Baden Powell – Programa Ensaio (1990) (SESC)

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Baden Powell
Programa ENSAIO
Part of “A MÚSICA BRASILEIRA DESTE SÉCULO POR SEUS AUTORES E INTÉRPRETES”
Boxset #2

Originally recording from the Fundação Padre Ancheita for Programa Ensaio in 1991
Directed by Fernando Faro
Released in 2000 by SESC – SP (JCB-0709-021)

1 Voltei(Baden Powell, Paulo César Pinheiro)
2 Revendo o passado (Freire Jr.)
3 Naquele tempo(Benedito Lacerda, Pixinguinha)
4 Palhaço(Washington Fernandes, O. Martins, Nelson Cavaquinho)
5 Minha saudade (João Donato, João Gilberto)
6 Rapaz de bem (Johnny Alf)
7 Samba triste (Baden Powell, Billy Blanco)
8 Deixa (Baden Powell, Vinicius de Moraes)
9 Tem dó (Baden Powell, Vinicius de Moraes)
10 O astronauta (Baden Powell, Vinicius de Moraes)
11 Samba em prelúdio (Baden Powell, Vinicius de Moraes)
12 Formosa (Baden Powell, Vinicius de Moraes)
13 Bocoché (Baden Powell, Vinicius de Moraes)
14 Canto de Yemanjá (Baden Powell, Vinicius de Moraes)
15 Tristeza e solidão (Baden Powell, Vinicius de Moraes)
16 Canto de Ossanha (Baden Powell, Vinicius de Moraes)
17 Canto de capoeira (Folclore)
18 Berimbau( Baden Powell, Vinicius de Moraes)
19 Lapinha (Baden Powell, Paulo César Pinheiro)
20 Falei e disse (Baden Powell, Paulo César Pinheiro)

Beginning sometime in the late 90s, the SESC – São Paulo branch began preparing a series of boxsets. SESC is an arts foundation that is mostly or perhaps entirely state-funded, and thus able to produce live concerts, CDs, books, and videos that are invaluable for the researcher or lover of Brazilian music. For this project, the objective was to collect the audio portion of the programs fillmed for the extinct TV Tupi which ran under the names of ‘Ensaio’ and ‘MPB Especial’ but were both essentially the same program conceived and produced by Fernando Faro, as far as I know. They are famous for the informal atmosphere in which the musicians, individually or with a small group for accompaniment, being interviewed about their lives and careers in between playing songs related to the conversation. Sort of like a musical biography. But the programs were also famous for the oddity that the questions are never heard in the final production — just the answers. Nobody I have talked to in Brazil seems to know why this is, and everyone finds it kind of strange and amusing. I plan to call the SESC office in São Paulo and get to the bottom of it one day.

These boxes were originally released with a fairly large book in each package. The book contained the complete transcripts of the interviews as well as essays about the artists by various authors like Tarik de Souza and Sérgio Cabral. Unfortunately, these books are no longer available, but I was surprised just to learn that the CDs still existed, since they had been described to me as ‘very rare’ when in fact they can still be found.

This is not my favorite disc in the SESC boxes( hell, I haven’t gotten through listening to 25% of the CDs yet, as each box contains on average 12 CDs each) but its very good. Obviously those who understand Portuguese will benefit more from the interview portions, which on this set includes an amusing story of Vinicius de Moraes accusing Baden of plagiarizing Chopin while they were working together, and insisting they wake up his sister in the middle of the night to confirm it. Other than the interviews, Baden’s playing is top-notch, and his singing voice is, well, basically the same as it ever was — at times ‘desafinado’ but somehow perfect for his music. All good stuff with the exception of his performance of ‘Lapinha’ which I find really abrasive and irritating for some reason

I was somewhat surprised to find an actual review of this disc, on the cool site and useful resource ‘Clique Music’:

O violão de Baden Powell influenciou uma geração inteira de instrumentistas, dos anos 60 pra cá. Na entrevista ao programa Ensaio feita em 1990 e reproduzida neste disco da coleção lançada pelo Sesc-SP, Baden traça sua vida e sua carreira em uma hora de música (só voz e violão) e conversa. Muito apropriadamente em se tratando de um músico profissional desde os 15 anos de idade, a memória de Baden se dá através das música. Da infância e adolescência, com influência do pai – o entusiasta de escotismo que tocava violino e lhe deu as primeiras noções de música –, Baden se lembra tocando a valsa Revendo o Passado (Freire Jr) e Naquele Tempo, de Benedito Lacerda e Pixinguinha, aqui numa versão com ecos do espanhol Agustín Barrios (1885-1944), compositor que pontuou os estudos clássicos de Baden. Pixinguinha, ele conheceu na casa do primeiro e grande professor de violão, o lendário Meira (“que me ensinou tudo de violão”) e na Rádio Nacional. Criado em São Cristóvão, Baden também freqüentava a Mangueira, e não esconde sua admiração por Nelson Cavaquinho. Pois aqui está a oportunidade de ouvir o violonista tocando Palhaço, grande sucesso de Nelson na voz de Dalva de Oliveira. Nos anos 50, as lembranças voam para as noitadas da boate Plaza, onde, aos 16 e 17 anos, tocava ao lado de Ed Lincoln, Luiz Eça, Johnny Alf, Tom Jobim (ainda estudante de arquitetura), João Donato, e às vezes esbarrava com um certo “Joãozinho”, que, depois que todos os clientes iam embora, sentava e tocava em seu violão “umas coisas assim, tipo ‘bim bom, bim, bom’”, que mais tarde viriam para revolucionar a música brasileira. “O Plaza foi o início de tudo”, lembra Baden, tocando Minha Saudade (João Donato/João Gilberto), Rapaz de Bem (Johnny Alf) e Samba Triste, seu primeiro sucesso, parceria com Billy Blanco, de uma época em que tocava com Dolores Duran. Um pouco mais tarde, no início dos anos 60, veio a parceria com Vinicius de Moraes. Dessa dupla as histórias são muitas e já conhecidas. Algumas são aqui confirmadas pelo compositor, como a de que, pouco depois de terem se conhecido, Baden foi para a casa de Vinicius fazer uma música e acabou morando lá por quatro meses, quando produziram um quantidade respeitável de obras-primas. Não por acaso, dez das vinte músicas do disco são assinadas pela dupla Baden Powell-Vinicius de Moraes. Há muitas outras boas histórias, como a de que Formosa foi feita com Vinicius em homenagem a uma passageira do trem São Paulo-Rio (que os dois pegaram porque morriam de medo de avião) ou a de que Paulo César Pinheiro, seu parceiro em Lapinha e outros tantos sucessos, morava na casa em São Cristóvão onde Baden havia sido criado.

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VA – O Fino da Bossa (1964) (Alaíde Costa, Jorge Ben, Nara Leão, Zimbo Trio, Oscar Castro Neves, Wanda Sá)

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“O Fino da Bossa”
O show “O Fino da Bossa” recorded at the Paramount Theatre in São Paulo, 25th of May, 1964.
Original LP produced by Walter Silva
CD repressing on RGE 1994
featuring:
Alaide Costa
Zimbo Trio
Rosinha de Valenca
Ana Lucia
Paulinho Nogueira
Jorge Ben
Wanda Sá
Nara Leao
Oscar Castro Neves
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Some interesting photos included in the packaging, which feature a young Flora Purim and Toquinho, neither of whom seemingly participated in the recording, but they sure do look pretty
01 – Onde Está Você (Oscar Castro Neves / Luvercy Fiorini) – Alaíde Costa
02 – Garota de Ipanema (Tom Jobim / Vinicius de Moraes) – Zimbo Trio
03 – Samba Medley | Gosto Que Me Enrosco (J. B. da Silva “Sinhô”) Agora É Cinza (Alcebíades Barcelos “Bide” / Armando “Marçal”) Duas Contas (Garoto) Bossa na Praia (Pery Ribeiro / Geraldo Cunha) – Paulinho Nogueira
04 – Tem Dó (Baden Powell / Vinicius de Moraes) – Ana Lúcia
05 – Consolação (Baden Powell / Vinicius de Moraes) – Rosinha de Valença
06 – Chove Chuva (Jorge Ben “Jorge Benjor”) – Jorge Ben
07 – Desafinado (Tom Jobim / Newton Mendonça) – Wanda Sá
08 – Maria Moita (Carlos Lyra / Vinicius de Moraes) – Nara Leão
09 – Berimbau (Baden Powell / Vinicius de Moraes) – Oscar Castro Neves
As the liner notes explain, this concert was recorded less than two months after the military coup that plunged the country into twenty-plus years of repression and censorship. Brazil already having undergone its share of rapid power shifts across the first half of the twentieth century, a lot of people still thought (or hoped) it was a temporary state of affairs. (Actually the generals who took over the country promised to hold elections after they had the situation ‘under control’, which of course never happened except in the most artificial of ways years later). It is surprising to read in these notes how this show was not only sold out but — being that the Paramount only held about 2000 people or so — that people were breaking the glass in doors and windows to force their way in! ! Anyway, the music here is excellent and has some real rarities. Alaíde Costa, still the most underrated of the bossa nova chanteuses, opens the recorded set. Zimbo Trio, led by bassist Luiz Chaves, run through a ripping version of ‘A Garota de Ipanema’ that makes me forget how tired I am of hearing that song — I could be mistaken but I believe that they were the first bossa-jazz trio to play an instrumental version of the tune… Paulinho Nogueira provides a solo acoustic guitar medley of tunes that probably goes on for too long. I have a couple of Nogueira’s albums on vinyl and I like him well enough, they are enjoyable, but he often comes across as a diluted and derivative version of Baden Powell or sometimes João Gilberto (when he sang) combined, without the inspiration or innovation of either of those two. He did however bring a different type of finger-picking style to the way he played samba that is different from Baden.
A nice thing about this record is that we get some of the less famous bossa nova singers who haven’t been canonized into musical sainthood like their brethren, names like Ana Lúcia, Rosinha da Valença, and Wanda, whose records can be hard to track down. Jorge Ben’s live version of “Chove Chuva” is slower and more jazzed-out than the album version, and its quite a treat given how early in his career this is. Note that this track was NOT included in the 2-CD set of rarities that was part of the boxset ‘Salve, Jorge!’ from 2009. Nara Leão is amazing as always singing Maria Moita, and the sound quality on this track is amazing. In fact the whole record sounds great but this one stands out for some reason. The album closes with ten minutes of Oscar Castro Neves’ group giving a majestic treatment of “Berimbau” that includes a full orchestral arrangement in the middle. Too bad all the musicians are uncredited, especially since the guitar sounds.. familiar. Almost like it might be Baden Powell. Who played on a lot of albums uncredited. Hmmm…

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Som 3 – Som/3 (1966)

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SOM / 3
SOM 3
1966 Som Maior (SMLP – 1518)
Reissue 2005 as Som Livre 0238-2

1 Samblues (César Camargo Mariano)
2 Canto de Ossanha (Baden Powell, Vinicius de Moraes)
3 Na baixa do sapateiro (Ary Barroso)
4 O bôlo (Walter Santos, Tereza Souza)
5 Um minuto (Sabá, Antoninho)
6 Cidade vazia (Luiz F. Freire, Baden Powell)
7 Deixa pra lá (Luiz F. Freire, Sérgio Augusto)
8 Tema 3 (César Camargo Mariano)
9 Cristina (César Camargo Mariano)
10 O morro não tem vez (Tom Jobim, Vinicius de Moraes)
11 Margarida B (César Camargo Mariano)

Before pianist Cesár Camargo Mariano would go on to greater fame as the keyboardist, arranger, and husband of singer Elis Regina, he also worked with Lenny Dale and Claudette Soares, and was a founding member of bossa jazz trios Sambalança (with Airto Morreira)and Som 3. This is the first-rate debut bossa jazz album from the latter trio Som/3 (later spelled Som Três) which was comprised of Mariano (piano), Sabá (bass) and Toninho (drums). All the tunes are rather short but still manage to incorporate some gripping jazz riffing. In particular, Baden Powell’s “Canto de Osanna” is given a really lovely treatment here. The classic Ary Barroso samba “Na baixa do sapateiro” gets a gorgeously laid-back swinging groove. Tom Jobim’s and Vinicius’ “O Morro Não Tem Vez” gets funkified full of blue notes and somehow manages to sound like samba in the end anyway. The album kicks off with a an original from César, the amphetamine-jazz of “Samblues.” The original pieces on the album, of which there are plenty, are all pretty excellent, and include one written exclusively by the Sabá and Toninho (Um minuto) that makes me wonder why they didn’t contribute more compositions. Som Três continued to put out albums until the early 70s, some of which are now very rare, and developing a more commercial style that incorporated vocals along with jazz-bossa versions of popular tunes (in particular some groovy versions of Jorge Ben songs). But for jazz fans, this first album is the place to start.

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in 320 kbs em pee tree

in FLAC LOSSLESS AUDIO

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