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{{short description|Brazilian guitarist}}
{{about|the musician|the founder of the Scout Movement|Robert Baden-Powell}}
{{Infobox Person {{Infobox musical artist
|name= Baden Powell | name = Baden Powell
|image= BadenPowellGuitar-1.jpg | image = BadenPowellGuitar-1.jpg
| birth_name = Baden Powell de Aquino
|image_size=148px
| birth_date = {{Birth date|1937|8|6}}
|caption=
| birth_place = ], ], Brazil
|birth_date= {{Birth date|1937|8|6}}
| death_date = {{death date and age|2000|9|26|1937|8|6}}
|birth_place= ], ], ]
| death_place = Rio de Janeiro
|death_date= {{death date and age|2000|9|26|1937|8|6}}
| genre = ], ]
|death_place=], ], Brazil
| occupation = Musician
| instrument = Guitar
| years_active = 1950s–1990s
| label =
| associated_acts =
}} }}
'''Baden Powell de Aquino''' (August 6, 1937 - September 26, 2000) usually known simply as '''Baden Powell''', was one of the greatest ]ian ]ists.<ref>{{cite book|last1=McGowan|first1=Chris|last2=Pessanha|first2=Ricardo|title=The Brazilian sound: samba, bossa nova, and the popular music of Brazil|url=http://books.google.com/books?id=7MFD-EoTR7MC&pg=PA64|year=1998|publisher=Temple University|isbn=1566395453|page=64}}</ref> He explored the instrument to its utmost limits, playing it in a distinctive, unique manner, incorporating virtuoso classical techniques together with popular ] and ]. He performed in many styles, including ], ], ], ] and ]. He often performed on stage during most of his lifetime, and recorded an extensive discography composed of LP and CD albums produced in Brazil and Europe, particularly in ] and ].


'''Baden Powell de Aquino''' ({{IPA|pt-BR|ˈbadẽ ˈpawew|lang}}; 6 August 1937 – 26 September 2000), known professionally as '''Baden Powell''', was a Brazilian guitarist.<ref>{{cite book |last1=McGowan |first1=Chris |last2=Pessanha |first2=Ricardo |title=The Brazilian sound: samba, bossa nova, and the popular music of Brazil|url=https://www.nytimes.com/2000/09/27/arts/baden-powell-63-guitarist-who-pioneered-bossa-nova.html|url-access=registration |year=1998 |publisher=Temple University |isbn=1-56639-545-3 |page=|archive-url=https://web.archive.org/web/20230515052517/https://www.nytimes.com/2000/09/27/arts/baden-powell-63-guitarist-who-pioneered-bossa-nova.html |archive-date=2023-05-15 }}</ref> He combined classical techniques with popular ] and ]. He performed in many styles, including ], ], ], ] and ]. He performed on stage during most of his lifetime. Powell composed many pieces for guitar some of them now considered guitar standards, such as ''Abração em Madrid'', ''Braziliense'', ''Canto de Ossanha'', ''Casa Velha'', ''Consolação'', ''Horizon'', ''Imagem'', ''Lotus'', ''Samba'', ''Samba Triste'', ''Simplesmente'', ''Tristeza e Solidão'', and ''Samba da Benção''. He released '']'', a watershed album in MPB, with ] in 1966.<ref>{{Cite magazine|last=Internet (amdb.com.br)|first=AMDB|date=2009-12-18|title=Nº 9 - Canto de Ossanha|url=https://rollingstone.uol.com.br/edicao/37/noticia-3947|access-date=2021-03-19|magazine=Rolling Stone|language=pt-br}}</ref> He is widely regarded as one of the greatest Brazilian guitar players of all time.<ref>{{cite news | url=https://www.nytimes.com/2000/09/27/arts/baden-powell-63-guitarist-who-pioneered-bossa-nova.html | title=Baden Powell, 63, Guitarist Who Pioneered Bossa Nova | work=The New York Times | date=27 September 2000 | access-date=2024-06-29 | archive-date=15 May 2023 | archive-url=https://web.archive.org/web/20230515052517/https://www.nytimes.com/2000/09/27/arts/baden-powell-63-guitarist-who-pioneered-bossa-nova.html | last1=Romero | first1=Simon }}</ref>
Baden Powell also composed many fine pieces for guitar, such as Xangô, Simplesmente, Braziliense, Horizon, Abração em Madrid, Tristeza e solidão, Consolação, Samba, Casa Velha, Lotus, Imagem, and Canto de Ossanha.


==Biography== ==Biography==
Baden Powell de Aquino was born in ] in the state of ], ]. His father, a ] enthusiast, named him after ]. When he was three, his family relocated to a Rio suburb. The new surroundings proved profoundly influential. His house was a stop for popular musicians during his formative years. He started guitar lessons with Jayme Florence, a famous ] guitarist in the 1940s. He soon proved a young virtuoso, having won many talent competitions before he was a teenager. At age fifteen, he was already playing professionally, accompanying singers and bands in various styles. As a youngster, he was fascinated by ] and ], but his main influences were firmly rooted in the Brazilian ] canon. Baden Powell de Aquino was born in ] in ], Brazil. His father, a ] enthusiast, named him after ]. When he was three months old, his family relocated to the Rio suburb of ]. His house was a stop for popular musicians during his formative years. He started guitar lessons with Jayme Florence, a famous ] guitarist in the 1940s. He soon proved a young virtuoso, having won many talent competitions before he was a teenager. At age fifteen, he was playing professionally, accompanying singers and bands in various styles. He was fascinated by ] and ], but his main influences were in the Brazilian ] canon.


