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艺术家：巴登·鲍威尔（Baden Powell）
作品名称：《巴登·鲍威尔的吉他艺术》（The Guitar Artistry of Baden Powell）
发行年份：1991年
厂牌：HORTUS
流派：巴萨诺瓦（Bossa Nova）、桑巴（Samba）
音质：24位/44.1kHz FLAC
总时长：38分22秒
总大小：362兆字节
网站：专辑预览
艺术家简介
巴登·鲍威尔（罗伯托·巴登·鲍威尔·德·阿基诺，Roberto Baden Powell de Aquino，1937年8月6日－2000年9月26日），巴西吉他演奏家、作曲家，被誉为巴萨诺瓦运动的核心推动者之一。他出身音乐世家，父亲以英国童子军创始人罗伯特·贝登堡为其命名。鲍威尔8岁即在巴西国家广播电台（Rádio Nacional）演奏，少年时期已开启职业演出生涯。
20世纪50年代中期，他结识巴萨诺瓦先驱安东尼奥·卡洛斯·若宾（Antônio Carlos Jobim），在其鼓励下投身这种融合桑巴与冷爵士的“新潮流”音乐。鲍威尔对巴萨诺瓦的独特贡献，在于将非洲仪式音乐元素融入创作——这源于他对巴西本土黑人文化的深入研究。1964年旅居欧洲后，他与斯坦·盖茨（Stan Getz）、赫比·曼（Herbie Mann）等爵士乐大师合作，进一步拓展音乐影响力。1988年回归巴西后，因宗教信仰转变，他不再演奏部分早期作品。其代表作包括与诗人维尼修斯·德·莫赖斯（Vinícius de Moraes）合作的50余首经典曲目，如电影《男欢女爱》（*Un Homme et une femme*）原声中的《Samba de Benção》，以及《Berimbau》《Samba em Preludio》等。
曲目解析
这张专辑精选鲍威尔的标志性作品，展现其吉他演奏的细腻技巧与巴萨诺瓦的浪漫气质：
1. **《Deve Ser Amor》**：早期代表作之一，以轻快的桑巴节奏与吉他泛音勾勒初恋的朦胧感，体现鲍威尔对传统节奏的现代解构。
2. **《Coro para Metronome》**：实验性作品，通过吉他模拟节拍器的机械律动，与巴萨诺瓦的抒情性形成趣味对比。
3. **《Adagio》**：柔板乐章般的吉他独奏曲，尼龙弦的温润音色中融入巴西民间音乐的即兴装饰音，充满诗意。
4. **《Berimbau》**：以巴西传统乐器“贝林巴乌”（Berimbau）命名，通过吉他模仿其弹拨音色与节奏，融入非洲裔巴西文化的仪式感。
5. **《Samba em Preludio》**：前奏曲式的桑巴，吉他的分解和弦如流水般舒展，中段的即兴华彩展现鲍威尔的爵士即兴功底。
6. **《Samba Triste》**：“悲伤的桑巴”，以小调色彩与缓慢的切分节奏，诉说乡愁与失落，是鲍威尔早期情感深度的代表作。
7. **《A Garota de Ipanema》（《伊帕内玛的女孩》）**：巴萨诺瓦经典名曲，鲍威尔以吉他重新编配，弱化人声叙事，通过弦乐对话重现科帕卡巴纳海滩的光影摇曳。
音乐特色与影响
鲍威尔的吉他风格融合了巴西桑巴的韵律、爵士乐的即兴性与古典吉他的和声复杂度。他擅长运用**对位法**（如《Coro para Metronome》中多声部模拟）与**音色实验**（如《Berimbau》的乐器模仿），同时保持旋律的流畅性。这张专辑不仅是巴萨诺瓦黄金时代的缩影，更展现了鲍威尔如何通过吉他将本土文化与国际音乐语言接轨——正如他在《伊帕内玛的女孩》中，以吉他的“留白”艺术，让听众感受到热带微风般的慵懒与浪漫。
尽管录制于1991年，专辑的音响细节（如吉他弦的震颤、泛音衰减）在24位音质中得以细腻呈现，仿佛将听众带回里约热内卢的街头或欧洲爵士俱乐部的现场。对于巴萨诺瓦爱好者而言，这是一张兼具艺术深度与聆听快感的经典录音。
Artist: Baden Powell
Title: The Guitar Artistry of Baden Powell
Year Of Release: 1991
Label: HORTUS
Genre: Bossanova, Samba
Quality: 24-bit/44.1kHz FLAC
Total Time: 38:22
Total Size: 362 MB
WebSite: Album Preview
Baden Powell, (Roberto Baden Powell de Aquino), Brazilian guitarist and composer (born Aug. 6, 1937, Varre-e-Sai, Braz.—died Sept. 26, 2000, Rio de Janeiro, Braz.), helped popularize the bossa nova (“new trend”), a romantic, sensual style of the 1950s and ’60s that was created from a fusion of the samba, a Brazilian dance music, and cool jazz. He came from a musical family, and his father, who was a troop leader, named his son for Robert S.S. Baden-Powell, the British founder of the Boy Scouts. The boy was a child prodigy and was playing on Rádio Nacìonal by the age of eight. Beginning in his early teens Baden Powell played professionally. In the mid-1950s he met Antônio Carlos Jobim, one of the best known of the bossa nova composers; he encouraged Baden Powell to devote himself to the new music. Perhaps Baden Powell’s most distinctive contribution to the bossa nova style was the incorporation of African influences, derived from his study of African rituals in Brazil. In 1964 he moved to Europe, first to Paris and later to West Germany, and he subsequently recorded with such jazz musicians as Stan Getz, Herbie Mann, and Stéphane Grappelli. Baden Powell returned to Brazil in 1988 and later underwent a religious conversion that led him to stop performing certain of his compositions. “Deve Ser Amor” and “Samba Triste” were his first major hits. More than 50 of his compositions were written in collaboration with the poet Vinícius de Moraes. These included “Samba de Benção,” used on the sound track of Claude Lelouch’s 1966 film Un Homme et une femme (A Man and a Woman), “Berimbau,” “Samba em Preludio,” and “Bom Dia, Amigo.”
Tracklist:
01. Baden Powell - Deve Ser Amor
02. Baden Powell - Coro para Metronome
03. Baden Powell - Adagio
04. Baden Powell - Berimbau
05. Baden Powell - Samba em Preludio
06. Baden Powell - Cançao de Inverno
07. Baden Powell - Samba Triste
08. Baden Powell - Cançao de Embalar a Jussara
09. Baden Powell - Preludio
10. Baden Powell - Euridice
11. Baden Powell - Chaiana from Orfeo Negro
12. Baden Powell - A Garota de Ipanema
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