Sorted Orignal Cover

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Title: E de lei
or as Images on Guitar (German Edition)
Cover: LP Brazil- front  /  back  /  label
LP Germany - front  /  back  /  gatefold  /  label
LP Japan - front  /  gatefold  /  back  /  label
CD - front  /  back  /  booklet  /  disc  /  matrix
  1. Ate Eu
  2. Petite Valse
  3. Violao Vagabundo
  4. Conversa Comigo Mesmo
  5. Blues A Volonte
  6. Sentimentos, Se Voce
    Pergunta Nunca Vai Saber
  7. E De Lei
  8. Canto
Musicians: Baden Powell (git, vcl)
Janine de Waleyne (vcl)
Ernesto Ribeiro-Goncalves (b)
Joaquim Paes Henriques (dr)
Alfredo Bessa (perc)
Guitar Model: Author 3 by luthier Reinaldo DiGiorgio
Year of performance: MPS-Studio Villingen, Germany, 25-26 October 1971
Producer & Crew: Direction and Producing: Joachim E. Berendt
Recording Engineer: Rolf Donner
Linernotes: Joachim E. Berendt (German / English)
Fotos: Jose Maria de Melo
Artwork: Aldo Luz
Booklet Notes: Tarik de Souza, 2003 (Portuguese)
Total Time 41:29z min.
Label: Philips / Universal (Brazil)
First pressing: MPS with Canyon-Records (Germany-Japan)
LP number: 6349036 (Brazil)
MC number: 7128 036 (Brazil)
CD number: 04400165842 (Brazil)
POCJ 2556 (Japan)
UPC / EAN number: 044001658426 (Brazil)
4988005212146 (Japan)
Release Year: LP: 1972, Brazil
LP: 1972, Germany as Images on guitar
LP: 1972, Japan as Images on guitar
MC: 1972, Brazil
LP: 1973, Argentinia
CD: 18 March 1998, Japan (as Images on guitar)
CD: 25 June 2003, Brazil
Also published as: Images on Guitar (MPS, Germany, 1972)
O Mestre do Violao Brasileiro (CD-Box, Brazil, 2003)
Description: The MPS first pressing (15.328) is seldom found.
The paper weight of the gate fold cover varies with
each year and pressing. The liner notes (in English and
German) were written by J.E. Berendt and contained
also studio and rare concert photos.
Last page update: 8 April 2017
Comments: Include the Funky-Scat song "Blues A Volonte".

BrazilOnGuitar says: After his japanese studio recording in April 1971, this record was the third and last recording for MPS in cooperation with the Japanese Canyon label in October 1971. BP found a new quartet with Ernesto Ribeiro-Goncalves, Alfredo Bessa and the drummer Joaquim Paes Henriques, the last one would accompany him in studio and on stage until 1974. However, after this recording the quartet split up. The following recordings three weeks later were recorded without them. In 1990 Baden, Ernesto and Alfredo would work again together on the re-recording of the "Afro Sambas".

BP's Images on Guitar is conceptionally one of the best records of the seventies. Hardly any other record sounds as thematically closed as Images on Guitar or Canto on Guitar. While the last Quartet recordings had their focus on Afro-Brazilian music he was now playing his own compositions. Elaborate themes used elements from Jazz, Baroque, Blues and Funk. These combinations would remain unrepeated. Many of these themes were only recorded once.

Ate Eu can be seen as an continuation of the three last Quartet recordings of December, 1970. However Petite Valse seems to be the true introduction to this record. This title would be the first in many of his concerts.
While Baden Powell (1971) was an hommage to Garoto and Pixinguinha this record can be seen as an hommage to Janine de Waleyne. The complete title can only be found on the MPS cover: Images on Guitar / Baden + Janine.

In four duets BP gives his favourite singer the necessary space for her impressive voice. The dynamics of these compositions increase and culminate in Blues a volonte. It is a powerful and cheerful improvisation and the best example of the inspirational work of everyone involved in the recording. Conversa Comigo Mesmo (dialogue with myself) seems like a well-done extension of his 1966 recording Invencao Em 7 .
E de Lei, in an instrumental and accurate arrangement, is followed by the inspiring and evocative Canto.

Canto: the guitar takes up the theme of the vocals. In an short rhythmic part this seems reversed. The guitar gives the impulse. The last note of the vocal remains unaccompanied and is followed by an altered D-minor chord (Dm9/#11). This chord shows great tension. The powerful quint on the bass strings is eased by guide tones as chord extensions (Bb and E) on the higher strings Finally the motiv of descending perfect fifths is repeated, played only by the guitar. The piece ends with a straight quint sound (D,A,d). This seems like a confirmation or easing. Maybe Canto tries to show the importance of the voice as the original instrument, the instrumental player trying to imitate the voice.

The cover art of the German release is one of the most beautiful of BP's covers.
The Japanese CD release lacks a reprint of the gatefold cover. The record was released as E De Lei in Brazil in 1972, with a release on CD in 2003.
The Japanese CD release is from 1998 (POCJ 2556), in 1997 the record (except for one track) was released on the CD: Jazz Meets Brasil
(MPS 533 133-2). A re-edition with the original cover art remains to be released.

We thank Robert G. (Germany) for his translation.

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