoln, tocando jazz en el club nocturno Plaza. El lugar fue un punto focal para músicos, periodistas y aficionados interesados en el jazz. Debería considerarse como el segundo lugar donde se estaba generando bossa nova( el primero fue Cantina do César, después de las primeras apariciones de Johnny Alf), contrariamente a la noción común de que la bossa nació en los apartamentos de la Zona Sur (South side).

En ese momento, Powell comenzó a componer "Deve Ser Amor", "Encontro Com a Saudade", "Não é Bem Assim" y su primer gran éxito, "Samba Triste" de 1956, con letra de Billy Blanco y que sería grabado por Lúcio Alves en 1960. En 1962 conoció a su futuro socio, Vinícius de Moraes, compositor, poeta, cantante y diplomático. Su primera canción fue "Canção de Ninar Meu Bem", un gran éxito desde el principio. A continuación, se les ocurrió "Samba em Prelúdio" (grabada todavía en 1962 por Geraldo Vandré/Ana Lúcia), "Consolação" (grabada por Nara Leão), "Samba da Bênção", "Tem Dó", "Só por Amor", "Bom Dia, Amigo", "Labareda" y "Samba do Astronauta" (grabada por Powell en 1964). En este punto, Powell ya era un músico y compositor de renombre, con buenas conexiones en la escena artística y amplia exposición en los medios. En ese año, acompañó a Sílvia Telles en su famoso espectáculo en la discoteca Jirau. En 1963 grabó su primer LP, Um Violão na Madrugada (Philips). En ese año, viajó a París donde se presentó en el teatro Olympia con gran éxito, utilizando un repertorio de música clásica y composiciones propias. También tocó regularmente en una temporada en la discoteca Bilboquet y compuso la banda sonora de la película Le Grabuje. En 1964, regresó a Brasil y grabó el LP À Vontade, que incluía una composición de Tom Jobim y Vinícius, "Samba do Avião."También escribió, en ese año, la samba "Berimbau" con letra de Vinícius. Otras composiciones del dúo ese año fueron "Além do Amor", "Valsa sem Nome"," Deve ser Amor"," Canção do Amor Ausente"," Consolação"," Deixa"," Amei Tanto"," Tempo Feliz "y" Samba da Bênção."Este último fue incluido en la película Un Homme et une Femme de Claude Lelouch, bajo el título "Samba Saravah."

Viajando a Bahía, Powell permaneció allí durante seis meses e investigó las tradiciones afro desarrolladas en suelo brasileño, especialmente la tradición musical que emana de los antiguos rituales de brujería del candomblé y la umbanda. La siguiente fase de su asociación compositiva con Vinícius sería denominada por Powell como las Afro-sambas, reflejando los hallazgos de ese período: "Tristeza e Solidão" y "Bocoché" de 1965 y "Canto do Xangô" y "Canto de Ossanha" de 1966, este último grabado por Elis Regina en 1966 con gran éxito. Tomando el folclore bahiano, Powell agregó su toque carioca, trayendo a la tradición afro un sentimiento más brasileño. En 1999, Powell, recientemente convertido, lamentó y deploró la fase afro-samba como "música del diablo" en una entrevista controvertida y decepcionante.

En 1965, la cantante fundamental Elizeth Cardoso presentó "Valsa do Amor que Não Vem" de Powell/Vinícius en el primer Festival de Música Popular Brasileña (TV Excelsior), São Paulo, ganando el segundo lugar. Al año siguiente, Aluísio de Oliveira produjo otro álbum de Powell, esta vez para su propio sello de referencia, Elenco, que se involucró profundamente en el uso de los mejores músicos, dejando el lado comercial en un segundo plano; desafortunadamente, provocó la desaparición del excelente sello algunos años después. Aprovechando la gira brasileña de Caterina Valente, quien estaba acompañada por el baterista Jimmy Pratt, de Oliveira lo llevó y grabó Baden Powell Swings Con Jimmy Pratt. También en ese año, TV Excelsior promovió el Festival Nacional de Música Popular, en el que el novato Milton Nascimento ganó el cuarto lugar con "Cidade Vazia" (Powell/Lula Freire) y Powell con Vinícius grabaron sus Afro-sambas "Canto de Xangô", "Canto de Iemanjá" y "Canto de Ossanha" para Forma, junto con "Berimbau" y "Samba da Bênção."También se tomó una temporada con Elis Regina en el club nocturno Zum-Zum de Río. Los LP O Mundo Musical de Baden Powell (Barclay/RGE), grabados en Francia; Baden Powell ao Vivo no Teatro Santa Rosa( Elenco); y Tempo Feliz

(Forma/Philips) fueron grabadas en 1966. En ese período, jugó en los EE. UU. con Stan Getz. En 1967 grabó en París, Francia, el álbum O Mundo Musical No. 2, acompañado por la Orquesta Sinfónica de París. En ese año, su O Mundo Musical de Baden Powell fue galardonado con el Disco de Oro en París y se presentó en el Festival de Jazz de Berlín, Alemania, con los guitarristas de jazz estadounidenses Jim Hall y Barney Kessel. En 1968, un novato Paulo César Pinheiro (ahora un reconocido compositor de samba) compuso con Powell la samba "Lapinha", que fue presentada por Elis Regina en la primera Bienal de Samba de TV Record, ganando el primer lugar. El dúo también compondría ,entre otros, "Cancioneiro", "Samba do Perdão", "Meu Réquiem", "É de Lei", "Refém da Solidão", "Aviso aos Navegantes" y " Carta de Poeta."También de 1968 es el LP Baden Powell (Elenco) con el famoso" Manhã de Carnaval "o" Carnaval", de Luís Bonfá y Antônio Maria, y el espectáculo O Mundo Musical de Baden Powell. En 1969 grabó Vinte e Sete Horas de Estúdio (Elenco). Al año siguiente, en París, grabó para Barklay el box set de tres álbumes Baden Powell Quartet y el LP Baden Powell, que tenía canciones de Pixinguinha. Para Elenco grabó el LP Estudos. En 1972, grabó para Philips el LP É de Lei. Solitude on Guitar se grabó al año siguiente en Alemania y en 1974 grabó en París el LP en directo Baden Powell (Barklay/RGE), y en 1975 grabó el LP Baden Powell Trio & Ópera de Frankfurt. Luego se mudó a Baden-Baden( Alemania), permaneciendo allí durante cuatro años. En 1994, ya viviendo nuevamente en Brasil, lanzó el disco Baden Powell de Rio à Paris. En ese mismo año, actuó junto a sus hijos, Louis Marcel (violão) y Phillipe( piano), en la Sala Cecília Meireles de Río, con el concierto grabado y editado en un CD, titulado Baden Powell & Filhos, a través del CID. En 1995, su concierto en el Festival de Montreux fue grabado en CD con el título Baden Powell Live in Montreux. También en ese año, fue galardonado con el Prêmio Shell por sus obras completas. En 1996, realizó una gira por Francia con el acordeonista brasileño Sivuca y grabó el CD Baden Powell en vivo en el Rio Jazz Club. Después de pasar varias semanas en el hospital, Baden Powell murió el 26 de septiembre de 2000, a la edad de 63 años.

