Le Monde Musical de Baden Powell

SSC3056 2007-01-30

Track List

Deve Ser Amor - 3:54
Choro Para Metronome - 3:00
Adágio - 3:07
Berimbau - 3:03
Samba Em Prelúdio - 3:30
Chanson D'hiver - 2:27
Samba Triste - 3:33
Berceuse A Jussara - 2:37
Prelude - 2:54
Euridice - 3:05
Bachiana - 4:10
Garota De Ipanema - 2:59


Baden Powell - guitar
Alphonse Masselier - double bass
Arthur Motta - drums
Silvio Silveira - percussion
Francoise Walch - vocals
Paul Moriat Orchestra - {New}

In November 1962, a North American producer organised a mini Bossa Nova festival in New York, the chance for the cream of Brazil’s musicians to appear on the famous stage at Carnegie Hall. Among those due at the event was Baden Powell, but he had to decline the invitation at the last minute for family reasons. He still had his ticket, however, and promised to make the trip at a later date. After some sleight of hand, he changed the destination of his flight from Rio and went to Paris instead of New York. “You have to
go to Paris, man, that’s where everything’s happening,” said a friend, during one of those dinners where the glasses never empty; “and the wines are so much better than in The United States!”. Baden Powell packed clothes for two weeks, the length of the stay he’d planned, and boarded a plane.

Two months later he was still in Paris. He had a contract to play every night at the Feijoada, a fashionable Brazilian restaurant near the capital’s City Hall where Brigitte Bardot, Francis Lai, Albicoco, Mylène Demongeot and Pierre Barouh were regulars. Thanks to lyricist Barouh, Powell had appeared at The Olympia theatre during the famous Musicorama concerts broadcast by radio station Europe 1; he’d received a standing ovation, and on the strength of his performance Eddie Barclay signed him to a recording-contract for six albums. The first was released at the end of 1964; entitled
Le Monde musical de Baden Powell”, it was a genuine masterpiece and three years later, after selling more than 100.000 copies, it earned the guitarist his first gold record. It was a first in France for any Brazilian artist. Mixing tunes from the Brazilian repertoire and classical pieces, the guitarist displayed his flamboyant technique over twelve tracks, and revealed not only his immense talent but also an exceptional mastery of widely differing styles; he became a reference for guitarists all over the world for three generations.

It was a miraculous match between France and Brazil, and they played with their finest accents. With intelligence and a delicate touch, Baden Powell communicated his spirit to those taking part, drawing his musicians into his personal universe to transform the album into a legend.“. This breathtaking stylistic exercise, with the beat marked by a metronome, comes as a kind of introduction preparing us for the classical pieces that follow: the Adagio by Albinoni and the Prelude by J.-S. Bach of which Baden Powell was particularly fond. He pays tribute to the maestro with Bacchiana, in which Baden Powell develops both his mastery of classical guitar and composition, and his improvising talents in a jazz vein. It may seem eclectic on the whole, but “the musical world of Baden Powell” was a real world, one fashioned by his sensibility, illuminated by his calm charisma and impregnated with his originality, making this timeless album incredibly coherent.
Dominique Dreyfus