Walter Wanderley • Entre Nós

Walter José Wanderley Mendonça (Recife, Brasil 12 de mayo de 1932- San Francisco, EE. UU. 4 de septiembre de 1986), conocido como Walter Wanderley, fue un organista, pianista y compositor brasileño de jazz y bossa nova. Entre sus éxitos mas famosos están los temas " Batucada y Samba de Verão del compositor Marcos Valle. wiki

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Walter Wanderley (12 May 1932 – 4 September 1986) was an organist and pianist, born in Recife, Brazil and best known for his lounge and bossa nova music.
Already famous in his native country by the late 1950s, he became an internationally renowned star through his collaboration with the singer Astrud Gilberto and her husband, João Gilberto. During 1966–1967, he recorded three notable albums on the Verve label with the a trio consisting of Walter, Claudio Slon (drums) and Jose Marino (bass). These albums, Rainforest, Cheganca and Astrud Gilberto's A Certain Smile, A Certain Sadness were produced in the United States by Creed Taylor, who initially brought the Trio to the U.S. to record. Wanderley's U.S. recording of Summer Samba reached #26 on the Billboard charts in the summer of 1966.
After the Trio disbanded (though they were briefly reunited in 1971 for "The Return of the Original" on Canyon Records), Wanderley himself continued to record albums on Verve, A&M/CTI, and GNP Cresendo. During this time he also made numerous personal appearances, including a concert tour of Mexico.
Wanderley was known for his smooth style and mastery of the Hammond B-3 organ. He died of cancer in 1986.
He was married to Isaurinha Garcia, one of the most popular singers in Brazil.

Walter Wanderley • Samba Swing

Walter José Wanderley Mendonça (Recife, Brasil 12 de mayo de 1932- San Francisco, EE. UU. 4 de septiembre de 1986), conocido como Walter Wanderley, fue un organista, pianista y compositor brasileño de jazz y bossa nova. Entre sus éxitos mas famosos están los temas " Batucada y Samba de Verão del compositor Marcos Valle.

Ya famoso en su país natal a finales de los años 50, se convirtió en una estrella de renombre internacional gracias a su colaboración con la cantante Astrud Gilberto y su marido, João Gilberto. Durante 1966-1967, grabó tres álbumes notables en el sello Verve con el trío formado por Walter, Claudio Slon (batería) y José Marino (bajo). Estos álbumes, Rainforest, Cheganca y A Certain Smile, A Certain Sadness de Astrud Gilberto fueron producidos en los Estados Unidos por Creed Taylor, quien inicialmente trajo el trío a los Estados Unidos para grabar. La grabación de Wanderley en Estados Unidos de Summer Samba alcanzó el número 26 en las listas de Billboard en el verano de 1966.

Después de que el Trío se disolviera (aunque se reunieron brevemente en 1971 para "The Return of the Original" en Canyon Records), el propio Wanderley siguió grabando álbumes en Verve, A&M/CTI, y GNP Cresendo. Durante este tiempo también hizo numerosas apariciones personales, incluyendo una gira de conciertos por México.

Wanderley era conocido por su estilo suave y su dominio del órgano Hammond B-3. Murió de cáncer en 1986.

Estuvo casado con Isaurinha García, una de las cantantes más populares de Brasil.

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Walter Wanderley (12 May 1932 – 4 September 1986) was an organist and pianist, born in Recife, Brazil and best known for his lounge and bossa nova music.

Already famous in his native country by the late 1950s, he became an internationally renowned star through his collaboration with the singer Astrud Gilberto and her husband, João Gilberto. During 1966–1967, he recorded three notable albums on the Verve label with the a trio consisting of Walter, Claudio Slon (drums) and Jose Marino (bass). These albums, Rainforest, Cheganca and Astrud Gilberto's A Certain Smile, A Certain Sadness were produced in the United States by Creed Taylor, who initially brought the Trio to the U.S. to record. Wanderley's U.S. recording of Summer Samba reached #26 on the Billboard charts in the summer of 1966.

After the Trio disbanded (though they were briefly reunited in 1971 for "The Return of the Original" on Canyon Records), Wanderley himself continued to record albums on Verve, A&M/CTI, and GNP Cresendo. During this time he also made numerous personal appearances, including a concert tour of Mexico.

Wanderley was known for his smooth style and mastery of the Hammond B-3 organ. He died of cancer in 1986.

He was married to Isaurinha Garcia, one of the most popular singers in Brazil.

