(Latin Jazz, World Fusion) Baden Powell - Os Afro-Sambas - 1990, FLAC (image+.cue) lossless

Exact Audio Copy V1.0 beta 1 from 15. November 2010
EAC extraction logfile from 9. January 2011, 14:01
Baden Powell / Os Afro-Sambas
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     Filename C:\Musicas\Baden Powell - Os Afro Sambas\Baden Powell - Os Afro-Sambas.wav
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==== Log checksum 89E9BAF9A369955F93FDE3F2F3E2E87AC4D170F64324FAF56ADF312C1A1FD757 ====

FINALLY, THE RELEASE OF THE CD OS AFRO-SAMBAS – BADEN POWELL. RECORDED IN 1990 AS A TREAT, NOW EXCLUSIVELY BY BISCOITO FINO.
In 1962, the same year they met, Baden Powell and Vinicius de Moraes started one of the most important partnerships in brazilian popular music. In three months, time in which Baden was sleeping on Vinicius´ couch, 25 compositions were completed. As the partnership continued, Vinicius became enchanted with the LP Sambas de Roda and Candomblés da Bahia, which amazed Baden. Baden, under the influence of his friend Canjiquinha, started going to capoeira circles and terreiros, where one could learn more about candomblé. Fascinated, the two started to use its theme for compositions: Canto de Yemanjá, Bocoché, Canto de Xangô, and, the classic, Canto de Ossanha. Also studying the gregorian chants with maestro Moacyr Santos, Baden noticed how the african chants shared some similarities with what he had learned and started to use these two sources together to compose.
In 1966, four years later, the LP Os Afro-Sambas by Baden and Vinicius, was released, where they shared vocals with Quarteto em Cy. It became an instant classic. In 1990, a new recording of the afro-sambas became a bank´s treat. Only three thousand copies were made for the clients. This time – Vinicius had already passed away – Baden sang with the same Quarteto em Cy. Two years later the record was released in France. Only now, Os Afro-sambas – Baden Powell is released in Brasil, by the record label Biscoito Fino, with 10 of the 39 compositions Baden and Vinicius recorded.
Writer, responsible for Vinicius´ biography, José Castelo, notes on the Livro de Letras, “talvez nenhuma outra parceria de Vinicius de Moraes guarde tantas semelhanças com o desencontro, com a cegueira e o simultâneo excesso de claridade contido numa relação de estranhamento, quanto a parceria com Baden Powell.” (translation: maybe no other partnership by Vinicius de Moraes holds so many similarities to mismatches, blindness, and simultaneous excess of clarity in a relationship with the strangeness, than the partnership with Baden Powell) He goes on , “Vinicius se apaixonou pelo que não tinha”. (Vinicius fell in love with who he was not). While the poet grew up at the southern region of Rio de Janeiro (“zona sul”, the richer zone of Rio), living with Jesuits, intellectuals, and middle class families, Baden was born at Varre-Sal, small town at Norte Fluminense.
At Rio de Janeiro, to where he moved the year he was born, he lived at the city´s northern region (“zona norte”), playing his guitar at the churches of small towns. As told by José Castelo, the first time the two met, he was not able to firmly shake the poets hand. Baden later remembered both their right hands were occupied by cups. Vinicius, however, had a different vision of his future partner: his guitar playing fingers jumped on a cloud of strings. After listening to Baden playing a pocket show with Tom Jobim, Vinicius set up an encouter on the terrace of a hotel at Copacana, where the two played together for the first time. Soon they became partners.
The 1990 record had musical direction and arrangements by Baden himself, his band being Ernesto Gonçalves (bass guitar), Paulo Guimães (flute), Sutinho (drums, tamborim and agogô), Alfredo Bessax (atabaque, ganzá, cuíca, tamborim and berimbau), Flávio Neves (surdo, atabaque, afoxé and ganzá), Valdeci (pandeiro and tamborim) and a special appearance of Quarteto em Cy in eight tracks (2, 3, 4, 5, 6, 7, 8 e 10).