https://www.allmusic.com/artist/baden-powell-mn0000765585#biography

Baden Powell • Personalidade

 

Biography by Alvaro Neder
Baden Powell is a Brazilian musician with a solid international reputation. A gifted instrumentalist and composer, he bridges the gap between classical artistry and popular warmth and was a key figure in the bossa nova movement.

Born in Varre-Sai in the state of Rio de Janeiro, he was baptized after his grandfather, a musician and conductor himself, whose father was an admirer of the Boy Scouts founder. When he was four months old, his family moved to the hill of São Cristóvão in the city of Rio. His father, the violonista Lino de Aquino, promoted regular get-togethers (rodas) of chorões at his home, at which famous names of Rio's music used to play, such as Pixinguinha, his brother China, the sambista Donga, and so many others. At eight, his father took him to Rádio Nacional where Powell met Meira (Jaime Florence), a famous violonista at the time a member of Benedicto Lacerda's regional. Powell would study violão with him for five years. Through Meira, a broad-minded musician, he discovered classics such as Segovia and Tarrega, along with Brazilian masters such as Garoto and Dilermando Reis. At nine, he presented himself at Renato Murce's show Papel Carbono on Rádio Nacional, winning first place as a guitar soloist. At 13, he used to run from school, earning his first cachets at the neighborhood parties. After finishing high school, he joined the cast of Rádio Nacional as an accompanist. In that time, he traveled through Brazil with the radio's singers. In 1955, he joined Ed Lincoln's trio, playing jazz at the Plaza nightclub. The place was a focal point for musicians, journalists, and aficionados interested in jazz. It should be regarded as the second place where bossa nova was being generated (the first being Cantina do César, after Johnny Alf's first appearances), contrary to the common notion of bossa being born at Zona Sul (South side's) apartments.

At that time, Powell began to compose "Deve Ser Amor," "Encontro Com a Saudade," "Não é Bem Assim," and his first big hit, 1956's "Samba Triste," with lyrics by Billy Blanco and which would be recorded by Lúcio Alves in 1960. In 1962, he met his future partner, Vinícius de Moraes, a composer, poet, singer, and diplomat. Their first song was "Canção de Ninar Meu Bem," a great success from the beginning. Following that, they came up with "Samba em Prelúdio" (recorded still in 1962 by Geraldo Vandré/Ana Lúcia), "Consolação" (recorded by Nara Leão), "Samba da Bênção," "Tem Dó," "Só por Amor," "Bom Dia, Amigo," "Labareda," and "Samba do Astronauta" (recorded by Powell in 1964). At this point, Powell was already a renowned musician and composer, with good connections on the artistic scene and wide exposure in the media. In that year, he accompanied Sílvia Telles at her famous show at the Jirau nightclub. In 1963, he recorded his first LP, Um Violão na Madrugada (Philips). In that year, he traveled to Paris where he presented himself at the Olympia theater with great success, using a repertoire of classical music and his own compositions. He also played regularly in a season at the Bilboquet nightclub and composed the soundtrack to the movie Le Grabuje. In 1964, he returned to Brazil and recorded the LP À Vontade, which included a composition by Tom Jobim and Vinícius, "Samba do Avião." He also wrote, in that year, the samba "Berimbau" with lyrics by Vinícius. Other duo's compositions that year were "Além do Amor," "Valsa sem Nome," "Deve ser Amor," "Canção do Amor Ausente," "Consolação," "Deixa," "Amei Tanto," "Tempo Feliz," and "Samba da Bênção." The latter was included in Claude Lelouch's movie Un Homme et une Femme, under the title "Samba Saravah."

Traveling to Bahia, Powell stayed there for six months and researched the Afro traditions developed on Brazilian soil, especially the musical tradition emanating from the ancient sorcery rituals of candomblé and umbanda. The next phase of his compositional association with Vinícius would be called by Powell as the Afro-sambas, mirroring the findings of that period: 1965's "Tristeza e Solidão" and "Bocoché" and 1966's "Canto do Xangô" and "Canto de Ossanha," the latter recorded by Elis Regina in 1966 with great success. Taking Bahia folklore, Powell added his Carioca touch, bringing the Afro tradition a more Brazilian feeling. In 1999, Powell, recently converted, regretted and deplored the Afro-samba phase as "devil's music" in a controverted and disappointing interview.

In 1965, fundamental singer Elizeth Cardoso presented Powell/Vinícius' "Valsa do Amor que Não Vem" at the first Festival of Brazilian Popular Music (TV Excelsior), São Paulo, winning second place. The next year, Aluísio de Oliveira produced another album by Powell, this time for his own landmark label Elenco, that deeply engaged in the use of the best musicians, leaving the commercial side in the background; unfortunately, it caused the excellent label's demise some years later. Taking advantage of the Brazilian tour of Caterina Valente, who was being accompanied by drummer Jimmy Pratt, de Oliveira took him and recorded Baden Powell Swings With Jimmy Pratt. Also in that year, TV Excelsior promoted the National Festival of Popular Music, at which novice Milton Nascimento won fourth place with "Cidade Vazia" (Powell/Lula Freire) and Powell with Vinícius recorded their Afro-sambas "Canto de Xangô," "Canto de Iemanjá," and "Canto de Ossanha" for Forma, along with "Berimbau" and "Samba da Bênção." He also took a season with Elis Regina at Rio's nightclub Zum-Zum. The LPs O Mundo Musical de Baden Powell (Barclay/RGE), recorded in France; Baden Powell ao Vivo no Teatro Santa Rosa (Elenco); and Tempo Feliz