 

 

 

Sergio Mendes • My Favorite Record

 

 https://sergiomendesmusic.com/

Sérgio Mendes & Brasil '66 • Crystal Illusions

Review by Richard S. Ginell
The sound and band that served Sergio Mendes well on Fool on the Hill remain intact on Crystal Illusions, with few modifications. Dave Grusin is right there with a lush, haunting orchestral chart when needed; Lani Hall is thrust further into the vocal spotlight, as cool and alluring as ever in Portuguese or English. Mendes remained on the lookout for fresh Brazilian tunes, and he came up with a coup, one of the earliest covers of a Milton Nascimento tune to reach North America, "Vera Cruz" (with Hall's English lyrics, it became "Empty Faces"), as well as Dori Caymmi's "Dois Dias." The two singles, the perky "Pretty World" and sax-streaked cover of Otis Redding's "The Dock of the Bay," are nice slices of Mendes pop, though they were not significant hits. And yes, Sergio Mendes & Brasil '66 did take a large risk on the title track, a lengthy, kaleidoscopic treatment of an Edu Lobo tune that, inspired perhaps by "MacArthur Park," shattered radio's time barrier at seven minutes and 50 seconds. Yet while Grusin goes into a psychedelic freakout, we get a rare chance to hear Mendes stretch out a bit on electric piano. Weird and overblown, but wonderful.

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Reseña de Richard S. Ginell
El sonido y la banda que sirvió a Sergio Mendes en Fool on the Hill permanecen intactos en Crystal Illusions, con pocas modificaciones. Dave Grusin está ahí con una exuberante e inquietante carta orquestal cuando es necesario; Lani Hall está más metido en el centro de la atención vocal, tan fresco y atractivo como siempre en portugués o inglés. Mendes permaneció en la búsqueda de frescas melodías brasileñas, y se le ocurrió un golpe, una de las primeras versiones de una melodía de Milton Nascimento que llegó a América del Norte, "Vera Cruz" (con la letra en inglés de Hall, se convirtió en "Empty Faces"), así como "Dois Dias" de Dori Caymmi. Los dos sencillos, el alegre "Pretty World" y la portada llena de saxofón de "The Dock of the Bay" de Otis Redding, son bonitos trozos de pop de Mendes, aunque no fueron éxitos significativos. Y sí, Sergio Mendes & Brasil '66 tomaron un gran riesgo en la pista del título, un largo y caleidoscópico tratamiento de una melodía de Edu Lobo que, inspirada quizás en "MacArthur Park", rompió la barrera del tiempo de la radio a los siete minutos y 50 segundos. Sin embargo, mientras Grusin entra en un ataque psicodélico, tenemos la rara oportunidad de escuchar a Mendes estirarse un poco en el piano eléctrico. Raro y exagerado, pero maravilloso.

 

 

 https://sergiomendesmusic.com/

 

 

Sergio Mendes Trio • Bossa Nova York

 

sergiomendesmusic.com ...

Sergio Mendes & Brasil '66 • The Very Best

 

Artist Biography by Bruce Eder

 For most of the second half of the '60s, Sergio Mendes was the top-selling Brazilian artist in the United States, charting huge hit singles and LPs that regularly made the Top Five. His records with his group, Brasil '66, regularly straddled the domestic pop and international markets in America, getting played heavily on AM radio stations, both rock and easy listening, and he gave his label, A&M, something to offer light jazz listeners beyond the work of the company's co-founder, Herb Alpert. During this period, he also became an international music star and one of the most popular musicians in South America.

Born the son of a physician in Niteroi, Brazil, Mendes began studying music at the local conservatory while still a boy, with the intention of becoming a classical pianist. He was living in Rio de Janeiro as the bossa nova craze hit in the mid- to late '50s, and at age 15, he abandoned classical music in favor of bossa nova. Mendes began spending time with other young Brazilian musicians in Rio de Janeiro, absorbing the musical ferment around him in the company of such figures as Antonio Carlos Jobim and João Gilberto. Their company was augmented by the periodic visits of American jazz giants such as Stan Getz, Dizzy Gillespie, Charlie Byrd, Paul Winter, Roy Eldridge, and Herbie Mann. Mendes became the leader of his own group, the Sexteto Bossa Rio, and was heard with them by many visiting musicians. He made his first recording, Dance Moderno, in 1961 on the Philips Records label. By 1962, Mendes and his band were playing at Birdland in New York in an impromptu performance with Cannonball Adderley (who was officially on the bill). Mendes and Adderley cut an album together for Capitol Records that was released later that year.

