Baden Powell (6 August 1937 – 26 September 2000) was one of the most promin… Read Full Bio ↴Baden Powell (6 August 1937 – 26 September 2000) was one of the most prominent and celebrated Brazilian guitarists and guitar composers of his time. He explored the instrument to its utmost limits, playing it in a distinctive, unique manner, incorporating virtuoso classical techniques together with popular harmony and swing. He performed in many styles, including bossa nova, samba, Brazilian jazz, Latin jazz and música popular brasileira. He performed on stage during most of his lifetime, and recorded an extensive discography composed of LP and CD albums produced in Brazil and Europe, particularly in France and Germany.
Baden Powell also composed many fine pieces for guitar, such as Abração em Madrid, Braziliense, Canto de Ossanha, Casa Velha, Consolação, Horizon, Imagem, Lotus, Samba, Samba Triste, Simplesmente, Tristeza e solidão, and Xangô.
Roberto Baden Powell de Aquino was born in Varre-Sai in the state of Rio de Janeiro, Brazil. His father, a scouting enthusiast, named him after Robert Baden-Powell. When he was three months old, his family relocated to the Rio suburb of São Cristóvão. The new surroundings proved profoundly influential. His house was a stop for popular musicians during his formative years. He started guitar lessons with Jayme Florence, a famous choro guitarist in the 1940s. He soon proved a young virtuoso, having won many talent competitions before he was a teenager. At age fifteen, he was already playing professionally, accompanying singers and bands in various styles. As a youngster, he was fascinated by swing and jazz, but his main influences were firmly rooted in the Brazilian guitar canon.
In 1955, Powell was playing with the Steve Bernard Orquestra at the Boite Plaza, a nightclub within the Plaza Hotel in Rio, where his skill got the attention of the jazz trio playing across the lobby at the Plaza Bar. When Ed Lincoln needed to form a new trio, he asked Powell to join on guitar to become the Hotel Plaza Trio. Powell brought in Luiz Marinho for bass duties as well as a fourth member of the "trio": Claudette Soares on vocals. Powell, Lincoln and their young musician friends took part in after-hours jam sessions, gaining notice in the growing Brazilian jazz scene.
Powell achieved much wider fame in 1959 by convincing Billy Blanco, an established singer and songwriter, to put lyrics to one of Powell's compositions. The result was called "Samba Triste" and quickly became very successful. It has been covered by many artists, including Stan Getz and Charlie Byrd in their seminal LP Jazz Samba.
In 1962, Powell met the poet-diplomat Vinicius de Moraes and began a collaboration that yielded some true classics of 1960s Brazilian music. Although bossa nova was the prevailing sound of the times, the partnership Baden-Vinicius wanted to transcend the then-fashionable sound by syncretizing Afro-Brazilian forms such as Candomblé, Umbanda and Capoeira with Rio de Janeiro's Samba forms. The most enduring result is a series released as an LP in 1966 under the name "Os Afro-Sambas de Baden e Vinicius". During those years, he studied advanced harmony with Moacir Santos, released recordings in the Brazilian labels Elenco and Forma, as well as in the French label Barclay and the German label MPS/Saba (notably, his 1966 Tristeza on Guitar, considered by many to be a high point in his career). In addition, he was the house guitarist for Elenco, and of the celebrated singer Elis Regina's TV show "O Fino da Bossa".
In 1968, he partnered with poet Paulo Cesar Pinheiro and produced another series of Afro-Brazilian inspired music released in 1970 as "Os Cantores da Lapinha".
He visited and toured Europe frequently in the 1960s, relocating permanently to France in 1968. In the 1970s, he released many recordings with different labels in Europe and Brazil. His star dimmed somewhat owing to health problems and people's changing tastes. He spent the 1980s in semi-retirement in France and Germany. Finally, in the 1990s he and his family moved back to Brazil, where he continued to record and perform. Public recognition of his work came around that time in Brazil. By the end of the 1990s he converted to the Evangelical faith, to which he credits overcoming his long addictions to alcohol and tobacco. Nevertheless, his health had greatly deteriorated after many years of abuse, and he fell terminally ill in 2000.
Baden Powell died of pneumonia triggered by diabetes on 26 September 2000, in Rio de Janeiro.
