Tristeza On Guitar
(1966)
de Baden Powell:
Baden Powell - Tristeza On Guitar (1966)
Acoustic Jazz | mp3 320 kbps cbr | 40:28 | 93 mb
Tracklisting:
01. Tristeza
02. Canto De Xangô
03. 'Round About Midnight
04. Saravá
05. Canto De Ossanha
06. Manha De Carnaval
07. Invencão Em 7½
08. Rosas
09. Som Do Carnaval
10. O Astronauta
Password: itsartolie
This record was made in Brasil in 1966 and is Baden Powell’’s first collaboration with famed Jazz producer and writer Joachim Berendt for the German label Saba. It immortalizes some of Baden Powell’’s most adventurous, inventive, energetic playing ever. To my ear, it sounds like a lot of first takes were chosen. There are lots of little rough corners that add to the lively musicality. Contrast this release with the Brazilian reissue “O Som de Baden Powell”, which has a lot of (again, to my ear) second takes of the same sessions and therefore features a slightly more polished sound.
Very inspiring, educational and refreshing in these days of perfect-sounding records tweaked to excess in a digital audio workstation. Two such examples are the opening and closing tracks “Tristeza” and “O Astronauta”. In these two tracks, Baden is a tightrope walker, plunging along the high wire of improvisation. At points, it sounds like he’’s faltering, about to fall down, only to recover with a fluorish in the next bar. The man simply knew the fingerboard.
Not coincidentally, both tracks mentioned above have the same structure of a “trio: guitar bass and drums” (Another high of this release is the quaint short technical descriptions of each track, most likely Berendt’’s work).
The next set of tracks that stand out in my opinion are the two in the form of “duo: guitar and bass”, These are “Round Midnight” and “Manha de Carnaval”. I have come to regard these two as the “definitive version” of each of these tunes (perhaps with the exception of Monk’’s solo piano version of “Midnight").
Four of the tracks are a result of his then current fascination with the Afro-brazilian music and rituals of Bahia. The sounds of “Saravah”, “Canto de Ossanha”, “Canto de Xango” and “Som do Carnaval” blend the atabaque (Afro-brazilian ritual conga-like hand drum) with more traditional Rio samba instruments to great effect. “Som do Carnaval” has Baden playing agogo bells, but no guitar.
If there is any track that has not stood the test of time is “Invencao em 7 1/2”, which sounds like a long-lost two-part invention, but is done with (since dated) tape vari-speed trickery. At least they’’re upfront about it in the liner notes.
Rounding up the offer, there is an incredible guitar solo version of “Das Rosas” a great song by Dorival Caymmi. Baden delivers another “definitive version” in my book.
This album belongs in many “best-of” lists and will remain relevant for years to come.
(1966)
de Baden Powell:
Baden Powell - Tristeza On Guitar (1966)
Acoustic Jazz | mp3 320 kbps cbr | 40:28 | 93 mb
Tracklisting:
01. Tristeza
02. Canto De Xangô
03. 'Round About Midnight
04. Saravá
05. Canto De Ossanha
06. Manha De Carnaval
07. Invencão Em 7½
08. Rosas
09. Som Do Carnaval
10. O Astronauta
Password: itsartolie
This record was made in Brasil in 1966 and is Baden Powell’’s first collaboration with famed Jazz producer and writer Joachim Berendt for the German label Saba. It immortalizes some of Baden Powell’’s most adventurous, inventive, energetic playing ever. To my ear, it sounds like a lot of first takes were chosen. There are lots of little rough corners that add to the lively musicality. Contrast this release with the Brazilian reissue “O Som de Baden Powell”, which has a lot of (again, to my ear) second takes of the same sessions and therefore features a slightly more polished sound.
Very inspiring, educational and refreshing in these days of perfect-sounding records tweaked to excess in a digital audio workstation. Two such examples are the opening and closing tracks “Tristeza” and “O Astronauta”. In these two tracks, Baden is a tightrope walker, plunging along the high wire of improvisation. At points, it sounds like he’’s faltering, about to fall down, only to recover with a fluorish in the next bar. The man simply knew the fingerboard.
Not coincidentally, both tracks mentioned above have the same structure of a “trio: guitar bass and drums” (Another high of this release is the quaint short technical descriptions of each track, most likely Berendt’’s work).
The next set of tracks that stand out in my opinion are the two in the form of “duo: guitar and bass”, These are “Round Midnight” and “Manha de Carnaval”. I have come to regard these two as the “definitive version” of each of these tunes (perhaps with the exception of Monk’’s solo piano version of “Midnight").
Four of the tracks are a result of his then current fascination with the Afro-brazilian music and rituals of Bahia. The sounds of “Saravah”, “Canto de Ossanha”, “Canto de Xango” and “Som do Carnaval” blend the atabaque (Afro-brazilian ritual conga-like hand drum) with more traditional Rio samba instruments to great effect. “Som do Carnaval” has Baden playing agogo bells, but no guitar.
If there is any track that has not stood the test of time is “Invencao em 7 1/2”, which sounds like a long-lost two-part invention, but is done with (since dated) tape vari-speed trickery. At least they’’re upfront about it in the liner notes.
Rounding up the offer, there is an incredible guitar solo version of “Das Rosas” a great song by Dorival Caymmi. Baden delivers another “definitive version” in my book.
This album belongs in many “best-of” lists and will remain relevant for years to come.
Sor † Presa
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