Baden Powell - Love Me With Guitars (1964) (320)

This well-respected Baden Powell record is perfect for the gorgeous May days that we're seeing around where I live. The opening track "Deve Ser Amor" makes me want to strap a ghetto blaster to my bike and hand out popsicles to all the fine young people. Powell's seemingly lazy guitar mastery sails flawlessly from Rio to Pernambuco to Bahia to Buenos Aires to Andalusia to Italy and back to the beach in time for sunset. His music is certainly within the Bossa Nova and Samba traditions but also draws on the slightly less known and slightly more somber, if still upbeat, Brazilian guitar style of "Choro", which literally means "I cry" in Portuguese. This digitization from the outstanding blog Toque Musical diminishes the weird channel conflicts of the LP, which result in a strange din on the Brazilian vinyl version released in 1976-- the record was released first in France and re-released many times after. I was so happy with this record that I figured I'd bring it here for you fine individuals to enjoy!

Tracklist:

1. Deve ser amor
2. Choro para metronome
3. Adagio
4. Berimbau
5. Preludio
6. Chanson d'Hiver
7. Samba Triste
8. Bercause a Jussara
9. Prelude
10. Euridice
11. Bachiana
12. Garota de Ipanema

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Baden Powell & Vinicius de Moraes - Os afro-sambas (1966) (320)

There are countless records which people might point to as capturing the sound of MPB, samba, tropicalia and other Brazilian music styles of the 1960s and 70s. Os afro-sambas is yet another landmark in the development of the Brazilian sound. The lyrics are written by "O Poetinha" Vincius de Moraes, absolutely the premier voice of Brazilian poetry and music of the time (which, to Brasileiros, are almost the same anyway). The music features guest vocals from Betty Faria on a number of tracks and lots of Yoruba and Afro-Brazilian instrumentation such as agogôs, atabaques, and various drums and flutes related to the mixed religion of candomblé. The album is indeed an early example of what would become a central theme for much tropicalia and samba influence Brazilian pop, the worship of the Orixas, deities such as Iemanjá and Oxóssi. The opening track and tribute to the Orixá of plant and foliage, "Canto de Ossanha" quickly became a samba standard. The album is short, concise and composed of a singular but magnificent musical thought whose influence continues to be heard in the contemporary music of Brazil and elsewhere.

Tracklist:

1. Canto de Ossanha
2. Canto de Xangô
3. Bocoché
4. Canto de Iemanjá
5. Tempo de Amor
6. Canto de Pedra Preta
7. Tristeza e Solidão
8. Lamento de Exu


Personnel:

Vinicius de Moraes, Quarteto em Cy and Coro Misto, vocals
Pedro Luiz de Assis, tenor sax
Aurino Ferreira, baritone sax
Nicolino Cópia, flute
Baden Powell, guitar
Jorge Marinho, bass
Reisinho, drums
Alfredo Bessa, atabaque
Nelson Luiz, atabaque (pequeno)
Alexandre Silva Martins, bongos
Gilson de Freitas, pandeiro
Mineirinho, agogô
Adyr Jose Raimundo, afoxé

Sessions produced by Roberto Quartin and Wadi Gebara
Recording engineer: Ademar Rocha

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