He is the father of pianist Philippe Baden Powell de Aquino and guitarist Louis Marcel Powell de Aquino.
Playing style
Baden Powell decided at age 19 to stop playing the electric guitar, preferring to concentrate on the classical guitar for the rest of his career. He did record a series of albums with a borrowed steel-string acoustic, but that is as far as he strayed from his main instrument in his adulthood.
An analysis of his repertoire reveals a wide range of interests. It spanned all the idioms of Brazilian popular music of the 20th century: Samba, Bossa Nova, Afro-bahian ritual music, Frevo, Choro, North Eastern Sertão music, even European and Japanese lullabies. Like most musicians growing up in the 1940s and 1950s, he was deeply influenced by Jazz, especially Bebop and Swing. He covered Thelonious Monk's 'Round Midnight on two recordings, and Jerome Kern's All the Things you Are on three occasions (including his first solo album).
This upbringing is reflected in his playing style, which shows a fusion of jazz harmonies and classical guitar technique, with a very Brazilian right hand (i.e., the one carrying the rhythm on the guitar). In solo classical music, he was quite proficient in the works of Tárrega and Bach. When playing in a group, he was able to accompany singers with quiet mastery, or let loose and play street Samba in sloppy "party" style as if the guitar was another percussion instrument. Like Monk, he was fond of the minor second interval as a way to "bend" the tonality. However, because of his jazz background, he would rarely physically bend the string, preferring instead to play the minor second using an adjacent open string. Students of his style should note this preference for chord voicings that feature extensions on the open strings as a way of punctuating passages. Other idioms to watch for are the endless variations in rhythm played by the right hand; always within the proper 2/4 samba meter, as well as his tendency to put his "signature" in a fast descending scale with a (slower) ascending arpeggio in the relative key. Another common device that he used in his recordings consisted of his use of vocalise and scat singing, often in unison with the melody line (especially when the melody was sung on the bass strings of the guitar).
His influences, according to his testimony, were his first teacher "Meira" (Jayme Florence, 1909–1982), Dilermando Reis (1916–1977), and Garoto (Anibal Augusto Sardinha, 1915–1955). He also commented about being influenced by the work of Les Paul (Lester William Polfus, 1915–2009), Django Reinhardt (1910–1953) and Jacques Loussier (1934-).
Discography
Baden Powell first appeared 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. His first and second albums as a featured performer show a selection of Jazz standards along with Brazilian hits of the time and some original compositions. In 1962, he rose to international attention when he recorded with flutist Herbie Mann and drummer Jimmy Pratt. By 1963, he was flying solo and fronting small ensembles in Brazil and France. The French labels Barclay and Festival released many of his recordings. In Germany, MPS/Saba released his work with producer Joachim Berendt. In Brazil, he recorded for the Elenco, Forma and the Brazilian subsidiary of Philips Records. After a relative drought of new releases in the 1980s, Baden Powell returned to recording studios in Brazil for his final years. These late recordings showcase him playing mostly solo guitar, or voice and guitar in a relaxed, intimate style, with occasional flurries of his former energetic playing.
Baden Powell also composed many fine pieces for guitar, such as Abração em Madrid, Braziliense, Canto de Ossanha, Casa Velha, Consolação, Horizon, Imagem, Lotus, Samba, Samba Triste, Simplesmente, Tristeza e solidão, and Xangô.
Roberto Baden Powell de Aquino was born in Varre-Sai in the state of Rio de Janeiro, Brazil. His father, a scouting enthusiast, named him after Robert Baden-Powell. When he was three months old, his family relocated to the Rio suburb of São Cristóvão. The new surroundings proved profoundly influential. His house was a stop for popular musicians during his formative years. He started guitar lessons with Jayme Florence, a famous choro guitarist in the 1940s. He soon proved a young virtuoso, having won many talent competitions before he was a teenager. At age fifteen, he was already playing professionally, accompanying singers and bands in various styles. As a youngster, he was fascinated by swing and jazz, but his main influences were firmly rooted in the Brazilian guitar canon.
