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Title:

Baden Powell Quartet Vol.2

Cover: LP France 1971 - front  /  back  /  label
LP Japan 1971 - front  /  back  /  label
LP Japan 1980 - front  /  w/ obi  /  back
Tracks:
  1. Samba Do Perdao
  2. Cidade Vazia
  3. Cancao Do Filho
  4. Pai
  5. Ingenuo
  6. Quaquaraquaqua (Vou Deitar E Rolar)
Group: Baden Powell Quartet
Musicians: Baden Powell (git, vcl)
Ernesto Ribeiro-Goncalves (b)
Helio Schiavo (dr)
Alfredo Bessa (perc)
Janine de Waleyne (vcl)
Lou Game (fl-b)
Charles Verstraete (pos)
Pierre Gossez (t-sax)
Guitar Model: Author 3 by luthier Reinaldo DiGiorgio
Year of performance: From Thursday to Saturday, 10-12 December 1970
Studio Barclay-Hoche, Paris, France
Producer & Crew: Producing & Linernotes: Jacques Lubin
(French / English)
Fotos Front: Jean-Pierre Leloir
Foto Japan Back: Alain Sadoc
Total Time 32:00 min.
Label: Barclay (France & Japan)
Ebrau (Brazil)
LP number: 80.429 U (France, 1971)
LPEB-80429 (Brazil, 1971)
SR 718 (Japan, 1971)
GXH-3014 (Japan, 1980)
Release Year: LP: 1971, France
LP: 31 December 1971, Brazil, Newspaper Report
LP: 1971 & 1980, Japan
Also published on: Le grand festival (LP, France, 1971)
Samba Tropical (LP, France, 1976)
Description: Only few recordings of the series have been reissued on CD.
Last page update: February 2021
Comments:  

BrazilOnGuitar says: In December 1970 the 19 tracks of the threepart series were recorded within three days in the Barclay studio. They are the best and final recordings of the quartet with its original members. The focus here is on Afro-Brazilian music, though not as conceptually closed as on "Canto on Guitar". There are Folklore and own compositions, as well as variations of "Pai" and "Filho". The almost ten minutes lasting "Terra de Katmandou" is a mixture of many styles, citations and rhythms, creating a trancelike, meditative mood.

The records contribute to the image of the guitarist until today due to their high musical level and their fresh sound. His improvisational talent doesn't need shallow virtuosity, which tends to cover weak spots and lacking imagination. Consistently Baden Powell takes up new ideas, new lines and rejects others.
For the first time he works together with the singer Janine de Waleyne, after discovering her in the choir of Adamo. Janine's voice merges with the melody lines of Baden's guitar playing. Her adapdability is impressive. The non-verbality between their voices, unbound of language, opens much freedom for the music. Something Baden Powell consistently searched and found in 1970.
We thank Robert G. (Germany) for his translation.

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