His early music, represented on albums like Bossa Nova York and Girl from Ipanema, was heavily influenced by Antonio Carlos Jobim, on whose recording Mendes worked. Mendes liked what he had found on his visit to New York, and in 1964 he moved to the United States, initially to play on albums with Jobim and Art Farmer, and formed Brasil '65 the following year. The group recorded for Capitol without attracting too much notice at first. In 1966, however, Mendes and his band -- renamed Brasil '66 -- were signed to A&M Records and something seemed to click between the group and its audience.

The group, consisting in its first A&M incarnation of Mendes on keyboards, Bob Matthews on bass, João Palma on drums, Jose Soares as percussionist, Lani Hall (aka Mrs. Herb Alpert and A&M's co-founder) on vocals, and Janis Hansen on vocals, was successful upon the release of its first album for the label, with its mix of light jazz, a bossa nova beat, and contemporary soft pop melodies. Their self-titled debut LP rose to number six nationally, propelled by the presence of the single "Mas Que Nada." Their second album, Equinox, yielded a trio of minor hits, "Night and Day," "Constant Rain (Chove Chuva)," and "For Me," but their third, Look Around, rose to number five behind a number three single of the group's cover of the Beatles' "Fool on the Hill" and an accompanying hit with "Scarborough Fair," based on the Simon & Garfunkel version of the folk song. Crystal Illusions, from 1969, featured a version of Otis Redding's "(Sittin' On) The Dock of the Bay" and the hit single "Pretty World." Depending upon one's sensibilities, these covers -- especially "Fool on the Hill" and "Scarborough Fair" -- were either legitimate, internationalized pop versions of the originals, or they were "elevator music."

During this period, Mendes also made several recordings for Atlantic Records separate from his A&M deal, principally aimed at a light jazz audience, and several of them in association with Jobim. Art Farmer, Phil Woods, Hubert Laws, and Claire Fisher were among the jazz figures who appeared on these records, which never remotely attracted the same level of interest or sales as his records with Brasil '66. Mendes successfully walked a fine line between international and domestic audiences for most of the late '60s until the end of the decade. Ye-Me-Le was notably less successful than its predecessors, and its single, "Wichita Lineman," was only a minor hit. Mendes seemed to lose his commercial edge with the turn of the decade, and his next two A&M albums: Stillness, a folk-based collection that contained covers of Joni Mitchell's "Chelsea Morning" and Stephen Stills' "For What It's Worth," and Primal Roots, an album of traditional Brazilian music, failed to make any impression on the charts whatsoever.

The group moved to the much smaller Bell Records label in 1973, and then Mendes jumped to Elektra for his first official solo album, Sergio Mendes. He relaunched his recording career two years later with Sergio Mendes & Brasil '77 to little avail, and then, after a five-year layoff from the public eye, Mendes returned to A&M in 1982. His 1983 comeback album, Sergio Mendes, was his first Top 40 album in nearly a decade and a half, and was accompanied by his biggest chart single ever, "Never Gonna Let You Go," which hit number four. Since then, Mendes has had limited chart success with the single "Alibis" and the LP Confetti. He remained a popular figure internationally, even when his record sales slumped in America, as evidenced by the fact that his entire A&M catalog (and much of his Atlantic work) from the '60s has been reissued on CD in Japan. Indeed, his popularity in the rest of the world, versus America, was even the basis for a comic vignette in one episode of the television series Seinfeld.

During the '90s, Mendes performed with a new group, Brasil '99, and more recently, Brasil 2000, and has been integrating the sounds of Bahian hip-hop into his music. In 1997, A&M's British division released a remastered double-CD set of the best of Mendes' music from his first seven years on the label. Most of Mendes' back catalog was reissued as the 21st century dawned, and in 2006, Concord Records released Timeless, his first album of newly recorded material in eight years. A mere two years later, Encanto appeared, including co-productions from will.i.am of Black Eyed Peas. A third album on Concord, Bom Tempo, was released in 2010. After appearances at numerous festivals and a global tour, Mendes took a short break before beginning to record again. He signed to Sony's revived OKeh imprint and cut a completely new set of songs in Los Angeles, Salvador, and Bahia, with a host of special guests and old friends, including John Legend, will.i.am., and Brazilian artists such as Carlinhos Brown, with whom he cut the first single, "One Nation," issued on One Love, One Rhythm: The 2014 FIFA World Cup Official Album. Mendes' album Magic was released in September.