(Forma/Philips) were all recorded in 1966. In that period, he played in the U.S. with Stan Getz. In 1967, he recorded in Paris, France, the album O Mundo Musical No. 2, accompanied by the Paris Symphonic Orchestra. In that year, his O Mundo Musical de Baden Powell was awarded with the Golden Record in Paris and he presented himself at the Jazz Festival in Berlin, Germany, with American jazz guitarists Jim Hall and Barney Kessel. In 1968, a novice Paulo César Pinheiro (now a renowned samba composer) composed with Powell the samba "Lapinha," which was presented by Elis Regina at the TV Record's first Samba Biennial, winning first place. The duo would also compose, among others, "Cancioneiro," "Samba do Perdão," "Meu Réquiem," "É de Lei," "Refém da Solidão," "Aviso aos Navegantes," and "Carta de Poeta." Also from 1968 is the LP Baden Powell (Elenco) with the famous "Manhã de Carnaval" or "Carnival," by Luís Bonfá and Antônio Maria, and the show O Mundo Musical de Baden Powell. In 1969, he recorded Vinte e Sete Horas de Estúdio (Elenco). Next year in Paris, he recorded for Barklay the three-album box set Baden Powell Quartet and the LP Baden Powell, which had Pixinguinha's songs. For Elenco, he recorded the LP Estudos. In 1972, he recorded for Philips the LP É de Lei. Solitude on Guitar was recorded the next year in Germany and in 1974, he recorded in Paris the live LP Baden Powell (Barklay/RGE), and in 1975 recorded the LP Baden Powell Trio & Ópera de Frankfurt. He then moved to Baden-Baden (Germany), staying there for four years. In 1994, already living in Brazil again, he released the record Baden Powell de Rio à Paris. In that same year, he performed together with his sons, Louis Marcel (violão) and Phillipe (piano), at the Cecília Meireles Hall in Rio, with the concert recorded and released on a CD, titled Baden Powell & Filhos, through CID. In 1995, his concert at the Montreux Festival was recorded on CD under the title Baden Powell Live in Montreux. Also in that year, he was awarded with the Prêmio Shell for his complete works. In 1996, he toured in France with Brazilian accordionist Sivuca and recorded the CD Baden Powell Live at the Rio Jazz Club. After spending several weeks in the hospital, Baden Powell died on September 26, 2000, at the age of 63.
https://www.allmusic.com/artist/baden-powell-mn0000765585#biography

///////

Biografía de Álvaro Neder
Baden Powell es un músico brasileño con una sólida reputación internacional. Un talentoso instrumentista y compositor, cierra la brecha entre el arte clásico y la calidez popular y fue una figura clave en el movimiento bossa nova.

Nacido en Varre-Sai, en el estado de Río de Janeiro, fue bautizado en honor a su abuelo, músico y director de orquesta, cuyo padre era admirador del fundador de los Boy Scouts. Cuando tenía cuatro meses, su familia se mudó al cerro de São Cristóvão en la ciudad de Río. Su padre, el violinista Lino de Aquino, promovía reuniones regulares (rodas) de chorões en su casa, en las que solían tocar nombres famosos de la música carioca, como Pixinguinha, su hermano China, el sambista Donga y muchos otros. A los ocho años, su padre lo llevó a la Radio Nacional, donde Powell conoció a Meira (Jaime Florence), un famoso violinista en ese momento miembro de la regional de Benedicto Lacerda. Powell estudiaría violão con él durante cinco años. A través de Meira, músico de mente abierta, descubrió clásicos como Segovia y Tarrega, junto a maestros brasileños como Garoto y Dilermando Reis. A los nueve años se presentó en el programa Papel Carbono de Renato Murce en Radio Nacional, ganando el primer lugar como solista de guitarra. A los 13 años, solía huir de la escuela, ganando sus primeros cachets en las fiestas del vecindario. Después de terminar la secundaria, se unió al elenco de Rádio Nacional como acompañante. En ese tiempo, viajó por Brasil con los cantantes de la radio. En 1955, se unió al trío de Ed Lincoln, tocando jazz en el club nocturno Plaza. El lugar fue un punto focal para músicos, periodistas y aficionados interesados en el jazz. Debería considerarse como el segundo lugar donde se estaba generando bossa nova( el primero fue Cantina do César, después de las primeras apariciones de Johnny Alf), contrariamente a la noción común de que la bossa nació en los apartamentos de la Zona Sur (South side).

En ese momento, Powell comenzó a componer "Deve Ser Amor", "Encontro Com a Saudade", "Não é Bem Assim" y su primer gran éxito, "Samba Triste" de 1956, con letra de Billy Blanco y que sería grabado por Lúcio Alves en 1960. En 1962 conoció a su futuro socio, Vinícius de Moraes, compositor, poeta, cantante y diplomático. Su primera canción fue "Canção de Ninar Meu Bem", un gran éxito desde el principio. A continuación, se les ocurrió "Samba em Prelúdio" (grabada todavía en 1962 por Geraldo Vandré/Ana Lúcia), "Consolação" (grabada por Nara Leão), "Samba da Bênção", "Tem Dó", "Só por Amor", "Bom Dia, Amigo", "Labareda" y "Samba do Astronauta" (grabada por Powell en 1964). En este punto, Powell ya era un músico y compositor de renombre, con buenas conexiones en la escena artística y amplia exposición en los medios. En ese año, acompañó a Sílvia Telles en su famoso espectáculo en la discoteca Jirau. En 1963 grabó su primer LP, Um Violão na Madrugada (Philips). En ese año, viajó a París donde se presentó en el teatro Olympia con gran éxito, utilizando un repertorio de música clásica y composiciones propias. También tocó regularmente en una temporada en la discoteca Bilboquet y compuso la banda sonora de la película Le Grabuje. En 1964, regresó a Brasil y grabó el LP À Vontade, que incluía una composición de Tom Jobim y Vinícius, "Samba do Avião."También escribió, en ese año, la samba "Berimbau" con letra de Vinícius. Otras composiciones del dúo ese año fueron "Além do Amor", "Valsa sem Nome"," Deve ser Amor"," Canção do Amor Ausente"," Consolação"," Deixa"," Amei Tanto"," Tempo Feliz "y" Samba da Bênção."Este último fue incluido en la película Un Homme et une Femme de Claude Lelouch, bajo el título "Samba Saravah."