In 1955, Powell was playing with the Steve Bernard Orquestra at the Boite Plaza, a nightclub within the Plaza Hotel in Rio, where his skill got the attention of the jazz trio playing across the lobby at the Plaza Bar. When ] needed to form a new trio, he asked Powell to join on guitar to become the Hotel Plaza Trio. Powell brought in Luiz Marinho for bass duties as well as a fourth member of the "trio": Claudette Soares on vocals. Powell, Lincoln and their young musician friends took part in after-hours jam sessions, gaining notice in the growing Brazilian jazz scene.<ref></ref> In 1955, Powell played with the Steve Bernard Orquestra at the Boite Plaza, a nightclub within the Plaza Hotel in Rio, where his skill got the attention of the jazz trio playing across the lobby at the Plaza Bar. When ] needed to form a new trio, he asked Powell to join on guitar to become the Hotel Plaza Trio. Powell brought in Luiz Marinho on bass and a fourth member of the "trio": Claudette Soares on vocals. Powell, Lincoln, and their young musician friends took part in after-hours jam sessions, gaining notice in the growing Brazilian jazz scene.<ref>{{usurped|1=}}</ref>


Powell achieved much wider fame in 1959 by convincing ], an established singer and songwriter, to put ] to one of Powell's compositions. The result was called "Samba Triste" and quickly became very successful. It has been ] by many artists, including ] and ] in their seminal LP ]. Powell achieved wider fame in 1959 by convincing ], an established singer and songwriter, to put ] to one of Baden's compositions. The result was called "Samba Triste" and quickly became very successful. It has been ] by many artists, including ] and ] in their seminal LP ''].''


In 1962, Powell met the poet-diplomat ] and began a collaboration that yielded some true classics of 1960s Brazilian music. Although ] was the prevailing sound of the times, the partnership Baden-Vinicius wanted to transcend the then-fashionable sound by syncretizing Afro-Brazilian forms such as ], ] and ] with Rio de Janeiro's Samba forms. The most enduring result is a ] released as an ] in 1966 under the name "Os Afro-Sambas de Baden e Vinicius". During ], he studied advanced harmony with ], released recordings in the Brazilian labels Elenco and Forma, as well as in the French label Barclay and the German label MPS/Saba (notably, his 1966 ''Tristeza on Guitar'', considered by many to be a high point in his career). In addition, he was the house guitarist for Elenco, and of the celebrated singer ]'s TV show "O Fino da Bossa". In 1962, Powell met the poet-diplomat ] and began a collaboration that yielded classics of 1960s Brazilian music. Although ] was the prevailing sound at the time, Baden and Vinicius wanted to combine samba with Afro-Brazilian forms such as ], ], and ]. In 1966 they released '']''.


Powell studied advanced harmony with ] and released recordings on the Brazilian labels ] and Forma, as well as in the French label ] and the German label ]/Saba (notably, his 1966 ''Tristeza on Guitar''). He was the house guitarist for Elenco, and of the singer ]'s TV show ''O Fino da Bossa''.
In 1968, he partnered with poet Paulo Cesar Pinheiro and produced another series of Afro-Brazilian inspired music released in 1970 as "Os Cantores da Lapinha".

In 1968, Powell joined with poet ] and produced another series of Afro-Brazilian-inspired music, released in 1970 as ''Os Cantores da Lapinha''.


] ]
Powell visited and toured Europe frequently in the 1960s, relocating permanently to France in 1968.
He visited and toured Europe frequently in the 1960s, relocating permanently to France in 1968. In the 1970s, he released many recordings with different labels in Europe and Brazil. His star dimmed somewhat owing to health problems and people's changing tastes. He spent the 1980s in semi-retirement in France and Germany. Finally, in the 1990s he and his family moved back to Brazil, where he continued to record and perform. Public recognition of his work came around that time in Brazil. By the end of the 1990s he converted to Evangelical faith, to which he credits overcoming his long addictions to alcohol and tobacco. Nevertheless, his health had greatly deteriorated after many years of abuse, and he fell terminally ill in 2000.

In the 1970s, he released recordings with labels in Europe and Brazil. In 1981, he performed on the stage of Palais des glaces in Paris as guitarist and singer for four weeks.<ref>« Variétés : Baden a surpassé Powell », ], '']'', 3 June 1981.</ref> However, he had health problems and spent the 1980s in semi-retirement in France and Germany. In the 1990s he and his family moved back to Brazil, where he continued to record and perform. Public recognition of his work came around that time in Brazil.


By the end of the 1990s he converted to ], to which he credits overcoming his long ] to alcohol and tobacco. He fell terminally ill in 2000 and died of general infection triggered by a bacterial ] on 26 September 2000, in Rio de Janeiro.
Baden Powell died of pneumonia triggered by diabetes on the 26th of September, 2000, in Rio de Janeiro.


He is the father of pianist ] and guitarist ]. He is the father of pianist ] and guitarist ].
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Baden Powell decided at age 19 to stop playing the ], preferring to concentrate on the ] for the rest of his career. He did record a series of albums with a borrowed steel-string ], but that is as far as he strayed from his main instrument in his adulthood. Baden Powell decided at age 19 to stop playing the ], preferring to concentrate on the ] for the rest of his career. He did record a series of albums with a borrowed steel-string ], but that is as far as he strayed from his main instrument in his adulthood.


An analysis of his repertoire reveals a wide range of interests. It spanned all the idioms of Brazilian popular music of the 20th century: ], Bossa Nova, Afro-]n ritual music, ], ], ], even European and Japanese lullabies. Like most musicians growing up in the 1940s and 1950s, he was deeply influenced by Jazz, especially ] and ]. He ] ]'s '''Round Midnight'' on two recordings, and ]'s ''All the Things you Are'' on three occasions (including his first solo album). An analysis of his repertoire reveals a wide range of interests. It spanned all the idioms of Brazilian popular music of the 20th century: ], ], Afro-]n ritual music, ], ], and ], and even European and Japanese lullabies. Like most musicians growing up in the 1940s and 1950s, he was deeply influenced by ], especially ] and ]. He covered Thelonious Monk's "]" on two recordings, and Jerome Kern's "]" on three occasions (including his first solo album).