https://www.allmusic.com/artist/sergio-mendes-mn0000002330/biography

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Biografía del artista por Bruce Eder

 Durante la mayor parte de la segunda mitad de los años 60, Sergio Mendes fue el artista brasileño más vendido en los Estados Unidos, con grandes éxitos de ventas en sencillos y LPs que regularmente figuraban en el Top Five. Sus discos con su grupo, Brasil '66, se movían regularmente entre el pop nacional y los mercados internacionales en América, siendo tocados en gran medida en las estaciones de radio AM, tanto de rock como de easy listening, y le dio a su sello, A&M, algo para ofrecer a los oyentes de jazz ligero más allá del trabajo del co-fundador de la compañía, Herb Alpert. Durante este período, también se convirtió en una estrella internacional de la música y en uno de los músicos más populares de Sudamérica.

Nacido hijo de un médico en Niteroi, Brasil, Mendes comenzó a estudiar música en el conservatorio local cuando aún era un niño, con la intención de convertirse en un pianista clásico. Vivía en Río de Janeiro cuando la moda de la bossa nova llegó a mediados y finales de los años 50, y a los 15 años abandonó la música clásica en favor de la bossa nova. Mendes comenzó a pasar tiempo con otros jóvenes músicos brasileños en Río de Janeiro, absorbiendo el fermento musical que lo rodeaba en compañía de figuras como Antonio Carlos Jobim y João Gilberto. Su compañía se vio aumentada por las visitas periódicas de gigantes del jazz estadounidense como Stan Getz, Dizzy Gillespie, Charlie Byrd, Paul Winter, Roy Eldridge y Herbie Mann. Mendes se convirtió en el líder de su propio grupo, el Sexteto Bossa Rio, y fue escuchado con ellos por muchos músicos visitantes. Hizo su primera grabación, Dance Moderno, en 1961 en el sello Philips Records. Para 1962, Mendes y su banda estaban tocando en Birdland en Nueva York en una actuación improvisada con Cannonball Adderley (quien estaba oficialmente en el proyecto de ley). Mendes y Adderley grabaron un álbum para Capitol Records que fue lanzado ese mismo año.

Su música antigua, representada en álbumes como Bossa Nova York y Girl de Ipanema, fue fuertemente influenciada por Antonio Carlos Jobim, en cuya grabación trabajó Mendes. A Mendes le gustó lo que había encontrado en su visita a Nueva York, y en 1964 se mudó a los Estados Unidos, inicialmente para tocar en álbumes con Jobim y Art Farmer, y formó Brasil '65 al año siguiente. El grupo grabó para el Capitolio sin llamar demasiado la atención al principio. En 1966, sin embargo, Mendes y su banda -- rebautizada Brasil '66 -- fueron fichados por A&M Records y algo pareció encajar entre el grupo y su audiencia.

El grupo, que consiste en su primera encarnación A&M de Mendes en teclados, Bob Matthews en el bajo, João Palma en la batería, José Soares como percusionista, Lani Hall (aka Mrs. Herb Alpert y co-fundador de A&M) en la voz, y Janis Hansen en la voz, tuvo éxito en el lanzamiento de su primer álbum para la disquera, con su mezcla de jazz ligero, un ritmo de bossa nova, y melodías contemporáneas de pop suave. Su primer LP autotitulado ascendió al número seis a nivel nacional, impulsado por la presencia del sencillo "Mas Que Nada". Su segundo álbum, Equinox, produjo un trío de éxitos menores, "Night and Day", "Constant Rain (Chove Chuva)", y "For Me", pero su tercer álbum, Look Around, se elevó al número cinco detrás de un sencillo de la versión número tres de la versión de los Beatles de "Fool on the Hill" y un éxito acompañante con "Scarborough Fair", basado en la versión de Simon & Garfunkel de la canción folk. Crystal Illusions, de 1969, presentaba una versión de "(Sittin' On) The Dock of the Bay" de Otis Redding y el exitoso single "Pretty World". Dependiendo de la sensibilidad de cada uno, estas portadas, especialmente "Fool on the Hill" y "Scarborough Fair", eran versiones pop legítimas e internacionalizadas de los originales, o eran "música de ascensor".