Viajando a Bahía, Powell permaneció allí durante seis meses e investigó las tradiciones afro desarrolladas en suelo brasileño, especialmente la tradición musical que emana de los antiguos rituales de brujería del candomblé y la umbanda. La siguiente fase de su asociación compositiva con Vinícius sería denominada por Powell como las Afro-sambas, reflejando los hallazgos de ese período: "Tristeza e Solidão" y "Bocoché" de 1965 y "Canto do Xangô" y "Canto de Ossanha" de 1966, este último grabado por Elis Regina en 1966 con gran éxito. Tomando el folclore bahiano, Powell agregó su toque carioca, trayendo a la tradición afro un sentimiento más brasileño. En 1999, Powell, recientemente convertido, lamentó y deploró la fase afro-samba como "música del diablo" en una entrevista controvertida y decepcionante.

En 1965, la cantante fundamental Elizeth Cardoso presentó "Valsa do Amor que Não Vem" de Powell/Vinícius en el primer Festival de Música Popular Brasileña (TV Excelsior), São Paulo, ganando el segundo lugar. Al año siguiente, Aluísio de Oliveira produjo otro álbum de Powell, esta vez para su propio sello de referencia, Elenco, que se involucró profundamente en el uso de los mejores músicos, dejando el lado comercial en un segundo plano; desafortunadamente, provocó la desaparición del excelente sello algunos años después. Aprovechando la gira brasileña de Caterina Valente, quien estaba acompañada por el baterista Jimmy Pratt, de Oliveira lo llevó y grabó Baden Powell Swings Con Jimmy Pratt. También en ese año, TV Excelsior promovió el Festival Nacional de Música Popular, en el que el novato Milton Nascimento ganó el cuarto lugar con "Cidade Vazia" (Powell/Lula Freire) y Powell con Vinícius grabaron sus Afro-sambas "Canto de Xangô", "Canto de Iemanjá" y "Canto de Ossanha" para Forma, junto con "Berimbau" y "Samba da Bênção."También se tomó una temporada con Elis Regina en el club nocturno Zum-Zum de Río. Los LP O Mundo Musical de Baden Powell (Barclay/RGE), grabados en Francia; Baden Powell ao Vivo no Teatro Santa Rosa( Elenco); y Tempo Feliz

(Forma/Philips) fueron grabadas en 1966. En ese período, jugó en los EE. UU. con Stan Getz. En 1967 grabó en París, Francia, el álbum O Mundo Musical No. 2, acompañado por la Orquesta Sinfónica de París. En ese año, su O Mundo Musical de Baden Powell fue galardonado con el Disco de Oro en París y se presentó en el Festival de Jazz de Berlín, Alemania, con los guitarristas de jazz estadounidenses Jim Hall y Barney Kessel. En 1968, un novato Paulo César Pinheiro (ahora un reconocido compositor de samba) compuso con Powell la samba "Lapinha", que fue presentada por Elis Regina en la primera Bienal de Samba de TV Record, ganando el primer lugar. El dúo también compondría ,entre otros, "Cancioneiro", "Samba do Perdão", "Meu Réquiem", "É de Lei", "Refém da Solidão", "Aviso aos Navegantes" y " Carta de Poeta."También de 1968 es el LP Baden Powell (Elenco) con el famoso" Manhã de Carnaval "o" Carnaval", de Luís Bonfá y Antônio Maria, y el espectáculo O Mundo Musical de Baden Powell. En 1969 grabó Vinte e Sete Horas de Estúdio (Elenco). Al año siguiente, en París, grabó para Barklay el box set de tres álbumes Baden Powell Quartet y el LP Baden Powell, que tenía canciones de Pixinguinha. Para Elenco grabó el LP Estudos. En 1972, grabó para Philips el LP É de Lei. Solitude on Guitar se grabó al año siguiente en Alemania y en 1974 grabó en París el LP en directo Baden Powell (Barklay/RGE), y en 1975 grabó el LP Baden Powell Trio & Ópera de Frankfurt. Luego se mudó a Baden-Baden( Alemania), permaneciendo allí durante cuatro años. En 1994, ya viviendo nuevamente en Brasil, lanzó el disco Baden Powell de Rio à Paris. En ese mismo año, actuó junto a sus hijos, Louis Marcel (violão) y Phillipe( piano), en la Sala Cecília Meireles de Río, con el concierto grabado y editado en un CD, titulado Baden Powell & Filhos, a través del CID. En 1995, su concierto en el Festival de Montreux fue grabado en CD con el título Baden Powell Live in Montreux. También en ese año, fue galardonado con el Prêmio Shell por sus obras completas. En 1996, realizó una gira por Francia con el acordeonista brasileño Sivuca y grabó el CD Baden Powell en vivo en el Rio Jazz Club. Después de pasar varias semanas en el hospital, Baden Powell murió el 26 de septiembre de 2000, a la edad de 63 años.

https://www.allmusic.com/artist/baden-powell-mn0000765585#biography

Baden Powell • Tempo Feliz

 

Review by Alvaro Neder

This classic 1966 Forma album, reissued on LP by Fontana in 1978 and on CD by PolyGram Brazil in 1990, brought Baden Powell's first recordings for his originals "Vou Por Aí" (with Aloysio de Oliveira), "Apelo," and "Deixa" (both with Vinícius de Moraes; other fruits of the fundamental partnership began in 1962). And there is more: the participation of underrated harmonica player Maurício Einhorn, who adds much to the program from the intro of the opening track, "Vou Por Aí," where unaccompanied guitar and harmonica perform with enchanting polyphony, building independent lines that allow room for the entrance of the rhythm section (no reference given in the album notes, but they are Chico Batera on drums and Edson Lobo on bass), following the exposition of the theme by the harmonica and solos by the two instrumentalists and the bassist. Next comes the classic "Apelo," with two choruses of guitar improv with very discreet references to the jazz idiom, focusing in a Brazilian language instead. The valse "A Chuva" brings with its melancholic overtones a very lyrical solo guitar rendition in the intro; soon it's joined by the harmonica solo and rhythm section. Samba bossa nova is the vehicle for swinging improvisation in "Deixa" and the long-winded "Consolação." Equally animated in the same style is "Sem Saber" (Otto Gonçalves Filho), while "Pro Forma" (Maurício Einhorn/Arnaldo Costa) brings for its 6/8 setting an Iberian atmosphere. The acalanto "Tempo Feliz" (Powell/Vinícius de Moraes), in its second recording by Powell (the first had been in the same year's live Baden Powell ao Vivo no Teatro Santa Rosa), closes the album with delicacy, with Powell alone at the guitar.