This upbringing is reflected in his playing style, which shows a fusion of jazz harmonies and classical guitar technique, with a very Brazilian right hand (''i.e.,'' the one carrying the rhythm on the guitar). In solo classical music, he was quite proficient in the works of ] and ]. When playing in a group, he was able to accompany singers with quiet mastery, or let loose and play street Samba in sloppy "party" style as if the guitar was another percussion instrument. Like Monk, he was fond of the ] interval as a way to "bend" the tonality. However, because of his jazz background, he would rarely physically ], preferring instead to play the minor second using an adjacent open string. Students of his style should note this preference for ] that feature ] on the open strings as a way of punctuating passages. Other idioms to watch for are the endless variations in rhythm played by the right hand; always within the proper ], as well as his tendency to put his "signature" in a fast descending scale with a (slower) ascending arpeggio in the ]. Another common device that he used in his recordings consisted of his use of ] and ], often in unison with the melody line (especially when the melody was sung on the bass strings of the guitar). This upbringing is reflected in his playing style, which shows a fusion of jazz harmonies and ], with a very Brazilian right hand (the one carrying the rhythm on the guitar). In solo ], he was proficient in the works of ] and ]. When playing in a group, he was able to accompany singers with quiet mastery, or let loose and play street samba in sloppy "party" style as if the guitar was another percussion instrument. Like Monk, he was fond of the ] interval as a way to "bend" the tonality. However, because of his jazz background, he would rarely physically ], preferring instead to play the minor second using an adjacent open string. Students of his style should note this preference for ] that feature ] on the open strings as a way of punctuating passages. Other idioms to watch for are the endless variations in rhythm played by the right hand, always within the proper ], as well as his tendency to put his "signature" in a fast descending scale with a (slower) ascending ] in the ]. He also used ] and ], often in unison with the melody line (especially when the melody was sung on the bass strings of the guitar).


His influences, according to his testimony, were his first teacher "Meira" (Jayme Florence, 1909–1982), Dilermando Reis (1916–1977), and Garoto (Anibal Augusto Sardinha, 1915–1955). He also commented about being influenced by the work of ] (Lester William Polfus, 1915–2009), ] (1910–1953) and ] (1934-). His influences were his first teacher "Meira" (Jayme Florence, 1909–1982), ] (1916–1977), and Garoto (Anibal Augusto Sardinha, 1915–1955). He also commented about being influenced by the work of ] (1915–2009), ] (1910–1953), and ] (1934–2019).


==Discography== ==Discography==
Baden Powell first appeared as accompanist on a handful of big band and Samba recordings from the 1950s. He recorded his first solo album in 1959, but it was released in 1961. His first and second albums as a featured performer show a selection of Jazz standards along with Brazilian hits of the time and some original compositions. In 1962, he rose to international attention when he recorded with flutist Herbie Mann and drummer Jimmy Pratt. By 1963, he was flying solo and fronting small ensembles in Brazil and France. The French labels ] and Festival released many of his recordings. In Germany, MPS/Saba released his work with producer Joachim Berendt. In Brazil, he recorded for the ], Forma and the Brazilian subsidiary of ]. After a relative drought of new releases in the 1980s, Baden Powell returned to recording studios in Brazil for his final years. These late recordings showcase him playing mostly solo guitar, or voice and guitar in a relaxed, intimate style, with occasional flurries of his former energetic playing. Baden Powell first appeared as accompanist on a few big band and samba recordings from the 1950s. He recorded his first solo album in 1959, but it was released in 1961. His first and second albums contain jazz standards, Brazilian popular music of the time, and original compositions. In 1962, he recorded with flautist ] and drummer Jimmy Pratt. In 1963 he led small ensembles in Brazil and France. The French labels ] and Festival released many of his recordings. In Germany, ]/Saba released his work with producer ]. In Brazil, he recorded for ], Forma, and the Brazilian subsidiary of ]. After a few new releases in the 1980s, Powell returned to recording studios in Brazil for his final years. His later recordings consist of solo guitar or voice and guitar.

