Baden Powell

小簡(jiǎn)介
Baden Powell，這位堪稱巴西民族音樂(lè)和世界級(jí)的原聲吉他大師，有著同印象派爵士鋼琴音樂(lè)家Bill Evans一樣憂郁清秀的面容和內(nèi)在堅(jiān)韌的性格。在古典吉他、西班牙吉他演奏方面有著高超技藝的他，同樣在巴西民族音樂(lè)和流行音樂(lè)作曲方面稱得上是巴西國(guó)父級(jí)的人物。1937年出生于里約熱內(nèi)盧省Varre-e-Sai 小城的他，因?yàn)楦赣H崇拜尊敬童子軍的創(chuàng)始人Robert Thompson Baden Powell爵士，而給他起了一個(gè)原本不屬于巴西姓氏的名字。以做鞋為生的父親同樣也是一個(gè)業(yè)余的小提琴手，因此經(jīng)常在家里規(guī)律性的召集一幫音樂(lè)家，一同即興演奏娛樂(lè)。當(dāng)時(shí)巴西流行樂(lè)壇標(biāo)志性的兩個(gè)人物Pixinguinha 和Donga也經(jīng)常參與其中。8歲那年，禁不住Baden Powell得一再堅(jiān)持，父親為他請(qǐng)來(lái)了當(dāng)時(shí)在當(dāng)?shù)貥?lè)團(tuán)里擔(dān)任小提琴家的Jaime Florence來(lái)教他演奏吉他。這位深具責(zé)任心的老師，為Baden Powell敞開(kāi)了巴西民族音樂(lè)的大門。同時(shí)將他引領(lǐng)進(jìn)入古典吉他音樂(lè)的殿堂，還有西班牙著名的吉他演奏大師傅朗西斯科．塔爾加雷和安德烈．塞戈維亞宮殿一般富麗堂皇的吉他世界。很快在九歲那年，Baden作為一個(gè)吉他演奏奇才的特質(zhì)在一次巴西國(guó)家電臺(tái)舉辦的演奏比賽中顯露出來(lái)，年紀(jì)尚未幼小的他獲得了獨(dú)奏項(xiàng)目的第一名。13歲時(shí)他已經(jīng)是一位在酒吧和舞會(huì)上同小樂(lè)團(tuán)一同演出的職業(yè)音樂(lè)家。
1955年Baden Powell同各個(gè)樂(lè)團(tuán)在巴西國(guó)內(nèi)巡回演出的時(shí)候，爵士樂(lè)的身影同Benny Goodman，Louis Armstrong, Ella Fitzgerald等大師的音樂(lè)一同進(jìn)入了巴西。在巴西當(dāng)時(shí)著名的Bar Plaza（廣場(chǎng)酒吧）演出的時(shí)候，Baden Powell遇見(jiàn)了他仰慕已久的人---Ant??nio Carlos Jobim。那段時(shí)間前后，Baden Powell已經(jīng)開(kāi)始嘗試創(chuàng)作譜曲。他先后創(chuàng)作了Deve Ser Amor （那一定是愛(ài)情），Encontro Com a Saudade （同寂寞的約會(huì)），N??o ｅ Bem Assim （不要沉默不語(yǔ)）等曲目。而1956年，他迎來(lái)了嘗試換回的巨大成功--Samba Triste（憂郁桑巴）。1960年的一次同Jobim的演出中，Baden Powell遇見(jiàn)了一生中的摯友和合作者Vinｉcius de Moraes。以后的歲月中，他們一起形同合一的融入到那時(shí)的Bossa Nova革新大潮中（Bossa Nova在以前在巴西是一種不存在的音樂(lè)形式）。
幸運(yùn)有的時(shí)候來(lái)的就是這么快。已然成為Bossa Nova音樂(lè)改革的先頭人物的Baden Powell，開(kāi)始頻繁的出現(xiàn)在電視節(jié)目和電臺(tái)音樂(lè)現(xiàn)場(chǎng)秀中。Baden沒(méi)有錯(cuò)失機(jī)會(huì)，他充分的展現(xiàn)了當(dāng)年在音樂(lè)方面多樣的才華。就像Bill Evans在古典和Cool Jazz自由無(wú)束的穿梭一樣，Baden Powell在Samba演奏之中，總能在關(guān)鍵之處，運(yùn)用自己在古典吉他和Flamenco技巧方面的嫻熟技藝，綴飾上優(yōu)雅的點(diǎn)睛之筆。似乎，在他手指間流淌出來(lái)的Samba和Bossa Nova蘊(yùn)含了種種悠厚的故事線索。而這個(gè)故事，充滿了年輕的Baden Powell的個(gè)人色彩和對(duì)巴西音樂(lè)的赤子之愛(ài)。與此同時(shí)，Baden Powell并沒(méi)有放棄對(duì)流行風(fēng)格的Bossa Nova的創(chuàng)作。作為一名作曲家，他具有對(duì)音符和旋律方面極為強(qiáng)烈的色彩感。優(yōu)美的旋律配合Vinicius de Moraes詩(shī)歌一般的歌詞，讓他的音樂(lè)具有了不可抵擋的征服力?？梢苑Q得上那是時(shí)期佳作的，應(yīng)該包括：Alｅm do Amor（除了愛(ài)情之外），Valsa Sem Nome（無(wú)名華爾茲），Can????o do Amor Ausente（獻(xiàn)給無(wú)望愛(ài)情的歌），Tempo Feliz（快樂(lè)時(shí)光）， Apｅlo（誘惑）。
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 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 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 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 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, Não 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 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 duos 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 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 Solidão and Bocoché and 1966s 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 devils 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 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 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 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 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 Pixinguinhas 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.