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Review by Alvaro Neder

This classic 1966 album form, reissued on LP by Fontana in 1978 and on CD by PolyGram Brazil in 1990, brought Baden Powell's first recordings for his originals "Vou Por Aí" (with Aloysio de Oliveira), "Apelo," and "Deixa" (both with Vinícius de Moraes, other fruits of the fundamental partnership began in 1962). And there is more: the participation of underrated harmonica player Maurício Einhorn, who adds much to the program from the intro of the opening track, "Vou Por Aí," where unaccompanied guitar and harmonica perform with enchanting polyphony, building independent lines that allow room for the entrance of the rhythm section (no reference given in the album notes, but they are Chico Batera on drums and Edson Wolf on bass), following the exposition of the theme by the harmonica and solos by the two instrumentalists and the bassist. Next comes the classic "Apelo," with two choruses of guitar improv with very discreet references to the jazz idiom, focusing on a Brazilian language instead. The valse "A Chuva" brings with its melancholic overtones to very lyrical solo guitar rendition in the intro; soon it's joined by the harmonica solo and rhythm section. Samba bossa nova is the vehicle for swinging improvisation in "Deixa" and the long-winded "Consolação." Equally animated in the same style is "Sem Saber" (Otto Gonçalves Filho), while "Pro Forma" (Maurício Einhorn / Arnaldo Costa) brings for its 6/8 setting an Iberian atmosphere. The acalanto "Tempo Feliz" (Powell / Vinícius de Moraes), in its second recording by Powell (the first had been in the same year's live Baden Powell ao Vivo no Teatro Santa Rosa), closes the album with delicacy, with Powell alone at the guitar

VA • Bossa Nova Hits

 

Sergio Mendes, Astrud Gilberto, Stan Getz,Joao Gilberto, Elis Regina, Ella Fitzgerald, Quincy Jones, Lalo Schifrin, Baden Powell, Vinicius De Moraes, Joe Henderson, Antonio Carlos Jobim ...

Baden Powell • A Vontade

Brazilian guitarist and composer Baden Powell successfully radicalised and revolutionised Brazilian music when his album 'Baden Powell A Vontade' was first released in 1964.

Powell and his songwriting partner, the celebrated Brazilian poet and diplomat Vinicius de Moraes launched with this album a new style known as Afro-Bossa, which connected Bossa Nova, Jazz and the heavyweight Afro-Brazilian rhythms of north-east Brazil to stunning effect.
After succeeding in launching the bossa nova movement with his fellow composer Tom Jobim and singer Joao Gilberto, the poet and diplomat, Vinicius de Moraes, this time in partnership with the genius young guitarist Powell, looked deep into Afro-Brazilian culture for his inspiration.
This resulted in a set of classic new songs such as Berimbau, Candomblé and Consoloçao all of which featured on the album Baden Powell a Vontade for the first time.

These songs became standards in Brazilian music almost overnight (and remain so today) having been covered by everyone from Elis Regina, Edu Lobo, Nara Leao, Sergio Mendes and many 100s more.

This album was the debut Baden Powell release on the super cool Elenco Records, an independent label in Rio de Janeiro set by Aloysio de Oliveira,  that was at the forefront of the Bossa Nova scene throughout the early 1960s. Elenco Records released many stunning albums by Powell, Sergio Mendes, Tom Jobim, Nara Leao, Vinicius de Moraes and other legends of Brazilian music.

Baden Powell A Vontade features the iconic, stark and stunning artwork of the designer Cesar G Villesa, whose classic minimal black, white and red designs helped define the style of Bossa Nova throughout the world and for generations to come.

https://soundsoftheuniverse.com/sjr/product/baden-powell-a-vontade-1964

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 El guitarrista y compositor brasileño Baden Powell radicalizó y revolucionó exitosamente la música brasileña cuando su álbum 'Baden Powell A Vontade' fue lanzado por primera vez en 1964.Powell y su compañero compositor, el célebre poeta y diplomático brasileño Vinicius de Moraes, lanzaron con este álbum un nuevo estilo conocido como Afro-Bossa, que conectó Bossa Nova, Jazz y los ritmos pesados ​​afro-brasileños del noreste de Brasil con un efecto sorprendente.Después de haber logrado lanzar el movimiento bossa nova con su compañero compositor Tom Jobim y la cantante Joao Gilberto, el poeta y diplomático Vinicius de Moraes, esta vez en asociación con el genio joven guitarrista Powell, buscó profundamente en la cultura afrobrasileña para su inspiración.Esto dio lugar a un conjunto de nuevas canciones clásicas como Berimbau, Candomblé y Consoloçao, todas las cuales aparecieron en el álbum Baden Powell a Vontade por primera vez.Estas canciones se convirtieron en estándares en la música brasileña casi de la noche a la mañana (y siguen siéndolo hoy) al haber sido cubiertas por todos, desde Elis Regina, Edu Lobo, Nara Leao, Sergio Mendes y muchos más.Este álbum fue el lanzamiento debut de Baden Powell en el super cool Elenco Records, un sello independiente en Río de Janeiro establecido por Aloysio de Oliveira, que estuvo a la vanguardia de la escena Bossa Nova a principios de los años sesenta. Elenco Records lanzó muchos álbumes impresionantes de Powell, Sergio Mendes, Tom Jobim, Nara Leao, Vinicius de Moraes y otras leyendas de la música brasileña.Baden Powell A Vontade presenta la icónica, austera e impresionante obra de arte del diseñador Cesar G Villesa, cuyos diseños clásicos en negro, blanco y rojo minimalistas ayudaron a definir el estilo de Bossa Nova en todo el mundo y para las generaciones futuras.

https://soundsoftheuniverse.com/sjr/product/baden-powell-a-vontade-1964

Baden Powell • Poema on Guitar

 