===Albums=== ===Albums===
{|class="wikitable" {|class="wikitable"
|-
!Title !! Release !! Label
!Title !! Release !! Label !! Notes
|- align=center
|- style="text-align:left;"
|align=left|'' Monteiro de Souza e Sua Orquestra Apresentando Baden Powell e Seu Violão ''|| 1961 || align=left| ]
|align=left|''Apresentando Baden Powell e Seu Violão''||1961||align=left|] (Br)||with Carlos Monteiro de Souza and his orchestra. Produced by Baden Powell
|- align=center
|- style="text-align:left;"
|align=left|'' Um Violão Na Madrugada ''|| 1961 || align=left| Philips
|align=left|''Um Violão na Madrugada''||1961||align=left|Philips||with Carlos Monteiro de Souza and his orchestra. Produced by Armando Pittigliani
|- align=center ''||
|- align=center''||
|align=left|'' A Vontade ''|| 1963 || align=left| ]
|align=left|''Baden Powell Swings with Jimmy Pratt''||1963||align=left|Elenco||with band directed by Jimmy Pratt on drums. Produced by ]
|- align=center ''||
|- align=center''||
|align=left|'' Baden Powell Swings with Jimmy Pratt ''|| 1963 || align=left| ]
|align=left|''À Vontade''||1963||align=left|] (Br)||with flute, drums and percussion. Produced by Oliveira
|- align=center
|- style="text-align:left;"
|align=left|'' Le Monde Musical de Baden Powell, Vol. 1 ''|| 1964 || align=left| ]
|align=left|''Le Monde Musical de Baden Powell,'' also released as ''Fresh Winds''||1964||align=left|] (F), ] (US)||with trio and orchestra dir. by Paul Mauriat, recorded in Paris. Produced by Jacques Lubin
|- align=center ''||
|- align=center''||
|align=left|'' Billy Nencioli + Baden Powell ''|| 1965 || align=left| Barclay/Polygram
|align=left|''Billy Nencioli + Baden Powell''||1965||align=left|Barclay/]||French singer Nencioli with band and strings feat. Powell. Music by Powell
|- align=center ''||
|- align=center''||
|align=left|'' Tristeza on Guitar ''|| 1966 || align=left| MPS/Saba
|align=left|'']''||1966||align=left|Forma (Br)||with ], ], horns and percussion. Produced by Roberto Quartin and Wadi Gebara Netto
|- align=center ''||
|- align=center''||
|align=left|'' Ao Vivo No Teatro Santa Rosa ''|| 1966 || align=left| Elenco
|align=left|''Tempo Feliz''||1966||align=left|Forma/Polygram||with trio feat. Mauricio Einhorn on harmonica. Produced by Quartin and Gebara Netto
|- align=center ''||
|- align=center''||
|align=left|'' Os Afro Sambas de Baden e Vinicius ''|| 1966 || align=left| Forma
|align=left|''Ao Vivo no Teatro Santa Rosa''||1966||align=left|Elenco||live, with trio feat. ] on piano. Produced by Oliveira
|- align=center ''||
|- align=center''||
|align=left|'' Tempo Feliz ''|| 1966 || align=left| Forma/Polygram
|align=left|''Tristeza on Guitar''||1966||align=left|]/Saba||solo and with trio. Powell uses guitar overdubs. Produced by ] and Gebara Netto
|- align=center ''||
|- align=center''||
|align=left|'' Poema on Guitar ''|| 1968 || align=left| MPS/Saba
|align=left|''O Som de Baden Powell''||1968||align=left|Elenco||with Copinha on flute and rhythm section. Produced by Berendt & Gebara Netto
|- align=center ''||
|- style="text-align:left;"
|align=left|'' Fresh Winds ''|| 1969 || align=left| United Artists
|align=left|''] - Show / Recital''||1968||align=left|Philips||live, with trio, singer Márcia and Originais do Samba
|- align=center ''||
|- style="text-align:left;"
|align=left|'' 27 Horas de Estudio ''|| 1969 || align=left| Elenco
|align=left|''Poema on Guitar''||1968||align=left|MPS/Saba||quartet with ], ] and flutist Sidney Smith. Produced by Berendt
|- align=center ''||
|- align=center''||
|align=left|'' Le Monde Musical de Baden Powell, Vol. 2 ''|| 1969 || align=left| ]
|align=left|''27 Horas de Estúdio,'' also re-rel. as ''Aquarelles du Bresil''||1969||align=left|Elenco||solo, with trio and string section. Produced by João Mello
|- align=center ''||
|- align=center''||
|align=left|'' Canto on Guitar ''|| 1970 || align=left| MPS/Saba
|align=left|''Le Monde Musical de Baden Powell, Vol. 2''||1969||align=left|Barclay||arranged and conducted by trumpeter Ivan Jullien. Musical direction and production by Lubin
|- align=center ''||
|- align=center''||
|align=left|'' Os Cantores Da Lapinha ''|| 1970 || align=left| ]
|align=left|''Os Cantores da Lapinha (As Musicas de Baden Powell e Paulo Cesar Pinheiro)''||1970||align=left|Elenco||
|- align=center ''||
|- align=center''||
|align=left|'' Solitude on Guitar ''|| 1971 || align=left| Columbia
|align=left|''Baden Powell Quartet, Vols. 1-3''||1970||align=left|Barclay||compilation, 3-LP boxed set
|- align=center ''||
|- align=center''||
|align=left|'' Baden Powell Quartet, Vols. 1-3 ''|| 1970 || align=left| ]
|align=left|''Live in Japan,'' also re-rel. as ''Face au Public'' and ''Gravado ao vivo em Paris''||1971||align=left|Barclay||live, with trio
|- align=center ''||
|- align=center''||
|align=left|'' Baden Powell - Live In Japan '70 ''|| 1971 || align=left| ]
|align=left|''Canto on Guitar''||1971||align=left|MPS/Saba||with trio
|- align=center ''||
|- align=center''||
|align=left|'' E de Lei ''|| 1972 || align=left| ]
|align=left|''Estudos''||1971||align=left|Elenco, MPS/BASF||
|- align=center ''||
|- align=center''||
|align=left|'' Images on Guitar ''|| 1973 || align=left| MPS/Canyon Records/BASF Systems
|align=left|''Solitude on Guitar''||1971||align=left|] (G)||
|- align=center ''|||align=left|'' La Grande Réunion ]] ''|| 1974 || align=left| Festival
|- align=center ''|| |- align=center''||
|align=left|'' Estudos ''|| 1974 || align=left| MPS/Saba |align=left|''É de Lei''||1972||align=left|]||
|- align=center ''|| |- align=center''||
|align=left|'' Apaixonado ''|| 1975 || align=left| MPS/Saba |align=left|''Images on Guitar''||1973||align=left|MPS/BASF, Canyon (Jp)||live
|- align=center ''|| |- align=center''||
|align=left|'' The Frankfurt Opera Concert 1975 ''|| 1975 || align=left| ] |align=left|''L'Âme de Baden Powell''||1973||align=left|Festival (F), Imagem (Br)||with trio and singer Janine de Waleyne