In 1955, Powell was playing with the Steve Bernard Orquestra at the Boite Plaza, a nightclub within the Plaza Hotel in Rio, where his skill got the attention of the jazz trio playing across the lobby at the Plaza Bar. When Ed Lincoln needed to form a new trio, he asked Powell to join on guitar to become the Hotel Plaza Trio. Powell brought in Luiz Marinho for bass duties as well as a fourth member of the "trio": Claudette Soares on vocals. Powell, Lincoln and their young musician friends took part in after-hours jam sessions, gaining notice in the growing Brazilian jazz scene.
Powell achieved much wider fame in 1959 by convincing Billy Blanco, an established singer and songwriter, to put lyrics to one of Powell's compositions. The result was called "Samba Triste" and quickly became very successful. It has been covered by many artists, including Stan Getz and Charlie Byrd in their seminal LP Jazz Samba.
In 1962, Powell met the poet-diplomat Vinicius de Moraes and began a collaboration that yielded some true classics of 1960s Brazilian music. Although bossa nova was the prevailing sound of the times, the partnership Baden-Vinicius wanted to transcend the then-fashionable sound by syncretizing Afro-Brazilian forms such as Candomblé, Umbanda and Capoeira with Rio de Janeiro's Samba forms. The most enduring result is a series released as an LP in 1966 under the name "Os Afro-Sambas de Baden e Vinicius". During those years, he studied advanced harmony with Moacir Santos, released recordings in the Brazilian labels Elenco and Forma, as well as in the French label Barclay and the German label MPS/Saba (notably, his 1966 Tristeza on Guitar, considered by many to be a high point in his career). In addition, he was the house guitarist for Elenco, and of the celebrated singer Elis Regina's TV show "O Fino da Bossa".
In 1968, he partnered with poet Paulo Cesar Pinheiro and produced another series of Afro-Brazilian inspired music released in 1970 as "Os Cantores da Lapinha".
He visited and toured Europe frequently in the 1960s, relocating permanently to France in 1968. In the 1970s, he released many recordings with different labels in Europe and Brazil. His star dimmed somewhat owing to health problems and people's changing tastes. He spent the 1980s in semi-retirement in France and Germany. Finally, in the 1990s he and his family moved back to Brazil, where he continued to record and perform. Public recognition of his work came around that time in Brazil. By the end of the 1990s he converted to the Evangelical faith, to which he credits overcoming his long addictions to alcohol and tobacco. Nevertheless, his health had greatly deteriorated after many years of abuse, and he fell terminally ill in 2000.
Baden Powell died of pneumonia triggered by diabetes on 26 September 2000, in Rio de Janeiro.
He is the father of pianist Philippe Baden Powell de Aquino and guitarist Louis Marcel Powell de Aquino.
Playing style
Baden Powell decided at age 19 to stop playing the electric guitar, preferring to concentrate on the classical guitar for the rest of his career. He did record a series of albums with a borrowed steel-string acoustic, but that is as far as he strayed from his main instrument in his adulthood.
An analysis of his repertoire reveals a wide range of interests. It spanned all the idioms of Brazilian popular music of the 20th century: Samba, Bossa Nova, Afro-bahian ritual music, Frevo, Choro, North Eastern Sertão music, even European and Japanese lullabies. Like most musicians growing up in the 1940s and 1950s, he was deeply influenced by Jazz, especially Bebop and Swing. He covered Thelonious Monk's 'Round Midnight on two recordings, and Jerome Kern's All the Things you Are on three occasions (including his first solo album).
This upbringing is reflected in his playing style, which shows a fusion of jazz harmonies and classical guitar technique, with a very Brazilian right hand (i.e., the one carrying the rhythm on the guitar). In solo classical music, he was quite proficient in the works of Tárrega and Bach. When playing in a group, he was able to accompany singers with quiet mastery, or let loose and play street Samba in sloppy "party" style as if the guitar was another percussion instrument. Like Monk, he was fond of the minor second interval as a way to "bend" the tonality. However, because of his jazz background, he would rarely physically bend the string, preferring instead to play the minor second using an adjacent open string. Students of his style should note this preference for chord voicings that feature extensions on the open strings as a way of punctuating passages. Other idioms to watch for are the endless variations in rhythm played by the right hand; always within the proper 2/4 samba meter, as well as his tendency to put his "signature" in a fast descending scale with a (slower) ascending arpeggio in the relative key. Another common device that he used in his recordings consisted of his use of vocalise and scat singing, often in unison with the melody line (especially when the melody was sung on the bass strings of the guitar).