One of Baden Powell's first great bossa sessions in Europe – recorded in a light and lively MPS mode that's a bit different than some of his work at the time in Brazil! Rhythm is by the team of Eberhard Weber on bass and Charly Antolini on drums – both players with non-bossa roots, but who push Powell's groove into some slightly new directions – almost hailing the Brazilian influence that would show up even more strongly in European jazz in years to come! Sidney Smith also adds a bit of flute into some of the tracks on the album – underscoring the moodier moments with a subtle tone next to Powell's more pronounced guitar – and the whole thing's got a sense of poise, grace, and beauty that's simply tremendous! Titles include "Euridice", "Consolacao", "Feitinha Pro Poeta", "Dindi", "Reza", "Samba Triste", and "All The Things You Are". Dusty Groove, Inc. https://www.dustygroove.com/item/512780/Baden-Powell:Poema-On-Guitar-Japanese-pressing

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Traducción Automática:
Una de las primeras grandes sesiones de bossa de Baden Powell en Europa, grabada en un modo MPS ligero y animado que es un poco diferente a algunos de sus trabajos en ese momento en Brasil. El ritmo es del equipo de Eberhard Weber en el bajo y Charly Antolini en la batería, ambos jugadores con raíces no bossa, pero que empujan el ritmo de Powell en algunas direcciones ligeramente nuevas, casi aclaman la influencia brasileña que se mostraría aún más en el jazz europeo. ¡en los próximos años! Sidney Smith también agrega un poco de flauta en algunas de las canciones del álbum, subrayando los momentos más tristes con un tono sutil junto a la guitarra más pronunciada de Powell, ¡y todo tiene un sentido de equilibrio, gracia y belleza que es simplemente tremendo! Los títulos incluyen "Euridice", "Consolacao", "Feitinha Pro Poeta", "Dindi", "Reza", "Samba Triste" y "Todas las cosas que eres". Dusty Groove, Inc. https://www.dustygroove.com/item/512780/Baden-Powell:Poema-On-Guitar-Japanese-pressing

 

 

 

 

 

 

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Baden Powell • Ao Vivo No Teatro Santa Rosa

Biography by Alvaro Neder
Baden Powell is a Brazilian musician with a solid international reputation. A gifted instrumentalist and composer, he bridges the gap between classical artistry and popular warmth and was a key figure in the bossa nova movement.

Born in Varre-Sai in the state of Rio de Janeiro, he was baptized after his grandfather, a musician and conductor himself, whose father was an admirer of the Boy Scouts founder. When he was four months old, his family moved to the hill of São Cristóvão in the city of Rio. His father, the violonista Lino de Aquino, promoted regular get-togethers (rodas) of chorões at his home, at which famous names of Rio's music used to play, such as Pixinguinha, his brother China, the sambista Donga, and so many others. At eight, his father took him to Rádio Nacional where Powell met Meira (Jaime Florence), a famous violonista at the time a member of Benedicto Lacerda's regional. Powell would study violão with him for five years. Through Meira, a broad-minded musician, he discovered classics such as Segovia and Tarrega, along with Brazilian masters such as Garoto and Dilermando Reis. At nine, he presented himself at Renato Murce's show Papel Carbono on Rádio Nacional, winning first place as a guitar soloist. At 13, he used to run from school, earning his first cachets at the neighborhood parties. After finishing high school, he joined the cast of Rádio Nacional as an accompanist. In that time, he traveled through Brazil with the radio's singers. In 1955, he joined Ed Lincoln's trio, playing jazz at the Plaza nightclub. The place was a focal point for musicians, journalists, and aficionados interested in jazz. It should be regarded as the second place where bossa nova was being generated (the first being Cantina do César, after Johnny Alf's first appearances), contrary to the common notion of bossa being born at Zona Sul (South side's) apartments.

At that time, Powell began to compose "Deve Ser Amor," "Encontro Com a Saudade," "Não é Bem Assim," and his first big hit, 1956's "Samba Triste," with lyrics by Billy Blanco and which would be recorded by Lúcio Alves in 1960. In 1962, he met his future partner, Vinícius de Moraes, a composer, poet, singer, and diplomat. Their first song was "Canção de Ninar Meu Bem," a great success from the beginning. Following that, they came up with "Samba em Prelúdio" (recorded still in 1962 by Geraldo Vandré/Ana Lúcia), "Consolação" (recorded by Nara Leão), "Samba da Bênção," "Tem Dó," "Só por Amor," "Bom Dia, Amigo," "Labareda," and "Samba do Astronauta" (recorded by Powell in 1964). At this point, Powell was already a renowned musician and composer, with good connections on the artistic scene and wide exposure in the media. In that year, he accompanied Sílvia Telles at her famous show at the Jirau nightclub. In 1963, he recorded his first LP, Um Violão na Madrugada (Philips). In that year, he traveled to Paris where he presented himself at the Olympia theater with great success, using a repertoire of classical music and his own compositions. He also played regularly in a season at the Bilboquet nightclub and composed the soundtrack to the movie Le Grabuje. In 1964, he returned to Brazil and recorded the LP À Vontade, which included a composition by Tom Jobim and Vinícius, "Samba do Avião." He also wrote, in that year, the samba "Berimbau" with lyrics by Vinícius. Other duo's compositions that year were "Além do Amor," "Valsa sem Nome," "Deve ser Amor," "Canção do Amor Ausente," "Consolação," "Deixa," "Amei Tanto," "Tempo Feliz," and "Samba da Bênção." The latter was included in Claude Lelouch's movie Un Homme et une Femme, under the title "Samba Saravah."

Traveling to Bahia, Powell stayed there for six months and researched the Afro traditions developed on Brazilian soil, especially the musical tradition emanating from the ancient sorcery rituals of candomblé and umbanda. The next phase of his compositional association with Vinícius would be called by Powell as the Afro-sambas, mirroring the findings of that period: 1965's "Tristeza e Solidão" and "Bocoché" and 1966's "Canto do Xangô" and "Canto de Ossanha," the latter recorded by Elis Regina in 1966 with great success. Taking Bahia folklore, Powell added his Carioca touch, bringing the Afro tradition a more Brazilian feeling. In 1999, Powell, recently converted, regretted and deplored the Afro-samba phase as "devil's music" in a controverted and disappointing interview.