Durante este período, Mendes también realizó varias grabaciones para Atlantic Records aparte de su acuerdo A&M, principalmente dirigido a un público de jazz ligero, y varias de ellas en asociación con Jobim. Art Farmer, Phil Woods, Hubert Laws y Claire Fisher estaban entre las figuras del jazz que aparecieron en estos discos, que nunca atrajeron remotamente el mismo nivel de interés o ventas que sus discos con Brasil `66. Mendes caminó con éxito por una delgada línea entre el público internacional y el nacional durante la mayor parte de los últimos años 60 hasta el final de la década. Ye-Me-Le fue notablemente menos exitoso que sus predecesores, y su sencillo, "Wichita Lineman", fue sólo un éxito menor. Mendes pareció perder su ventaja comercial con el cambio de década, y sus dos próximos álbumes de A&M: Stillness, una colección folklórica que contenía versiones de "Chelsea Morning" de Joni Mitchell y "For What It's Worth" de Stephen Stills, y Primal Roots, un álbum de música tradicional brasileña, no causó ninguna impresión en las listas de éxitos.

El grupo se trasladó al sello mucho más pequeño de Bell Records en 1973, y luego Mendes saltó a Elektra para su primer álbum en solitario oficial, Sergio Mendes. Dos años más tarde, relanzó su carrera discográfica con Sergio Mendes & Brasil '77 con muy poco éxito, y luego, después de cinco años de despido del ojo público, Mendes regresó a A&M en 1982. Su álbum de regreso en 1983, Sergio Mendes, fue su primer Top 40 en casi una década y media, y fue acompañado por su mayor single, "Never Gonna Let You Go", que llegó al número cuatro. Desde entonces, Mendes ha tenido un éxito gráfico limitado con el sencillo "Alibis" y el LP Confetti. Se mantuvo como una figura popular a nivel internacional, incluso cuando sus ventas de discos se desplomaron en Estados Unidos, como lo demuestra el hecho de que todo su catálogo de A&M (y gran parte de su obra atlántica) de los años 60 ha sido reeditado en CD en Japón. De hecho, su popularidad en el resto del mundo, contra Estados Unidos, fue incluso la base de una viñeta cómica en un episodio de la serie de televisión Seinfeld.

Durante los'90, Mendes tocó con un nuevo grupo, Brasil'99, y más recientemente, Brasil 2000, y ha estado integrando los sonidos del hip-hop bahiano en su música. En 1997, la división británica de A&M lanzó un doble CD remasterizado con lo mejor de la música de Mendes de sus primeros siete años en el sello. La mayor parte del catálogo de Mendes fue reeditado en los albores del siglo XXI, y en 2006, Concord Records lanzó Timeless, su primer álbum de material grabado en ocho años. Apenas dos años después, apareció Encanto, incluyendo coproducciones de will.i.am de Black Eyed Peas. Un tercer álbum de Concord, Bom Tempo, fue lanzado en 2010. Después de sus apariciones en numerosos festivales y una gira mundial, Mendes se tomó un breve descanso antes de empezar a grabar de nuevo. Firmó con Sony para revivir el sello OKeh y grabó un conjunto completamente nuevo de canciones en Los Ángeles, Salvador y Bahía, con una gran cantidad de invitados especiales y viejos amigos, incluyendo a John Legend, will.i.am., y artistas brasileños como Carlinhos Brown, con quien grabó el primer sencillo, "One Nation", emitido en One Love, One Rhythm: El álbum oficial de la Copa Mundial de la FIFA 2014. El álbum Magic de Mendes fue lanzado en septiembre.

https://www.allmusic.com/artist/sergio-mendes-mn0000002330/biography

Traducción realizada con el traductor www.DeepL.com/Translator

 

https://sergiomendesmusic.com/

Sérgio Mendes & Brasil '66 • Fool On The Hill

 

Artist Biography by Bruce Eder

 For most of the second half of the '60s, Sergio Mendes was the top-selling Brazilian artist in the United States, charting huge hit singles and LPs that regularly made the Top Five. His records with his group, Brasil '66, regularly straddled the domestic pop and international markets in America, getting played heavily on AM radio stations, both rock and easy listening, and he gave his label, A&M, something to offer light jazz listeners beyond the work of the company's co-founder, Herb Alpert. During this period, he also became an international music star and one of the most popular musicians in South America.