|- align=center ''|| |- align=center''||
|align=left|'' Baden Powell canta Vinicius de Moraes e Paolo Cesar Pinheiro''|| 1977 || align=left| ] |align=left|''La Grande Réunion''||1974||align=left|Festival||with ]
|- align=center ''|| |- align=center''||
|align=left|''Grandezza on Guitar''||1974||align=left|CBS (Nl)||with ] and Eberhard Weber
|- align=center''||
|align=left|'' Nosso Baden ''|| 1980 || align=left| WEA
|align=left|''Estudos''||1974||align=left|MPS/Saba||
|- align=center ''||
|- align=center''||
|align=left|'' Melancolie ''|| 1985 || align=left| Accord
|align=left|''Apaixonado''||1975||align=left|MPS/Saba||
|- align=center ''||
|- align=center''||
|align=left|'' Seresta Brasileira ''|| 1988 || align=left| Milestone
|align=left|''Baden Powell + Cordes - Mélancolie''||1975||align=left|Festival||with Janine de Waleyne and string section
|- align=center ''||
|- align=center''||
|align=left|'' Bossa Nova Guitarra Jubileu ''|| 1993 || align=left| Saludos Amigos
|align=left|''Baden Powell canta Vinicius de Moraes e Paolo Cesar Pinheiro''||1977||align=left|Festival||
|- align=center ''||
|- align=center''||
|align=left|'' Three Originals ''|| 1993 || align=left| MPS/Polygram
|align=left|''Baden Powell''||1978||align=left|] (F)||compilation, 4-LP set, with trio and Janine de Waleyne
|- align=center ''||
|- align=center''||
|align=left|'' Baden Powell ''|| 1993 || align=left| MPS
|align=left|''Nosso Baden,'' also re-rel. as''Simplesmente''||1980||align=left|]/] (Br)||with percussion group Originais do Samba
|- align=center ''||
|- align=center''||
|align=left|'' Rio Das Valsas ''|| 1994 || align=left| Alex
|align=left|''De Baden para Vinicius''||1981||align=left|WEA||live
|- align=center ''||
|- align=center''||
|align=left|'' Guitar Pieces ''|| 1994 || align=left| Etcetera
|align=left|''Felicidades,'' also re-rel. as ''Live in Hamburg'' and ''Felicidade''||1983||align=left|Pläne (G), Iris/Kardum (F)||live
|- align=center ''||
|- align=center''||
|align=left|'' Live in Hamburg ''|| 1995 || align=left| Acoustic Music
|align=left|''Violão em Brasileira'' re-rel. as ''Rio das Valsas'' and ''Seresta Brasileira''||1988||align=left|Idéia Livre (Br), Caju (Br/Jp), JSL (F), ] (US) et al.||
|- align=center ''||
|- align=center''||
|align=left|'' Guitar Music ''|| 1995 || align=left| Etcetera/Qualiton
|align=left|''At the Rio Jazz Club''||1990||align=left|Caju||live
|- align=center ''||
|- align=center''||
|align=left|'' Live in Rio ''|| 1996 || align=left| Iris
|align=left|''Os Afro Sambas''||1990||align=left|Banco BMC (Br)||re-recording of the 1966 album, again with Quarteto em Cy, lead vocals by Powell
|- align=center ''||
|- align=center''||
|align=left|'' Os Afro Sambas ''|| 1996 || align=left| Iris
|align=left|''The Frankfurt Opera Concert 1975''||1992||align=left|Tropical Music (G/Jp)||live, with trio
|- align=center ''||
|- align=center''||
|align=left|'' Felicidade ''|| 1996 || align=left| Adda
|align=left|''Three Originals''||1993||align=left|MPS/Polygram||compilation
|- align=center ''||
|- align=center''||
|align=left|'' Rio Das Valsas ''|| 1996 || align=left| Iris
|align=left|''Live in Rio''||1994||align=left|Kuarup (Br)||live, trio with his sons
|- align=center ''||
|- align=center''||
|align=left|'' Mestres Da MPB ''|| 1996 || align=left| WEA Latina
|align=left|''Décembre 94 de Rio à Paris''||1995||align=left|Frémeaux & Associés (F)||
|- align=center ''||
|- align=center''||
|align=left|'' Baden Powell a Paris ''|| 1996 || align=left| Rge
|align=left|''Live in Montreux, 22 Juillet 1995''||1996||align=left|Frémeaux & Associés||live
|- align=center ''||
|- align=center''||
|align=left|'' Baden Powell ''|| 1997 || align=left| Musidisc
|align=left|''Baden Live à Bruxelles''||1999||align=left|Lua (Br), ] (US)||live
|- align=center ''||
|- align=center''||
|align=left|'' A Vontade ''|| 1997 || align=left| Polygram Brazil
|align=left|''Lembranças''||2000||align=left|Trama (Br)||solo with occ. perc and flute
|- align=center ''||
|- align=center''||
|align=left|'' Guitar Artistry of Baden Powell ''|| 1998 || align=left| Dom
|align=left|''Baden Powell de Aquino''||2001||align=left|Iris||compilation, 2-CDs plus CD-ROM
|- align=center ''||
|- align=center''||
|align=left|'' Baden Powell de Aquino ''|| 2001 || align=left| Iris
|align=left|''O Universo Musical de Baden Powell''||2002||align=left|Universal, Sunnyside||compilation, 2-CD set with recordings from 1964-1977
|- align=center ''||
|- align=center''||
|align=left|'' Lembrancas ''|| 2001 || align=left| Trama
|align=left|''Samba in Prelúdio - Quand tu t'en vas''||2002||align=left|Frémeaux & Associés||with Benjamin Legrand and Philippe Baden Powell
|- align=center ''||
|- align=center''||
|align=left|'' De Rio a Paris ''|| 2003 || align=left| Body & Soul
|align=left|''Frémeaux and Associates Recordings 1994-1996''||2003||align=left|Frémeaux & Associés||compilation
|- align=center ''||
|- align=center''||
|align=left|'' Fremeaux and Associates Recordings 1994-1996 ''|| 2003 || align=left| Fremeaux & Associes
|align=left|''Baden Powell''||2003||align=left|Universal||compilation, 13-CD box set with recordings from 1961-1972
|- align=center ''||
|align=left|'' O Universo Musical de Baden Powell ''|| 2003 || align=left| Sunnyside
|- align=center ''||
|align=left|'' Rio das Valsas ''|| 2003 || align=left| Iris
|- align=center ''||
|align=left|'' Live in Montreux ''|| 2004 || align=left| Fremeaux & Associes
|- align=center ''||
|align=left|'' Le Monde Musical de Baden Powell ''|| 2005 || align=left| Universal
|- align=center ''||
|align=left|'' At the Rio Jazz Club ''|| 2005 || align=left| Iris
|- align=center ''||
|align=left|'' Baden Live a Bruxelles ''|| 2005 || align=left| Sunnyside
|- align=center ''||
|align=left|'' Musica ''|| 2005 || align=left| WEA International
|} |}
'''With ]'''
*'']'' (], 1962)
*'']'' (Atlantic, 1964)
'''With ] com o Sexteto Sideral'''
*''Um Novo Astro'' (Sideral, 1960)


