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
///////
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
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
///////
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
///////
