BrazilOnGuitar says: In December 1970 the 19 tracks of the threepart series were recorded within three days in the Barclay studio. They are the best and final recordings of the quartet with its original members. The focus here is on Afro-Brazilian music, though not as conceptually closed as on “Canto on Guitar”. There are Folklore and own compositions, as well as variations of “Pai” and “Filho”. The almost ten minutes lasting “Terra de Katmandou” is a mixture of many styles, citations and rhythms, creating a trancelike, meditative mood.

The records contribute to the image of the guitarist until today due to their high musical level and their fresh sound. His improvisational talent doesn’t need shallow virtuosity, which tends to cover weak spots and lacking imagination. Consistently Baden Powell takes up new ideas, new lines and rejects others. For the first time he works together with the singer Janine de Waleyne, after discovering her in the choir of Adamo. Janine’s voice merges with the melody lines of Baden’s guitar playing. Her adapdability is impressive. The non-verbality between their voices, unbound of language, opens much freedom for the music. Something Baden Powell consistently searched and found in 1970.   We thank Robert G. (Germany) for his translation and Henri Borguet from Belgium for the Info about Janine de Waleyne’s part as unredited Ondiste player.