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Os Afro-Sambas de Baden e Vinicius

1966 - Os Afro-Sambas de Baden e Vinicius   1966 - Os Afro-Sambas de Baden e Vinicius
Recorded: 3-6 January 1966, Studio CBD,
Rio De Janeiro, Brazil
  1. Canto De Ossanha
  2. Canto De Xango
  3. Bocoche
  4. Canto De Iemanja
  5. Tempo De Amor
  6. Canto Do Caboclo Pedra Preta
  7. Tristeza E Solidao
  8. Lamento De Exu   *
Musicians: Vinicius de Moraes (vcl)
Dulce Nunes (vcl)   *
Quarteto em Cy (vcl)
Baden Powell (git)
Nicolino Copia (fl)
Jorge Marinho (b)
Reisinho (dr)
Alfredo Bessa (atabaque)
Nelson Luis (atabaque pequeno)
Pedro Luiz de Assis (t-sax)
Aurino Ferreira (bar-sax)
Alexandre Silva Martins (bongo)
Gilson de Freitas (pandeiro)
Mineirinho (agogo)
Adyr Jose Raymundo (afoche)

Quarteto em Cy:
Cyva, Cybele, Cynara e Cylene

Coro Misto:
Eliana Sabino (vcl)
Betty Faria (vcl)
Tereza Drummond (vcl)
Nelita (vcl)
Dr. Cesar Augusto Parga Rodrigues (vcl)
Otto Goncalves Filho (vcl, git)
Label: LP: Forma FM 16 (Brazil, 1966)
CD: Universal Music 73145581912 (Brazil, 2003)

BrazilOnGuitar says: The year 1966 would be very important for Baden's career. Firstly, he would get to know the jazz expert Joachim-Ernst Behrend, who would produce Tristeza On Guitar and invite him to Germany, where more important contacts for his career would develop. Secondly, he recorded an album of songs, that were the result of an intense work with Vinicius de Moraes: Os Afro-Sambas. These songs were his biggest contribution to Brazilian music history and will always keep alive Baden Powell's name and memory. Thanks to Robert G. for his translation, Joe Carter for infos and Mark for his scans of the UK release.

Additional Info 2021: Review about the 1966 "Canto De Ossanha" single (FS 100.001). The single recording is different to the LP. Fernando Krieger from wrote: "[...] Right at the beginning there is a significant change. Unlike what happens on the LP, where it is the sensual voice of Betty Faria who responds to Vinicius' singing, in the compact the answer is given by Baden's own voice. The choir and musicians seem to be (and this may just be an impression) safer in performing the song. It is possible (and here's an exercise in speculation) that this audio was made during the sound passage, without the natural nervousness that the recording "for real" imposes, or as a take 2 of the song, with all more "loose" after the first shot. The most relaxed seems to be Vinicius himself, who from the beginning shows himself a little "possessed", more confident, with his voice coming out stronger, especially in the "go, go" (especially in the latter, when his excitement is clear).[...] "


Jóia Revista Feminina, No.148
December 1965, p.23

Tribuna da Imprensa
12 Feb 1966, p.11

Correio da Manhã (RJ)
3 March 1966, p.10

O Cruzeiro Revista, No.22
5 March 1966, p.91

Jornal do Brasil
3 April 1966

Diario de Noticias
26 Aug 1966, p.16

Diario de Pernambuco
28 Aug 1966, p.25

Correio da Manhã
1 Sep 1966, p. 2

Diario de Noticias (RJ)
2 Sep 1966, p.17

Correio da Manhã
4 Sep 1966, p. 63

Diario de Noticias
4 Sep 1966, p.33

O Globo
6 Sep 1966, p.6

O Jornal (RJ)
8 Sep 1966, p.5

O Globo
9 Sep 1966, p.7

Jornal do Brasil
9 Sep 1966, p.23

O Jornal
11 Sep 1966, p.22

Diário da Manhã (PE)
12 Sep 1966, p.2

A Cruz
18 Sep 1966, p.7

Jornal dos Sports
18 Sep 1966, p.8

A Tribuna
18 Sep 1966, p.36

Diario de Pernambuco
18 Sep 1966, p. 23

Tribuna da Imprensa
30 Sep 1966, p.10

Jornal do Brasil
30 Sep 1966, p.22

A Tribuna (SP)
2 Oct 1966, p.32

Correio da Manhã
9 Oct 1966, p.41

Diario de Pernambuco (PE)
1 Jan 1967, p.23
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