Vinicius de Moraes was born Marcus Vinicius de Moraes on October 19, 1913 in Rio de Janiero, Brasil. As a child he was exposed to various musicians and composers and in high school he was writing his first compositions. He went on to graduate college at twenty and published two books of poetry.
Over the next several years he held a variety of banking, government and diplomatic positions while still writing and publishing his poetry. But it wasn’t until the ‘50s that he moved into the realm of pop culture. He studied film festival management, wrote his first samba, contributed lyrics to several classical pieces and in 1956 Vinicius staged his musical play Orfeu da Conceicao that would later become Orfeu Negro or Black Orpheus and win an Academy Award for Best For Language Film in 1959, a British Academy Award and the French Palm d’Or at Cannes.
Collaborating with Antonio Carlos Jobim, Moraes was at the fore when the bossa nova movement began with the release of Elizete Cardoso’s album Cancao do Amor Demais that consisted of the pairs music and a then unknown Joao Gilberto. They went on to compose Garota de Ipanema, Insensitez and Chega de Saudade. Vinicius’ songs would go on to be included in another Cannes winner Un Homme et une Femme (A Man and A Woman) in 1966.
In the 1960s and 1970s, Vinicius continued collaborating with many renowned Brazilian singers and musicians, in particular with Baden Powell venturing into Afro-Brazilian influences that came to be known as collectively as Afro-Sambas. A known bohemian and diplomat, Vinicius also had a problem with alcohol that ultimately had him drummed out of the diplomatic corps by the military regime. But with his new partner, guitarist and singer Toquinho, he continued to realize success on both music and literary landscapes releasing several popular and influential albums.
Vinicius de Moraes, composer, playwright and diplomat nicknamed O Poetinha (The Little Poet), passed away on July 9, 1980 in Rio de Janiero after a long spell of poor health. Hundreds of jazz musicians and performers worldwide have recorded more than 400 of his songs. In 2006 he was reinstated into the diplomatic corps and in 2010 was posthumously promoted to the post of Ambassador by the Brazilian Chamber of Deputies.
Charlie Lee Byrd was born on September 16, 1925 in Suffolk, Virginia but grew up in Chuckatuck, Virginia and his father taught him to play the acoustic steel guitar at age 10. He went on to Virginia Polytechnic Institute, served in the Army and played in the Special Services band in Paris. Returning to New York he studied composition at Hamett National Music School, taking up classical guitar.
Charlie moved to Washington, D.C. in 1950 and studied classical guitar with Sophocles Papas, then with Andre Segovia. By 1957 he teamed up with bassist Keter Betts and started gigging around D.C. for two years, joined Woody Herman for a State Department goodwill tour.
Byrd was first introduced to Brazilian music by his friend radio host Felix Grant who was well known in Brazil in 1960. A subsequent tour of Brazil and he returned home with recordings from Joao Gilberto and Antonio Carlos Jobim. He met with Stan Getz who convinced Creed Taylor, then at Verve Records to produce the album, recording “Jazz Samba” in 1962 in a building adjacent to All Souls Unitarian Church because of the excellent acoustics found there. And his love affair with Brazilian music began.
Over the course of his career he has toured the world, performed at numerous festivals, played with such jazz legends as Les McCann, Zoot Sims, Vince Guaraldi, his brother bassist Joe Byrd, Chuck Redd, Herb Ellis, Barney Kessel and the list goes on.
Charlie Byrd died of lung cancer on December 2, 1999 at his home in Annapolis, Maryland. He was deemed a Maryland Art Treasure in 1997 and knighted by the government of Brazil as the Knight of the Rio Branco.
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Born August 26, 1943, Dorival Tostes Caymmi, the son of famous Brazilian musicians Dorival Caymmi and Stella Maris. He began playing piano at age eight, studied music theory at the Conservatorio Lorenzo Fernandez and in 1959 made his professional debut accompanying his sister, Nana.
In 1960 Dori became a member of Groupo dos Sete, writing music for plays aired on Brazilian television. He co-directed and played viola in the play Opinião, an important transitional work between the styles of bossa nova and MPB and directed the play Arena Conta Zumbi. For a time he produced Edu Lobo, Eumir Deodato and Nara Leao, co-wrote the prize winning song “Saveiros” with Nelson Matta, a collaboration that lasted many years and produced some of Brazil’s biggest hits.
