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Title:

Estudos

1971 - Estudos, Brazil  1971 - Estudos, Brazil
1974 - Estudos, Germany   1974 - Estudos, Germany
Recorded: 1971, Studio Phonogram Hawai,
Rio de Janeiro, Brazil
Tracks:
  1. Encosta Para Ve Se Da   **
  2. Pra Valer
  3. Pai
  4. Serenata Do Adeus
  5. Tapiilraiauara   *
  6. Valsa Sem Nome
  7. E Isso Ai
  8. Chao De Estrelas
  9. Crepusculo
  10. Tema Triste
  11. Baixo De Pau (Um Abraco, Ernesto)   **
  12. Ultimo Porto
Musicians: Baden Powell (git, vcl, b  **)
Alfredo Bessa (perc)
Label: LP: Elenco SE 1007 (Brazil, 1971)
LP: MPS 15.381 (Germany, 1974)
CD: 821 855-2 (Germany, 1990)
CD: Universal Music 04400166202 (Brazil, 2003)
Comments:  

BrazilOnGuitar says: One of Baden Powell's most popular records, his last Elenco record, does not reveal its recording date. Even extensive research could not answer our questions. Estudos is one of his most experimental studio recordings and very well known. BP recorded only together with the percussionist Alfredo Bessa. Partly he over-dubbed guitar, bass and percussion, now and then he uses sound effects. Some compositions already show harmonies of Apaixonado. Hardly any other record contains so many solo pieces that became guitarist's standard reportoire quickly. It remains unknown if the material was originally intended for the planned solo record to be done in December 1971.

Digitalisation of the vinyl record: the first German CD-release from 1990 (821 855-2) is in AAD and comes closest to the original sound of the LP, even if partly the sound is too low. The German CD sounds like an unplayed vinyl record without noise. The brazilian re-release from 2003 removed the sound differences and has a carefully revised sound. We thank Robert G. (Germany) for his translation.

* Infomation about the word "Tapiiraiauara"

We thank Dr. Bret Gustafson and Dr. Kathleen Lowrey, anthropologists who work with Guaraní peoples, for their help and infomation about the word "Tapiiraiauara".

Is probably from Guarani (—heengatu variant of the Brazilian Amazon), I think the roots are from 'tapir' ("tapii" in Guarani-Paraguayo) and 'aguara' (fox) or yagua (tigre), there are lots of tiger-like animals with the 'yagua' in them. The 'L' in the tapilrauara spelling may be a mistake, although old Guarani had consonant final -r (hence tapir), and this might assimilate to 'l' in local speech today. As I found below in an article by Antonio Carlos Deigues, it refers to a mythical animal in caboclo riverine culture (head and feet of leopard, body of painted buffalo, back feet of a horse). There are many Guarani traces in Caboclo language and culture from —heengatu.

"The mythical world of caboclo fishermen of the Amazonian rivers and estuaries is filled with spiritual beings or encantaria of the forest or water, that can favour or harm him. The worlds of forest and water are two separated domains: two extensions of the fishermen/caboclo's lives. There are supernatural entities (caruanas, bichos do fundo [animals of the depth], m„e d'água [water's mother]) capable of casting spells or haunting and and bewitching those who abuse or disrespect the rights and rules pertaining to the use of these environments. In this case, a belief that one should not harvest more than one needs is reinforced. Like the forest, aquatic areas along with their human inhabitants also have their protective spirits, with the power to harass those who engage in destructive resource use. There also exists the cobra grande (great snake), the Tapiraiauara, and the onÁa d'água (water leopard ), which inhabit, respectively, the depths of lakes and the rivers (igapós)."
Diegues, Antonio Carlos (2002). Sea Tenure, Traditional Knowledge and Management among Brazilian Artisanal Fishermen. University of Sao Paolo.
___________________________
Bret Gustafson, PhD
Assistant Professor
Department of Anthropology
Washington University


Reports:  

Jornal do Brasil
19 Nov 1971, p.40


Diário do Paraná
28 Nov 1971, p.27


Jornal do Brasil
29 Nov 1971, p.97


Diario de Pernambuco
30 Dec 1971, p.16


Intervalo, No.471
6 Feb 1972, p.57
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