Born the son of a physician in Niteroi, Brazil, Mendes began studying music at the local conservatory while still a boy, with the intention of becoming a classical pianist. He was living in Rio de Janeiro as the bossa nova craze hit in the mid- to late '50s, and at age 15, he abandoned classical music in favor of bossa nova. Mendes began spending time with other young Brazilian musicians in Rio de Janeiro, absorbing the musical ferment around him in the company of such figures as Antonio Carlos Jobim and João Gilberto. Their company was augmented by the periodic visits of American jazz giants such as Stan Getz, Dizzy Gillespie, Charlie Byrd, Paul Winter, Roy Eldridge, and Herbie Mann. Mendes became the leader of his own group, the Sexteto Bossa Rio, and was heard with them by many visiting musicians. He made his first recording, Dance Moderno, in 1961 on the Philips Records label. By 1962, Mendes and his band were playing at Birdland in New York in an impromptu performance with Cannonball Adderley (who was officially on the bill). Mendes and Adderley cut an album together for Capitol Records that was released later that year.

His early music, represented on albums like Bossa Nova York and Girl from Ipanema, was heavily influenced by Antonio Carlos Jobim, on whose recording Mendes worked. Mendes liked what he had found on his visit to New York, and in 1964 he moved to the United States, initially to play on albums with Jobim and Art Farmer, and formed Brasil '65 the following year. The group recorded for Capitol without attracting too much notice at first. In 1966, however, Mendes and his band -- renamed Brasil '66 -- were signed to A&M Records and something seemed to click between the group and its audience.

The group, consisting in its first A&M incarnation of Mendes on keyboards, Bob Matthews on bass, João Palma on drums, Jose Soares as percussionist, Lani Hall (aka Mrs. Herb Alpert and A&M's co-founder) on vocals, and Janis Hansen on vocals, was successful upon the release of its first album for the label, with its mix of light jazz, a bossa nova beat, and contemporary soft pop melodies. Their self-titled debut LP rose to number six nationally, propelled by the presence of the single "Mas Que Nada." Their second album, Equinox, yielded a trio of minor hits, "Night and Day," "Constant Rain (Chove Chuva)," and "For Me," but their third, Look Around, rose to number five behind a number three single of the group's cover of the Beatles' "Fool on the Hill" and an accompanying hit with "Scarborough Fair," based on the Simon & Garfunkel version of the folk song. Crystal Illusions, from 1969, featured a version of Otis Redding's "(Sittin' On) The Dock of the Bay" and the hit single "Pretty World." Depending upon one's sensibilities, these covers -- especially "Fool on the Hill" and "Scarborough Fair" -- were either legitimate, internationalized pop versions of the originals, or they were "elevator music."

During this period, Mendes also made several recordings for Atlantic Records separate from his A&M deal, principally aimed at a light jazz audience, and several of them in association with Jobim. Art Farmer, Phil Woods, Hubert Laws, and Claire Fisher were among the jazz figures who appeared on these records, which never remotely attracted the same level of interest or sales as his records with Brasil '66. Mendes successfully walked a fine line between international and domestic audiences for most of the late '60s until the end of the decade. Ye-Me-Le was notably less successful than its predecessors, and its single, "Wichita Lineman," was only a minor hit. Mendes seemed to lose his commercial edge with the turn of the decade, and his next two A&M albums: Stillness, a folk-based collection that contained covers of Joni Mitchell's "Chelsea Morning" and Stephen Stills' "For What It's Worth," and Primal Roots, an album of traditional Brazilian music, failed to make any impression on the charts whatsoever.

The group moved to the much smaller Bell Records label in 1973, and then Mendes jumped to Elektra for his first official solo album, Sergio Mendes. He relaunched his recording career two years later with Sergio Mendes & Brasil '77 to little avail, and then, after a five-year layoff from the public eye, Mendes returned to A&M in 1982. His 1983 comeback album, Sergio Mendes, was his first Top 40 album in nearly a decade and a half, and was accompanied by his biggest chart single ever, "Never Gonna Let You Go," which hit number four. Since then, Mendes has had limited chart success with the single "Alibis" and the LP Confetti. He remained a popular figure internationally, even when his record sales slumped in America, as evidenced by the fact that his entire A&M catalog (and much of his Atlantic work) from the '60s has been reissued on CD in Japan. Indeed, his popularity in the rest of the world, versus America, was even the basis for a comic vignette in one episode of the television series Seinfeld.