Caymmi played and toured with Paul Winter, arranged and directed albums by Caetano Veloso, Gal Costa and Gilberto Gil, and was involved with the tropicalia movement of the late 1960s, but did not record in this style himself due to his distaste for Euro-American pop music. He wrote scores for numerous films and television shows in the 1970s and 1980s, moved to Los Angeles, California in 1989 and has since played or recorded with Dionne Warwick, Toots Thielemans, Marilyn Scott, Oscar Castro-Neves, Eliane Elias, Richard Silveira and Edu Lobo; was a collaborator celebrating Tom Jobim at Carnegie Hall and arranged the music for Spike Lee’s film, Clockers.
Dori Caymmi has been nominated for Latin Grammys several times and is a two-time Grammy Award winner for Best Latin Song and Best Latin Samba Recording. The Brazilian singer, guitarist, songwriter, arranger, and producer has an extensive discography dating back to 1964 and he continues to perform and record.
Raul de Souza was born August 23, 1934, in Rio de Janeiro, Brazil. Learning to play to trombone in his youth he went on to perform and record with Sergio Mendes, Flora Purim, Airto Moreira, Milton Nascimento, Sonny Rollins, Cal Tjader, Hermeto Pascoal and the jazz-fusion band Caldera.
Raul’s debut album as a leader came in 1965 with A Vontade Mesmo for RCA Brazil followed up three years later with International Hot on the Equipe label. His American debut release Sweet Lucy, produced by composer and pianist George Duke on the Capitol Records label, also produced his sophomore project, Don’t Ask My Neighbors. Colors, a Milestone recording is now a part of the Original Jazz Classics series from Fantasy Records.
By 1979, de Souza was releasing ‘Til Tomorrow Comes, an Arthur Wright production with many of the top soul session players in Los Angeles. Devoid of any jazz, it was an attempt to jump aboard the disco/funk bandwagon. Since then he has added eight more recordings as a leader to his catalogue and produced a DVD, O Universo Musical de Raul de Souza in 2012.
Trombonist Raul de Souza has appeared at many international jazz festivals and after living and working in the United States for many years, he has returned to live in Brazil where he continues to play and compose.
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Baden Powell de Aquino was born on August 6, 1937 in Varre-Sai in the state of Rio de Janeiro, Brazil. Simply known as Baden Powell, his father, a scouting enthusiast, named him after Robert Baden Powell founder of the boy scouts. Growing up in a Rio suburb from age three, proved profoundly influential, as his house was a stop for popular musicians. He started guitar lessons with Jayme Florence, a famous choro guitarist in the 1940s, and soon proved to be a young virtuoso, winning many talent competitions before he was a teenager. Fascinated by swing and jazz, his main influences were firmly rooted in the Brazilian guitar canon.
By fifteen, he was playing professionally, accompanying singers and bands in various styles. In 1955, Powell was playing with the Steve Bernard Orquestra at the Boite Plaza, formed the new Hotel Plaza Trio with Ed Lincoln and with their young musician friends took part in after-hours jam sessions, gaining notice in the growing Brazilian jazz scene.
Achieving much wider fame in 1959 by convincing Billy Blanco to put lyrics to one of his compositions resulted in a song called “Samba Triste” and quickly became very successful for Baden. In 1962, he met the poet-diplomat Vinicius de Moraes and began a collaboration that yielded some true classics of 1960s Brazilian music. Together they transcended the prevailing bossa nova by fusing Afro-Brazilian with samba. During those years he released several recordings on Brazilian French and German labels and his 1966 “Tristeza on Guitar”, is considered by many to be a high point in his career.
Powell would go on to be the house guitarist for Elenco Records, the guitarist on Elis Regina’s TV show “O Fino da Bossa”, partner with poet Paulo Cesar Pinheiro and produced another series of Afro-Brazilian inspired music, tour Europe and record profusely until his health began failing him due to alcohol and cigarette abuse and his star dimmed. Returning home to Brazil he continued to record and perform and a renewed public recognition of his work came around that time. However, after many years of abuse, and he fell terminally ill and on September 26, 2000 guitarist and vocalist Baden Powell passed away in Rio de Janeiro of pneumonia triggered by diabetes.
His recordings span five decades beginning with his first appearances as accompanist on a handful of big band and samba recordings from the 1950s. He recorded his first solo album in 1959, but it was released in 1961. H e leaves us with a discography of some 55 recordings as a leader and numerous more as a sideman. He was one of Brazil’s most prominent and celebrated guitarists.