In 1965, fundamental singer Elizeth Cardoso presented Powell/Vinícius' "Valsa do Amor que Não Vem" at the first Festival of Brazilian Popular Music (TV Excelsior), São Paulo, winning second place. The next year, Aluísio de Oliveira produced another album by Powell, this time for his own landmark label Elenco, that deeply engaged in the use of the best musicians, leaving the commercial side in the background; unfortunately, it caused the excellent label's demise some years later. Taking advantage of the Brazilian tour of Caterina Valente, who was being accompanied by drummer Jimmy Pratt, de Oliveira took him and recorded Baden Powell Swings With Jimmy Pratt. Also in that year, TV Excelsior promoted the National Festival of Popular Music, at which novice Milton Nascimento won fourth place with "Cidade Vazia" (Powell/Lula Freire) and Powell with Vinícius recorded their Afro-sambas "Canto de Xangô," "Canto de Iemanjá," and "Canto de Ossanha" for Forma, along with "Berimbau" and "Samba da Bênção." He also took a season with Elis Regina at Rio's nightclub Zum-Zum. The LPs O Mundo Musical de Baden Powell (Barclay/RGE), recorded in France; Baden Powell ao Vivo no Teatro Santa Rosa (Elenco); and Tempo Feliz

(Forma/Philips) were all recorded in 1966. In that period, he played in the U.S. with Stan Getz. In 1967, he recorded in Paris, France, the album O Mundo Musical No. 2, accompanied by the Paris Symphonic Orchestra. In that year, his O Mundo Musical de Baden Powell was awarded with the Golden Record in Paris and he presented himself at the Jazz Festival in Berlin, Germany, with American jazz guitarists Jim Hall and Barney Kessel. In 1968, a novice Paulo César Pinheiro (now a renowned samba composer) composed with Powell the samba "Lapinha," which was presented by Elis Regina at the TV Record's first Samba Biennial, winning first place. The duo would also compose, among others, "Cancioneiro," "Samba do Perdão," "Meu Réquiem," "É de Lei," "Refém da Solidão," "Aviso aos Navegantes," and "Carta de Poeta." Also from 1968 is the LP Baden Powell (Elenco) with the famous "Manhã de Carnaval" or "Carnival," by Luís Bonfá and Antônio Maria, and the show O Mundo Musical de Baden Powell. In 1969, he recorded Vinte e Sete Horas de Estúdio (Elenco). Next year in Paris, he recorded for Barklay the three-album box set Baden Powell Quartet and the LP Baden Powell, which had Pixinguinha's songs. For Elenco, he recorded the LP Estudos. In 1972, he recorded for Philips the LP É de Lei. Solitude on Guitar was recorded the next year in Germany and in 1974, he recorded in Paris the live LP Baden Powell (Barklay/RGE), and in 1975 recorded the LP Baden Powell Trio & Ópera de Frankfurt. He then moved to Baden-Baden (Germany), staying there for four years. In 1994, already living in Brazil again, he released the record Baden Powell de Rio à Paris. In that same year, he performed together with his sons, Louis Marcel (violão) and Phillipe (piano), at the Cecília Meireles Hall in Rio, with the concert recorded and released on a CD, titled Baden Powell & Filhos, through CID. In 1995, his concert at the Montreux Festival was recorded on CD under the title Baden Powell Live in Montreux. Also in that year, he was awarded with the Prêmio Shell for his complete works. In 1996, he toured in France with Brazilian accordionist Sivuca and recorded the CD Baden Powell Live at the Rio Jazz Club. After spending several weeks in the hospital, Baden Powell died on September 26, 2000, at the age of 63.
https://www.allmusic.com/artist/baden-powell-mn0000765585#biography

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Biografía de Álvaro Neder
Baden Powell es un músico brasileño con una sólida reputación internacional. Un talentoso instrumentista y compositor, cierra la brecha entre el arte clásico y la calidez popular y fue una figura clave en el movimiento bossa nova.

Nacido en Varre-Sai, en el estado de Río de Janeiro, fue bautizado en honor a su abuelo, músico y director de orquesta, cuyo padre era admirador del fundador de los Boy Scouts. Cuando tenía cuatro meses, su familia se mudó al cerro de São Cristóvão en la ciudad de Río. Su padre, el violinista Lino de Aquino, promovía reuniones regulares (rodas) de chorões en su casa, en las que solían tocar nombres famosos de la música carioca, como Pixinguinha, su hermano China, el sambista Donga y muchos otros. A los ocho años, su padre lo llevó a la Radio Nacional, donde Powell conoció a Meira (Jaime Florence), un famoso violinista en ese momento miembro de la regional de Benedicto Lacerda. Powell estudiaría violão con él durante cinco años. A través de Meira, músico de mente abierta, descubrió clásicos como Segovia y Tarrega, junto a maestros brasileños como Garoto y Dilermando Reis. A los nueve años se presentó en el programa Papel Carbono de Renato Murce en Radio Nacional, ganando el primer lugar como solista de guitarra. A los 13 años, solía huir de la escuela, ganando sus primeros cachets en las fiestas del vecindario. Después de terminar la secundaria, se unió al elenco de Rádio Nacional como acompañante. En ese tiempo, viajó por Brasil con los cantantes de la radio. En 1955, se unió al trío de Ed Lincoln, tocando jazz en el club nocturno Plaza. El lugar fue un punto focal para músicos, periodistas y aficionados interesados en el jazz. Debería considerarse como el segundo lugar donde se estaba generando bossa nova( el primero fue Cantina do César, después de las primeras apariciones de Johnny Alf), contrariamente a la noción común de que la bossa nació en los apartamentos de la Zona Sur (South side).