During the '90s, Mendes performed with a new group, Brasil '99, and more recently, Brasil 2000, and has been integrating the sounds of Bahian hip-hop into his music. In 1997, A&M's British division released a remastered double-CD set of the best of Mendes' music from his first seven years on the label. Most of Mendes' back catalog was reissued as the 21st century dawned, and in 2006, Concord Records released Timeless, his first album of newly recorded material in eight years. A mere two years later, Encanto appeared, including co-productions from will.i.am of Black Eyed Peas. A third album on Concord, Bom Tempo, was released in 2010. After appearances at numerous festivals and a global tour, Mendes took a short break before beginning to record again. He signed to Sony's revived OKeh imprint and cut a completely new set of songs in Los Angeles, Salvador, and Bahia, with a host of special guests and old friends, including John Legend, will.i.am., and Brazilian artists such as Carlinhos Brown, with whom he cut the first single, "One Nation," issued on One Love, One Rhythm: The 2014 FIFA World Cup Official Album. Mendes' album Magic was released in September.

https://www.allmusic.com/artist/sergio-mendes-mn0000002330/biography

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Biografía del artista por Bruce Eder

 Durante la mayor parte de la segunda mitad de los años 60, Sergio Mendes fue el artista brasileño más vendido en los Estados Unidos, con grandes éxitos de ventas en sencillos y LPs que regularmente figuraban en el Top Five. Sus discos con su grupo, Brasil '66, se movían regularmente entre el pop nacional y los mercados internacionales en América, siendo tocados en gran medida en las estaciones de radio AM, tanto de rock como de easy listening, y le dio a su sello, A&M, algo para ofrecer a los oyentes de jazz ligero más allá del trabajo del co-fundador de la compañía, Herb Alpert. Durante este período, también se convirtió en una estrella internacional de la música y en uno de los músicos más populares de Sudamérica.

Nacido hijo de un médico en Niteroi, Brasil, Mendes comenzó a estudiar música en el conservatorio local cuando aún era un niño, con la intención de convertirse en un pianista clásico. Vivía en Río de Janeiro cuando la moda de la bossa nova llegó a mediados y finales de los años 50, y a los 15 años abandonó la música clásica en favor de la bossa nova. Mendes comenzó a pasar tiempo con otros jóvenes músicos brasileños en Río de Janeiro, absorbiendo el fermento musical que lo rodeaba en compañía de figuras como Antonio Carlos Jobim y João Gilberto. Su compañía se vio aumentada por las visitas periódicas de gigantes del jazz estadounidense como Stan Getz, Dizzy Gillespie, Charlie Byrd, Paul Winter, Roy Eldridge y Herbie Mann. Mendes se convirtió en el líder de su propio grupo, el Sexteto Bossa Rio, y fue escuchado con ellos por muchos músicos visitantes. Hizo su primera grabación, Dance Moderno, en 1961 en el sello Philips Records. Para 1962, Mendes y su banda estaban tocando en Birdland en Nueva York en una actuación improvisada con Cannonball Adderley (quien estaba oficialmente en el proyecto de ley). Mendes y Adderley grabaron un álbum para Capitol Records que fue lanzado ese mismo año.

Su música antigua, representada en álbumes como Bossa Nova York y Girl de Ipanema, fue fuertemente influenciada por Antonio Carlos Jobim, en cuya grabación trabajó Mendes. A Mendes le gustó lo que había encontrado en su visita a Nueva York, y en 1964 se mudó a los Estados Unidos, inicialmente para tocar en álbumes con Jobim y Art Farmer, y formó Brasil '65 al año siguiente. El grupo grabó para el Capitolio sin llamar demasiado la atención al principio. En 1966, sin embargo, Mendes y su banda -- rebautizada Brasil '66 -- fueron fichados por A&M Records y algo pareció encajar entre el grupo y su audiencia.

El grupo, que consiste en su primera encarnación A&M de Mendes en teclados, Bob Matthews en el bajo, João Palma en la batería, José Soares como percusionista, Lani Hall (aka Mrs. Herb Alpert y co-fundador de A&M) en la voz, y Janis Hansen en la voz, tuvo éxito en el lanzamiento de su primer álbum para la disquera, con su mezcla de jazz ligero, un ritmo de bossa nova, y melodías contemporáneas de pop suave. Su primer LP autotitulado ascendió al número seis a nivel nacional, impulsado por la presencia del sencillo "Mas Que Nada". Su segundo álbum, Equinox, produjo un trío de éxitos menores, "Night and Day", "Constant Rain (Chove Chuva)", y "For Me", pero su tercer álbum, Look Around, se elevó al número cinco detrás de un sencillo de la versión número tres de la versión de los Beatles de "Fool on the Hill" y un éxito acompañante con "Scarborough Fair", basado en la versión de Simon & Garfunkel de la canción folk. Crystal Illusions, de 1969, presentaba una versión de "(Sittin' On) The Dock of the Bay" de Otis Redding y el exitoso single "Pretty World". Dependiendo de la sensibilidad de cada uno, estas portadas, especialmente "Fool on the Hill" y "Scarborough Fair", eran versiones pop legítimas e internacionalizadas de los originales, o eran "música de ascensor".

