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Title:

Tempo feliz

Cover: front  /  back
Tracks:
  1. Vou Por Ai
  2. Apelo
  3. A Chuva
  4. Deixa
  5. Consolacao
  6. Sem Saber
  7. Pro Forma
  8. Tempo feliz
Musicians: Baden Powell (git)
Mauricio Einhorn (harmonica)
Edison Lobo (b)
Chico Batera (dr)
Label: Forma / Universal Music (Brazil)
LP number: VDL 100 (1 March 1966)
CD number: Mercury Music - PHCA 4243 (1991, Japan)
FORMA PHCA-4243 (26 November 1998, Japan)
04228488522 (25 June 2003, Brazil)
Year of performance: Studio, Rio de Janeiro, 24-25 January 1966
Guitar Model: Author 3 by luthier Reinaldo DiGiorgio
Also published as: O Mestre do Violao Brasileiro (CD-Box, Brazil, 2003)
Description: Collector's item and in BOG's top-ten of favourite records.

Style: Great jam session about brazilian themes.
Comments:  

BrazilOnGuitar says: There is the anecdote that Baden Powell was very drunk during the Tempo feliz sessions. It seems believable, because the film shots of Round Midnight prove to which precise playing and musicality he was capable of in such condition. It is said that the rather shy Baden Powell could only be more extrovert by drinking alcohol. This is very regrettable and he payed a high price, recording such an expressive, relaxed album like Tempo feliz.
This can be seen in his commands, his rhythmic finger clicking and humming along to his musical ideas, which reminds of Keith Jarrett and was rather rare for Baden Powell. It is impressive with which tone, coordination and endurance he played in this jam session.

It is the only recording he did with the Brazilian harmonica player Mauricio Einhorn. Even though they play completely different instruments there were no boundaries between Mauricio and Baden, they were listening and responding to each other. It may seem unfortunate that this was their only recording but nothing remained unsaid. The record's grooves preserve their musical ideas and contain material for the following generations of guitarists and harmonica players. Tempo feliz is one of the best records, that Baden Powell did in the sixties.

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


Mauricio Einhorn


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