==References== ==References==
<references/> <references/>

==Bibliography==
* ], ''Il popolo del ], La vicenda e i protagonisti della storia della ]'', Preface by ], Introduction by ], RAI-ERI, Rome 2005, {{ISBN|8839713484}}
* ], ''Saudade ]: musiche, contaminazioni e ritmi del ]'', Preface by ], Introduction by ], Logisma Editore, ] 2017, {{ISBN|978-88-97530-88-6}}


==External links== ==External links==
* *
*{{en}}+{{fr}}, by ABDB


{{OTI Festival winners}}
{{Persondata <!-- Metadata: see ]. -->
{{Authority control}}
| NAME = Powell de Aquino, Baden

| ALTERNATIVE NAMES =
| SHORT DESCRIPTION =
| DATE OF BIRTH = August 6, 1937
| PLACE OF BIRTH = ], ], ]
| DATE OF DEATH = September 26, 2000
| PLACE OF DEATH = ], ], Brazil
}}
{{DEFAULTSORT:Powell de Aquino, Baden}} {{DEFAULTSORT:Powell de Aquino, Baden}}
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Latest revision as of 19:29, 22 December 2024

Brazilian guitarist
Baden Powell
Background information
Birth nameBaden Powell de Aquino
Born(1937-08-06)August 6, 1937
Varre-Sai, Rio de Janeiro, Brazil
DiedSeptember 26, 2000(2000-09-26) (aged 63)
Rio de Janeiro
GenresBrazilian jazz, bossa nova
OccupationMusician
InstrumentGuitar
Years active1950s–1990s
Musical artist

Baden Powell de Aquino (Brazilian Portuguese: [ˈbadẽ ˈpawew]; 6 August 1937 – 26 September 2000), known professionally as Baden Powell, was a Brazilian guitarist. He combined classical techniques with popular harmony and swing. He performed in many styles, including bossa nova, samba, Brazilian jazz, Latin jazz and MPB. He performed on stage during most of his lifetime. Powell composed many pieces for guitar some of them now considered guitar standards, such as Abração em Madrid, Braziliense, Canto de Ossanha, Casa Velha, Consolação, Horizon, Imagem, Lotus, Samba, Samba Triste, Simplesmente, Tristeza e Solidão, and Samba da Benção. He released Os Afro-sambas, a watershed album in MPB, with Vinicius de Moraes in 1966. He is widely regarded as one of the greatest Brazilian guitar players of all time.

Biography

Baden Powell de Aquino was born in Varre-Sai in Rio de Janeiro, Brazil. His father, a Scouting enthusiast, named him after Robert Baden-Powell. When he was three months old, his family relocated to the Rio suburb of São Cristóvão. His house was a stop for popular musicians during his formative years. He started guitar lessons with Jayme Florence, a famous choro guitarist in the 1940s. He soon proved a young virtuoso, having won many talent competitions before he was a teenager. At age fifteen, he was playing professionally, accompanying singers and bands in various styles. He was fascinated by swing and jazz, but his main influences were in the Brazilian guitar canon.

In 1955, Powell played with the Steve Bernard Orquestra at the Boite Plaza, a nightclub within the Plaza Hotel in Rio, where his skill got the attention of the jazz trio playing across the lobby at the Plaza Bar. When Ed Lincoln needed to form a new trio, he asked Powell to join on guitar to become the Hotel Plaza Trio. Powell brought in Luiz Marinho on bass and a fourth member of the "trio": Claudette Soares on vocals. Powell, Lincoln, and their young musician friends took part in after-hours jam sessions, gaining notice in the growing Brazilian jazz scene.

Powell achieved wider fame in 1959 by convincing Billy Blanco, an established singer and songwriter, to put lyrics to one of Baden's compositions. The result was called "Samba Triste" and quickly became very successful. It has been covered by many artists, including Stan Getz and Charlie Byrd in their seminal LP Jazz Samba.

In 1962, Powell met the poet-diplomat Vinicius de Moraes and began a collaboration that yielded classics of 1960s Brazilian music. Although bossa nova was the prevailing sound at the time, Baden and Vinicius wanted to combine samba with Afro-Brazilian forms such as candomblé, umbanda, and capoeira. In 1966 they released Os Afro-Sambas de Baden e Vinicius.

Powell studied advanced harmony with Moacir Santos and released recordings on the Brazilian labels Elenco Records and Forma, as well as in the French label Barclay and the German label MPS/Saba (notably, his 1966 Tristeza on Guitar). He was the house guitarist for Elenco, and of the singer Elis Regina's TV show O Fino da Bossa.

In 1968, Powell joined with poet Paulo César Pinheiro and produced another series of Afro-Brazilian-inspired music, released in 1970 as Os Cantores da Lapinha.

Baden Powell in 1971

Powell visited and toured Europe frequently in the 1960s, relocating permanently to France in 1968.

In the 1970s, he released recordings with labels in Europe and Brazil. In 1981, he performed on the stage of Palais des glaces in Paris as guitarist and singer for four weeks. However, he had health problems and spent the 1980s in semi-retirement in France and Germany. In the 1990s he and his family moved back to Brazil, where he continued to record and perform. Public recognition of his work came around that time in Brazil.