Durante este período, Mendes también realizó varias grabaciones para Atlantic Records aparte de su acuerdo A&M, principalmente dirigido a un público de jazz ligero, y varias de ellas en asociación con Jobim. Art Farmer, Phil Woods, Hubert Laws y Claire Fisher estaban entre las figuras del jazz que aparecieron en estos discos, que nunca atrajeron remotamente el mismo nivel de interés o ventas que sus discos con Brasil `66. Mendes caminó con éxito por una delgada línea entre el público internacional y el nacional durante la mayor parte de los últimos años 60 hasta el final de la década. Ye-Me-Le fue notablemente menos exitoso que sus predecesores, y su sencillo, "Wichita Lineman", fue sólo un éxito menor. Mendes pareció perder su ventaja comercial con el cambio de década, y sus dos próximos álbumes de A&M: Stillness, una colección folklórica que contenía versiones de "Chelsea Morning" de Joni Mitchell y "For What It's Worth" de Stephen Stills, y Primal Roots, un álbum de música tradicional brasileña, no causó ninguna impresión en las listas de éxitos.

El grupo se trasladó al sello mucho más pequeño de Bell Records en 1973, y luego Mendes saltó a Elektra para su primer álbum en solitario oficial, Sergio Mendes. Dos años más tarde, relanzó su carrera discográfica con Sergio Mendes & Brasil '77 con muy poco éxito, y luego, después de cinco años de despido del ojo público, Mendes regresó a A&M en 1982. Su álbum de regreso en 1983, Sergio Mendes, fue su primer Top 40 en casi una década y media, y fue acompañado por su mayor single, "Never Gonna Let You Go", que llegó al número cuatro. Desde entonces, Mendes ha tenido un éxito gráfico limitado con el sencillo "Alibis" y el LP Confetti. Se mantuvo como una figura popular a nivel internacional, incluso cuando sus ventas de discos se desplomaron en Estados Unidos, como lo demuestra el hecho de que todo su catálogo de A&M (y gran parte de su obra atlántica) de los años 60 ha sido reeditado en CD en Japón. De hecho, su popularidad en el resto del mundo, contra Estados Unidos, fue incluso la base de una viñeta cómica en un episodio de la serie de televisión Seinfeld.

Durante los'90, Mendes tocó con un nuevo grupo, Brasil'99, y más recientemente, Brasil 2000, y ha estado integrando los sonidos del hip-hop bahiano en su música. En 1997, la división británica de A&M lanzó un doble CD remasterizado con lo mejor de la música de Mendes de sus primeros siete años en el sello. La mayor parte del catálogo de Mendes fue reeditado en los albores del siglo XXI, y en 2006, Concord Records lanzó Timeless, su primer álbum de material grabado en ocho años. Apenas dos años después, apareció Encanto, incluyendo coproducciones de will.i.am de Black Eyed Peas. Un tercer álbum de Concord, Bom Tempo, fue lanzado en 2010. Después de sus apariciones en numerosos festivales y una gira mundial, Mendes se tomó un breve descanso antes de empezar a grabar de nuevo. Firmó con Sony para revivir el sello OKeh y grabó un conjunto completamente nuevo de canciones en Los Ángeles, Salvador y Bahía, con una gran cantidad de invitados especiales y viejos amigos, incluyendo a John Legend, will.i.am., y artistas brasileños como Carlinhos Brown, con quien grabó el primer sencillo, "One Nation", emitido en One Love, One Rhythm: El álbum oficial de la Copa Mundial de la FIFA 2014. El álbum Magic de Mendes fue lanzado en septiembre.

https://www.allmusic.com/artist/sergio-mendes-mn0000002330/biography

Traducción realizada con el traductor www.DeepL.com/Translator

https://sergiomendesmusic.com/

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

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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

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

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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

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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Traducción Automática:

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

Paulo Sérgio • Bossa Nova - Los más grandes autores

 

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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Traducción Automática:

 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