Artist: Baden Powell
Genre(s):
Jazz
Other
Discography:
Os Afro Sambas
Year: 2000
Tracks: 11
The Best of
Year:
Tracks: 14
Baden Powell is a Brazilian instrumentalist with a solid international reputation. A gifted musician and composer, he bridges the gap 'tween classical art and democratic warmth and was a winder fig in the bossa nova movement.
Born in the Varre e Sai dominion, he was baptized after his granddaddy, a musician and conductor himself, whose forefather was an admirer of the Boy Scouts cave in. When he was quaternity months previous, his family line stirred to the james Jerome Hill of São Cristóvão in the metropolis of Rio. His father, the violonista Lino de Aquino, promoted regular get-togethers (rodas) of chorões at his home plate, at which renowned name calling of Rio's music used to play, such as Pixinguinha, his brother China, the sambista Donga, and so many others. At 8, his don took him to Rádio Nacional where Powell met Meira (Jaime Florence), a famous violonista at the prison term 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 edgar Lee Masters such as Garoto and Dilermando Reis. At 9, he presented himself at Renato Murce's show Papel Carbono on Rádio Nacional, winning first base place as a guitar soloist. At 13, he used to ply from schooltime, earning his low gear cachets at the neighbourhood parties. After finish high schooltime, he joined the cast of Rádio Nacional as an accompanyist. In that time, he traveled through Brazil with the radio's singers. In 1955, he united Ed Lincoln's trio, playing jazz at the Plaza nightspot. The place was a focal gunpoint for musicians, journalists, and aficionados concerned in nothingness. It should be regarded as the second space where bossa nova was organism generated (the first being Cantina do César, later Johnny Alf's number one appearances), adverse to the unwashed notion of bossa being innate at Zona Sul (S side's) apartments.
At that prison term, Powell began to compose "Deve Ser Amor," "Encontro Com a Saudade," "Não é Bem Assim," and his number one bountiful strike, 1956's "Samba Triste," with lyrics by Billy Blanco and which would be recorded by Lúcio Alves in 1960. In 1962, he met his next married person, VinÃcius de Moraes, a composer, poet, isaac Bashevis Singer, and diplomat. Their number one birdcall was "Canção de Ninar Meu Bem," a great achiever from the commencement. 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 far-famed musician and composer, with good connections on the artistic panorama and wide exposure in the media. In that year, he accompanied SÃlvia Telles at her illustrious prove at the Jirau club. In 1963, he recorded his number 1 LP, Um Violão na Madrugada (Philips). In that year, he traveled to Paris where he presented himself at the Olympia theater with great success, victimization a repertory of classical music and his possess compositions. He likewise played regularly in a season at the Bilboquet club and composed the soundtrack to the motion picture Le Grabuje. In 1964, he returned to Brazil and recorded the LP À Vontade, which included a report by Tom Jobim and VinÃcius, "Samba do Avião." He likewise wrote, in that year, the samba "Berimbau" with lyrics by VinÃcius. 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 pic Un Homme et une Femme, under the form of address "Samba Saravah."
Travelling to Bahia, Powell stayed on that point for six-spot months and researched the Afro traditions developed on Brazilian soil, specially the musical tradition emanating from the ancient sorcery rituals of candomblé and umbanda. The side by side phase of his compositional association with VinÃcius would be called by Powell as the Afro-sambas, mirroring the findings of that menstruum: 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, delivery the Afro custom a more Brazilian notion. In 1999, Powell, of late reborn, regretted and deplored the Afro-samba phase as "devil's music" in a controverted and disappointing interview.
In 1965, underlying isaac M. Singer Elizeth Cardoso presented Powell/VinÃcius' "Valsa do Amor que Não Vem" at the number 1 Festival of Brazilian Popular Music (TV Excelsior), São Paulo, winning second place. The side by side year, AluÃsio de Oliveira produced another album by Powell, this time for his possess landmark label Elenco, that deeply engaged in the use of the charles Herbert Best musicians, going the commercial side in the background; alas, it caused the splendid label's death some geezerhood later. Taking advantage of the Brazilian go of Caterina Valente, world Health Organization was organism 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 tiro Milton Nascimento north Korean won quarter place with "Cidade Vazia" (Powell/Lula Freire) and Powell with VinÃcius recorded their Afro-sambas "Canto de Xangô," "Canto de Iemanjá," and "Canto de Ossanha" for Forma, along with "Berimbau" and "Samba da Bênção." He likewise took a season with Elis Regina at Rio's club 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 yr, 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 novitiate Paulo César Pinheiro (now a illustrious obeche composer) composed with Powell the obeche "Lapinha," which was presented by Elis Regina at the TV Record's beginning Samba Biennial, victorious first place. The span would likewise 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 noted "Manhã de Carnaval" or "Funfair," by LuÃs 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 yr in Paris, he recorded for Barklay the three-album box sic 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 following yr 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 (Deutschland), staying at that place for little Joe days. In 1994, already living in Brazil once more, 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 (forte-piano), at the CecÃlia 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 yr, 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 disbursal several weeks in the infirmary, Baden Powell died on September 26, 2000, at the historic period of 63.