By the end of the 1990s he converted to evangelical Christianity, to which he credits overcoming his long addictions to alcohol and tobacco. He fell terminally ill in 2000 and died of general infection triggered by a bacterial pneumonia on 26 September 2000, in Rio de Janeiro.

He is the father of pianist Philippe Baden Powell de Aquino and guitarist Louis Marcel Powell de Aquino.

Playing style

Baden Powell decided at age 19 to stop playing the electric guitar, preferring to concentrate on the classical guitar for the rest of his career. He did record a series of albums with a borrowed steel-string acoustic, but that is as far as he strayed from his main instrument in his adulthood.

An analysis of his repertoire reveals a wide range of interests. It spanned all the idioms of Brazilian popular music of the 20th century: samba, bossa nova, Afro-bahian ritual music, frevo, choro, and North Eastern Sertão music, and even European and Japanese lullabies. Like most musicians growing up in the 1940s and 1950s, he was deeply influenced by jazz, especially bebop and swing. He covered Thelonious Monk's "Round Midnight" on two recordings, and Jerome Kern's "All the Things You Are" on three occasions (including his first solo album).

This upbringing is reflected in his playing style, which shows a fusion of jazz harmonies and classical guitar technique, with a very Brazilian right hand (the one carrying the rhythm on the guitar). In solo classical music, he was proficient in the works of Tárrega and Bach. When playing in a group, he was able to accompany singers with quiet mastery, or let loose and play street samba in sloppy "party" style as if the guitar was another percussion instrument. Like Monk, he was fond of the minor second interval as a way to "bend" the tonality. However, because of his jazz background, he would rarely physically bend the string, preferring instead to play the minor second using an adjacent open string. Students of his style should note this preference for chord voicings that feature extensions on the open strings as a way of punctuating passages. Other idioms to watch for are the endless variations in rhythm played by the right hand, always within the proper
4 samba meter, as well as his tendency to put his "signature" in a fast descending scale with a (slower) ascending arpeggio in the relative key. He also used vocalise and scat singing, often in unison with the melody line (especially when the melody was sung on the bass strings of the guitar).

His influences were his first teacher "Meira" (Jayme Florence, 1909–1982), Dilermando Reis (1916–1977), and Garoto (Anibal Augusto Sardinha, 1915–1955). He also commented about being influenced by the work of Les Paul (1915–2009), Django Reinhardt (1910–1953), and Jacques Loussier (1934–2019).

Discography

Baden Powell first appeared as accompanist on a few big band and samba recordings from the 1950s. He recorded his first solo album in 1959, but it was released in 1961. His first and second albums contain jazz standards, Brazilian popular music of the time, and original compositions. In 1962, he recorded with flautist Herbie Mann and drummer Jimmy Pratt. In 1963 he led small ensembles in Brazil and France. The French labels Barclay and Festival released many of his recordings. In Germany, MPS/Saba released his work with producer Joachim Berendt. In Brazil, he recorded for Elenco Records, Forma, and the Brazilian subsidiary of Philips Records. After a few new releases in the 1980s, Powell returned to recording studios in Brazil for his final years. His later recordings consist of solo guitar or voice and guitar.

Albums

Title Release Label Notes
Apresentando Baden Powell e Seu Violão 1961 Philips (Br) with Carlos Monteiro de Souza and his orchestra. Produced by Baden Powell
Um Violão na Madrugada 1961 Philips with Carlos Monteiro de Souza and his orchestra. Produced by Armando Pittigliani
Baden Powell Swings with Jimmy Pratt 1963 Elenco with band directed by Jimmy Pratt on drums. Produced by Aloysio de Oliveira
À Vontade 1963 Elenco (Br) with flute, drums and percussion. Produced by Oliveira
Le Monde Musical de Baden Powell, also released as Fresh Winds 1964 Barclay (F), United Artists (US) with trio and orchestra dir. by Paul Mauriat, recorded in Paris. Produced by Jacques Lubin
Billy Nencioli + Baden Powell 1965 Barclay/PolyGram French singer Nencioli with band and strings feat. Powell. Music by Powell
Os Afro Sambas de Baden e Vinicius 1966 Forma (Br) with Vinícius de Moraes, Quarteto em Cy, horns and percussion. Produced by Roberto Quartin and Wadi Gebara Netto
Tempo Feliz 1966 Forma/Polygram with trio feat. Mauricio Einhorn on harmonica. Produced by Quartin and Gebara Netto
Ao Vivo no Teatro Santa Rosa 1966 Elenco live, with trio feat. Oscar Castro-Neves on piano. Produced by Oliveira
Tristeza on Guitar 1966 MPS/Saba solo and with trio. Powell uses guitar overdubs. Produced by Joachim-Ernst Berendt and Gebara Netto
O Som de Baden Powell 1968 Elenco with Copinha on flute and rhythm section. Produced by Berendt & Gebara Netto
Os Originais do Samba - Show / Recital 1968 Philips live, with trio, singer Márcia and Originais do Samba
Poema on Guitar 1968 MPS/Saba quartet with Eberhard Weber, Charly Antolini and flutist Sidney Smith. Produced by Berendt
27 Horas de Estúdio, also re-rel. as Aquarelles du Bresil 1969 Elenco solo, with trio and string section. Produced by João Mello
Le Monde Musical de Baden Powell, Vol. 2 1969 Barclay arranged and conducted by trumpeter Ivan Jullien. Musical direction and production by Lubin
Os Cantores da Lapinha (As Musicas de Baden Powell e Paulo Cesar Pinheiro) 1970 Elenco
Baden Powell Quartet, Vols. 1-3 1970 Barclay compilation, 3-LP boxed set
Live in Japan, also re-rel. as Face au Public and Gravado ao vivo em Paris 1971 Barclay live, with trio
Canto on Guitar 1971 MPS/Saba with trio
Estudos 1971 Elenco, MPS/BASF
Solitude on Guitar 1971 CBS (G)
É de Lei 1972 Philips
Images on Guitar 1973 MPS/BASF, Canyon (Jp) live
L'Âme de Baden Powell 1973 Festival (F), Imagem (Br) with trio and singer Janine de Waleyne
La Grande Réunion 1974 Festival with Stéphane Grappelli
Grandezza on Guitar 1974 CBS (Nl) with Herb Geller and Eberhard Weber
Estudos 1974 MPS/Saba
Apaixonado 1975 MPS/Saba
Baden Powell + Cordes - Mélancolie 1975 Festival with Janine de Waleyne and string section
Baden Powell canta Vinicius de Moraes e Paolo Cesar Pinheiro 1977 Festival
Baden Powell 1978 Musidisc (F) compilation, 4-LP set, with trio and Janine de Waleyne
Nosso Baden, also re-rel. asSimplesmente 1980 Atlantic/WEA (Br) with percussion group Originais do Samba
De Baden para Vinicius 1981 WEA live
Felicidades, also re-rel. as Live in Hamburg and Felicidade 1983 Pläne (G), Iris/Kardum (F) live
Violão em Brasileira re-rel. as Rio das Valsas and Seresta Brasileira 1988 Idéia Livre (Br), Caju (Br/Jp), JSL (F), Milestone (US) et al.
At the Rio Jazz Club 1990 Caju live
Os Afro Sambas 1990 Banco BMC (Br) re-recording of the 1966 album, again with Quarteto em Cy, lead vocals by Powell
The Frankfurt Opera Concert 1975 1992 Tropical Music (G/Jp) live, with trio
Three Originals 1993 MPS/Polygram compilation
Live in Rio 1994 Kuarup (Br) live, trio with his sons
Décembre 94 de Rio à Paris 1995 Frémeaux & Associés (F)
Live in Montreux, 22 Juillet 1995 1996 Frémeaux & Associés live
Baden Live à Bruxelles 1999 Lua (Br), Sunnyside (US) live
Lembranças 2000 Trama (Br) solo with occ. perc and flute
Baden Powell de Aquino 2001 Iris compilation, 2-CDs plus CD-ROM
O Universo Musical de Baden Powell 2002 Universal, Sunnyside compilation, 2-CD set with recordings from 1964-1977
Samba in Prelúdio - Quand tu t'en vas 2002 Frémeaux & Associés with Benjamin Legrand and Philippe Baden Powell
Frémeaux and Associates Recordings 1994-1996 2003 Frémeaux & Associés compilation
Baden Powell 2003 Universal compilation, 13-CD box set with recordings from 1961-1972

