The composer’s inspiration is of unsurpassed richness and new, successful songs with lyrics by Vinicius de Moraes were introduced shortly among these Além do Amor (Besides Love), Valsa Sem Nome (No-name Waltz), Deve Ser Amor (It Must Be Love), Canção do Amor Ausente (Song to an Absent Love), Consolação (Solace), Deixa (Let It Be), Amei Tanto (Too Much Loving), Tempo Feliz (Happy Times), Apêlo (Appeal), etc., etc. As an interpreter he highlighted his versatility, his refined technique coupled with unique musicality, conquering the highest applause for his absolute command of the instrument, virtuosity and personalized interpretations.Īs a composer he contributed with his songs to the development of popular music. Samba em Prelúdio (Samba in Prelude), Só por Amor (Only for Love), Bom Dia Amigo (Good Morning, Friend), Labareda (Blaze), Astronauta (Astronaut) were from that vintage and remained in the charts for months on end.īaden, now part of the bossa-nova movement, participated in shows and television programs. The new greats of modern music were practically in house arrest for three months. Cançã o de Ninar Meu Bem (Lullaby for My Love) was the duo’s first composition and was an immediate success. In 1960, during a performance by Tom Jobim at Arpège, a nightclub in Copacabana, Baden met Vinícius de Moraes, who would become his most frequent collaborator and who was responsible for Baden’s integration into the bossa-nova movement. Other collaborators are: Aloysio de Oliveira ( Vou por Aí – Wandering), Geraldo Vandré ( Rosa Flor – Rose), Ruy Guerra ( Canção à Minha Amada – A Song to My Love), etc. In 1956 came his first big success Samba Triste (Sad Samba), with lyrics by Billy Blanco. That is when Baden started to compose and, all by himself, produced Deve Ser Amor (It Must Be Love), Encontro Com a Saudade (Date with Loneliness), Não é Bem Assim (Not Quite Like That). And the Plaza was the place to be for music lovers, including one of Powell’s admirers: Antônio Carlos Jobim. At that time jazz had marked its presence in Brazil not only by the possibilities of improvisation and the technique required, but also by the presence of jazz greats such as Benny Goodman, Louis Armstrong, Ella Fitzgerald, etc. Around 1955 he joined the trio of pianist Ed Lincoln which performed in the Bar Plaza, in Copacabana. By thirteen Baden was practically playing as a professional musician, earning small cachets for performances in balls and parties in the suburbs.Īfter finishing junior-high school, Baden Powell worked as a musician for the Ràdio Nacional and toured the country performing in small towns. The boy proved to be a prodigy on the instrument and the following year at age nine, performed in the program Papel Carbono, produced by Renato Murce at the Ràdio Nacional, winning first place as a guitar soloist. Florence introduced Baden to Brazilian popular music and the classics, especially the Spanish masters Francisco Tàrrega and Andrés Segóvia. The boy grew up listening to music: his father, a shoe maker by trade and a violinist by calling, held regular get-togethers at home, at which Pixinguinha and Donga, two of Brazil’s popular music icons, were always present.Īt the age of eight, after much insistence from Baden, his father arranged for him study guitar with Jaime Florence (“Meira”), violinist from the group “Regional do Canhoto”. The family moved to Rio when the child was four months old and Baden then became a carioca from the São Cristóvão borough. Baden Powell was considered one of the world’s best contemporary acoustic guitar players and one of the most expressive composers of 20th century Brazilian popular music.īaden Powell was born in the town of Varre-e-Sai (State of Rio de Janeiro) on August 6, 1937, first child of Adelina Gonçalves de Aquino and Lilo de Aquino and was named after the founder of the Boy Scouts, Robert Thompson Baden Powell, of whom Mr.
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