En ese momento, Powell comenzó a componer "Deve Ser Amor", "Encontro Com a Saudade", "Não é Bem Assim" y su primer gran éxito, "Samba Triste" de 1956, con letra de Billy Blanco y que sería grabado por Lúcio Alves en 1960. En 1962 conoció a su futuro socio, Vinícius de Moraes, compositor, poeta, cantante y diplomático. Su primera canción fue "Canção de Ninar Meu Bem", un gran éxito desde el principio. A continuación, se les ocurrió "Samba em Prelúdio" (grabada todavía en 1962 por Geraldo Vandré/Ana Lúcia), "Consolação" (grabada por Nara Leão), "Samba da Bênção", "Tem Dó", "Só por Amor", "Bom Dia, Amigo", "Labareda" y "Samba do Astronauta" (grabada por Powell en 1964). En este punto, Powell ya era un músico y compositor de renombre, con buenas conexiones en la escena artística y amplia exposición en los medios. En ese año, acompañó a Sílvia Telles en su famoso espectáculo en la discoteca Jirau. En 1963 grabó su primer LP, Um Violão na Madrugada (Philips). En ese año, viajó a París donde se presentó en el teatro Olympia con gran éxito, utilizando un repertorio de música clásica y composiciones propias. También tocó regularmente en una temporada en la discoteca Bilboquet y compuso la banda sonora de la película Le Grabuje. En 1964, regresó a Brasil y grabó el LP À Vontade, que incluía una composición de Tom Jobim y Vinícius, "Samba do Avião."También escribió, en ese año, la samba "Berimbau" con letra de Vinícius. Otras composiciones del dúo ese año fueron "Além do Amor", "Valsa sem Nome"," Deve ser Amor"," Canção do Amor Ausente"," Consolação"," Deixa"," Amei Tanto"," Tempo Feliz "y" Samba da Bênção."Este último fue incluido en la película Un Homme et une Femme de Claude Lelouch, bajo el título "Samba Saravah."

Viajando a Bahía, Powell permaneció allí durante seis meses e investigó las tradiciones afro desarrolladas en suelo brasileño, especialmente la tradición musical que emana de los antiguos rituales de brujería del candomblé y la umbanda. La siguiente fase de su asociación compositiva con Vinícius sería denominada por Powell como las Afro-sambas, reflejando los hallazgos de ese período: "Tristeza e Solidão" y "Bocoché" de 1965 y "Canto do Xangô" y "Canto de Ossanha" de 1966, este último grabado por Elis Regina en 1966 con gran éxito. Tomando el folclore bahiano, Powell agregó su toque carioca, trayendo a la tradición afro un sentimiento más brasileño. En 1999, Powell, recientemente convertido, lamentó y deploró la fase afro-samba como "música del diablo" en una entrevista controvertida y decepcionante.

En 1965, la cantante fundamental Elizeth Cardoso presentó "Valsa do Amor que Não Vem" de Powell/Vinícius en el primer Festival de Música Popular Brasileña (TV Excelsior), São Paulo, ganando el segundo lugar. Al año siguiente, Aluísio de Oliveira produjo otro álbum de Powell, esta vez para su propio sello de referencia, Elenco, que se involucró profundamente en el uso de los mejores músicos, dejando el lado comercial en un segundo plano; desafortunadamente, provocó la desaparición del excelente sello algunos años después. Aprovechando la gira brasileña de Caterina Valente, quien estaba acompañada por el baterista Jimmy Pratt, de Oliveira lo llevó y grabó Baden Powell Swings Con Jimmy Pratt. También en ese año, TV Excelsior promovió el Festival Nacional de Música Popular, en el que el novato Milton Nascimento ganó el cuarto lugar con "Cidade Vazia" (Powell/Lula Freire) y Powell con Vinícius grabaron sus Afro-sambas "Canto de Xangô", "Canto de Iemanjá" y "Canto de Ossanha" para Forma, junto con "Berimbau" y "Samba da Bênção."También se tomó una temporada con Elis Regina en el club nocturno Zum-Zum de Río. Los LP O Mundo Musical de Baden Powell (Barclay/RGE), grabados en Francia; Baden Powell ao Vivo no Teatro Santa Rosa( Elenco); y Tempo Feliz

(Forma/Philips) fueron grabadas en 1966. En ese período, jugó en los EE. UU. con Stan Getz. En 1967 grabó en París, Francia, el álbum O Mundo Musical No. 2, acompañado por la Orquesta Sinfónica de París. En ese año, su O Mundo Musical de Baden Powell fue galardonado con el Disco de Oro en París y se presentó en el Festival de Jazz de Berlín, Alemania, con los guitarristas de jazz estadounidenses Jim Hall y Barney Kessel. En 1968, un novato Paulo César Pinheiro (ahora un reconocido compositor de samba) compuso con Powell la samba "Lapinha", que fue presentada por Elis Regina en la primera Bienal de Samba de TV Record, ganando el primer lugar. El dúo también compondría ,entre otros, "Cancioneiro", "Samba do Perdão", "Meu Réquiem", "É de Lei", "Refém da Solidão", "Aviso aos Navegantes" y " Carta de Poeta."También de 1968 es el LP Baden Powell (Elenco) con el famoso" Manhã de Carnaval "o" Carnaval", de Luís Bonfá y Antônio Maria, y el espectáculo O Mundo Musical de Baden Powell. En 1969 grabó Vinte e Sete Horas de Estúdio (Elenco). Al año siguiente, en París, grabó para Barklay el box set de tres álbumes Baden Powell Quartet y el LP Baden Powell, que tenía canciones de Pixinguinha. Para Elenco grabó el LP Estudos. En 1972, grabó para Philips el LP É de Lei. Solitude on Guitar se grabó al año siguiente en Alemania y en 1974 grabó en París el LP en directo Baden Powell (Barklay/RGE), y en 1975 grabó el LP Baden Powell Trio & Ópera de Frankfurt. Luego se mudó a Baden-Baden( Alemania), permaneciendo allí durante cuatro años. En 1994, ya viviendo nuevamente en Brasil, lanzó el disco Baden Powell de Rio à Paris. En ese mismo año, actuó junto a sus hijos, Louis Marcel (violão) y Phillipe( piano), en la Sala Cecília Meireles de Río, con el concierto grabado y editado en un CD, titulado Baden Powell & Filhos, a través del CID. En 1995, su concierto en el Festival de Montreux fue grabado en CD con el título Baden Powell Live in Montreux. También en ese año, fue galardonado con el Prêmio Shell por sus obras completas. En 1996, realizó una gira por Francia con el acordeonista brasileño Sivuca y grabó el CD Baden Powell en vivo en el Rio Jazz Club. Después de pasar varias semanas en el hospital, Baden Powell murió el 26 de septiembre de 2000, a la edad de 63 años.

https://www.allmusic.com/artist/baden-powell-mn0000765585#biography