With Herbie Mann

With Miltinho com o Sexteto Sideral

  • Um Novo Astro (Sideral, 1960)

References

  1. McGowan, Chris; Pessanha, Ricardo (1998). The Brazilian sound: samba, bossa nova, and the popular music of Brazil. Temple University. p. 64. ISBN 1-56639-545-3. Archived from the original on 2023-05-15.
  2. Internet (amdb.com.br), AMDB (2009-12-18). "Nº 9 - Canto de Ossanha". Rolling Stone (in Brazilian Portuguese). Retrieved 2021-03-19.
  3. Romero, Simon (27 September 2000). "Baden Powell, 63, Guitarist Who Pioneered Bossa Nova". The New York Times. Archived from the original on 15 May 2023. Retrieved 2024-06-29.
  4. Whatmusic.com. Ed Lincoln: The whatmusic.com interview...
  5. « Variétés : Baden a surpassé Powell », Jean-Pierre Thiollet, Le Quotidien de Paris, 3 June 1981.

Bibliography

External links

OTI Festival winners
Countries
Songs
  • 1972: "Diálogo"
  • 1973: "Qué alegre va María"
  • 1974: "Hoy canto por cantar"
  • 1975: "La felicidad"
  • 1976: "Canta cigarra"
  • 1977: "Quincho Barrilete"
  • 1978: "El amor... cosa tan rara"
  • 1979: "Cuenta conmigo"
  • 1980: "Contigo, mujer"
  • 1981: "Latino"
  • 1982: "Puedes contar conmigo"
  • 1983: "Estrela de papel"
  • 1984: "Agualuna"
  • 1985: "El fandango aquí"
  • 1986: "Todos"
  • 1987: "La felicidad está en un rincón de tu corazón"
  • 1988: "Todavía eres mi mujer"
  • 1989: "Una canción no es suficiente"
  • 1990: "Un bolero"
  • 1991: "Adónde estás ahora"
  • 1992: "A dónde voy sin ti"
  • 1993: "Enamorarse"
  • 1994: "Canción despareja"
  • 1995: "Eres mi debilidad"
  • 1996: "Mis manos"
  • 1997: "Se diga lo que se diga"
  • 1998: "Fin de siglo: Es tiempo de inflamarse, deprimirse o transformarse"
  • 2000: "Mala hierba"
Songwriters
Performers
  • 1972: Claudia Regina & Tobías
  • 1973: Imelda Miller
  • 1974: Nydia Caro
  • 1975: Gualberto Castro
  • 1976: María Ostiz
  • 1977: Guayo González
  • 1978: Denisse de Kalafe
  • 1979: Daniel Riolobos
  • 1980: Rafael José
  • 1981: Francisco
  • 1982: Grupo Unicornio
  • 1983: Jessé
  • 1984: Fernando Ubiergo
  • 1985: Eugenia León
  • 1986: Damaris Carbaugh, Miguel Ángel Guerra and Eduardo Fabiani
  • 1987: Alfredo Alejandro
  • 1988: Guillermo Guido
  • 1989: Analí
  • 1990: Carlos Cuevas
  • 1991: Claudia Brant
  • 1992: Francisco
  • 1993: Ana Reverte
  • 1994: Claudia Carenzio
  • 1995: Marcos Llunas
  • 1996: Anabel Russ
  • 1997: Iridián
  • 1998: Florcita Motuda
  • 2000: Hermanas Chirino
Categories: