小简介 Baden Powell，这位堪称巴西民族音乐和世界级的原声吉他大师，有着同印象派爵士钢琴音乐家Bill Evans一样忧郁清秀的面容和内在坚韧的性格。在古典吉他、西班牙吉他演奏方面有着高超技艺的他，同样在巴西民族音乐和流行音乐作曲方面称得上是巴西国父级的人物。1937年出生于里约热内卢省Varre-e-Sai 小城的他，因为父亲崇拜尊敬童子军的创始人Robert Thompson Baden Powell爵士，而给他起了一个原本不属于巴西姓氏的名字。以做鞋为生的父亲同样也是一个业余的小提琴手，因此经常在家里规律性的召集一帮音乐家，一同即兴演奏娱乐。当时巴西流行乐坛标志性的两个人物Pixinguinha 和Donga也经常参与其中。8岁那年，禁不住Baden Powell得一再坚持，父亲为他请来了当时在当地乐团里担任小提琴家的Jaime Florence来教他演奏吉他。这位深具责任心的老师，为Baden Powell敞开了巴西民族音乐的大门。同时将他引领进入古典吉他音乐的殿堂，还有西班牙著名的吉他演奏大师傅朗西斯科．塔尔加雷和安德烈．塞戈维亚宫殿一般富丽堂皇的吉他世界。很快在九岁那年，Baden作为一个吉他演奏奇才的特质在一次巴西国家电台举办的演奏比赛中显露出来，年纪尚未幼小的他获得了独奏项目的第一名。13岁时他已经是一位在酒吧和舞会上同小乐团一同演出的职业音乐家。 1955年Baden Powell同各个乐团在巴西国内巡回演出的时候，爵士乐的身影同Benny Goodman，Louis Armstrong, Ella Fitzgerald等大师的音乐一同进入了巴西。在巴西当时著名的Bar Plaza（广场酒吧）演出的时候，Baden Powell遇见了他仰慕已久的人---Antnio Carlos Jobim。那段时间前后，Baden Powell已经开始尝试创作谱曲。他先后创作了Deve Ser Amor （那一定是爱情），Encontro Com a Saudade （同寂寞的约会），No ｅ Bem Assim （不要沉默不语）等曲目。而1956年，他迎来了尝试换回的巨大成功--Samba Triste（忧郁桑巴）。1960年的一次同Jobim的演出中，Baden Powell遇见了一生中的挚友和合作者Vinｉcius de Moraes。以后的岁月中，他们一起形同合一的融入到那时的Bossa Nova革新大潮中（Bossa Nova在以前在巴西是一种不存在的音乐形式）。 幸运有的时候来的就是这么快。已然成为Bossa Nova音乐改革的先头人物的Baden Powell，开始频繁的出现在电视节目和电台音乐现场秀中。Baden没有错失机会，他充分的展现了当年在音乐方面多样的才华。就像Bill Evans在古典和Cool Jazz自由无束的穿梭一样，Baden Powell在Samba演奏之中，总能在关键之处，运用自己在古典吉他和Flamenco技巧方面的娴熟技艺，缀饰上优雅的点睛之笔。似乎，在他手指间流淌出来的Samba和Bossa Nova蕴含了种种悠厚的故事线索。而这个故事，充满了年轻的Baden Powell的个人色彩和对巴西音乐的赤子之爱。与此同时，Baden Powell并没有放弃对流行风格的Bossa Nova的创作。作为一名作曲家，他具有对音符和旋律方面极为强烈的色彩感。优美的旋律配合Vinicius de Moraes诗歌一般的歌词，让他的音乐具有了不可抵挡的征服力。可以称得上那是时期佳作的，应该包括：Alｅm do Amor（除了爱情之外），Valsa Sem Nome（无名华尔兹），Cano do Amor Ausente（献给无望爱情的歌），Tempo Feliz（快乐时光）， Apｅlo（诱惑）。 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 the Varre e Sai district, 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 So Cristóvo in the city of Rio. His father, the violonista Lino de Aquino, promoted regular get-togethers (rodas) of chores at his home, at which famous names of Rios 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 Lacerdas regional. Powell would study violo 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 Murces 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 radios singers. In 1955, he joined Ed Lincolns 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 Alfs first appearances), contrary to the common notion of bossa being born at Zona Sul (South sides) apartments. At that time, Powell began to compose Deve Ser Amor, Encontro Com a Saudade, No é Bem Assim, and his first big hit, 1956s 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 Cano 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), Consolao (recorded by Nara Leo), Samba da Bêno, 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 Violo 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 Vontade, which included a composition by Tom Jobim and Vinícius, Samba do Avio. He also wrote, in that year, the samba Berimbau with lyrics by Vinícius. Other duos compositions that year were Além do Amor, Valsa sem Nome, Deve ser Amor, Cano do Amor Ausente, Consolao, Deixa, Amei Tanto, Tempo Feliz, and Samba da Bêno. The latter was included in Claude Lelouchs 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: 1965s Tristeza e Solido and Bocoché and 1966s Canto do Xang 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 devils music in a controverted and disappointing interview. In 1965, fundamental singer Elizeth Cardoso presented Powell/Vinícius Valsa do Amor que No Vem at the first Festival of Brazilian Popular Music (TV Excelsior), So 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 labels 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 Xang, Canto de Iemanjá, and Canto de Ossanha for Forma, along with Berimbau and Samba da Bêno. He also took a season with Elis Regina at Rios 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 Records first Samba Biennial, winning first place. The duo would also compose, among others, Cancioneiro, Samba do Perdo, Meu Réquiem, de Lei, Refém da Solido, Aviso aos Navegantes, and Carta de Poeta. Also from 1968 is the LP Baden Powell (Elenco) with the famous Manh de Carnaval or Carnival, by Luís Bonfá and Antnio 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 Pixinguinhas songs. For Elenco, he recorded the LP Estudos. In 1972, he recorded for Philips the LP 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 & pera 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 (violo) 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.