His influences, according to his testimony, were his first teacher "Meira" (Jayme Florence, 1909–1982), Dilermando Reis (1916–1977), and Garoto (Anibal Augusto Sardinha, 1915–1955). He also commented about being influenced by the work of Les Paul (Lester William Polfus, 1915–2009), Django Reinhardt (1910–1953) and Jacques Loussier (1934-).
Discography
Baden Powell first appeared 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. His first and second albums as a featured performer show a selection of Jazz standards along with Brazilian hits of the time and some original compositions. In 1962, he rose to international attention when he recorded with flutist Herbie Mann and drummer Jimmy Pratt. By 1963, he was flying solo and fronting small ensembles in Brazil and France. The French labels Barclay and Festival released many of his recordings. In Germany, MPS/Saba released his work with producer Joachim Berendt. In Brazil, he recorded for the Elenco, Forma and the Brazilian subsidiary of Philips Records. After a relative drought of new releases in the 1980s, Baden Powell returned to recording studios in Brazil for his final years. These late recordings showcase him playing mostly solo guitar, or voice and guitar in a relaxed, intimate style, with occasional flurries of his former energetic playing.
Samba do Avião
Baden Powell Lyrics
We have lyrics for 'Samba do Avião' by these artists:
A Bossa Minha alma canta, vejo o Rio de Janeiro Estou morrendo de…
A.C. Jobim "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
A.C.Jobim Vamos carioca sai do teu sono devagar O dia já vem…
a.carlos jobim Minha alma canta Vejo o Rio de Janeiro Estou morrendo de s…
Antônio Carlos Jobim "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
Antônio Carlos Jobim Minha alma canta Vejo o Rio de Janeiro Estou morrendo de sau…
Antonio Carlos Jobim & Miucha "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
Antonio Carlos Jobim & Vinicius De Moraes Vamos carioca sai do teu sono devagar O dia já vem…
Antônio Carlos Jobim - Topic Minha alma canta Vejo o Rio de Janeiro Estou morrendo de sau…
Antônio Carlos Jobim / Gal Costa Minha alma canta Vejo o Rio de Janeiro Estou morrendo de sau…
Antonio Carlos Jobim Miucha Minha alma canta Vejo o Rio de Janeiro Estou morrendo de s…
Antonio Carlos Jobim Miucha featuring Miucha "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
Antonio Carlos Jobim/Vinicius De Moraes Vamos carioca sai do teu sono devagar O dia já vem…
Antonio Carlos Jobim; Miúcha "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
B.R Samba Yétu, Makamba! Filho desta terra Meu chão Quilombo do …
Bossas Minha alma canta, vejo o Rio de Janeiro Estou morrendo de…
Bud Shank and his orchestra "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
Carlos Barbosa-Lima Agora danou-se o sonho acabou-se e a vida sem sonho não pod…
Celio Na delinquência do Samba (Eraldo Basso) Vem lá da Rua...…
Chico Buarque "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
Gal Costa Minha alma canta Vejo o Rio de Janeiro Estou morrendo de sau…
Joao Gilberto Minha alma canta, vejo o Rio de Janeiro Estou morrendo de…
Joao Gilberto Os Cariocas "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
Jobim - Moraes "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
Jobim Antonio Carlos Minha alma canta Vejo o Rio de Janeiro Estou morrendo de s…
Jobim Tom "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
Leila Pinheiro Minha alma canta Vejo o Rio de Janeiro Estou morrendo de s…
Marçal Somos a contraindicação do Carnaval, Nagô de tambor digital …
Miguel (Linda história...) Está linda história / Nasceu da imaginaç…
Miúcha "Eparrê, Aroeira beira de mar Salve Deus e Tiago e Humaitá…
Miucha "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
Miúcha and Tom Jobim "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
Miúcha ft Tom Jobim "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
Nara Leão Minha alma canta Vejo o Rio de Janeiro Estou morrendo de s…
Nelson Riddle His Orchestra "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
Nelson Riddle ; Tom Jobim "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
O&P O Gera Samba já chegou A moçada do samba que não…
Os Cariocas Legião Urbana O Descobrimento Do Brasil O Descobrimento Do…
Quarteto Em Cy Tinha cá pra mim Que agora sim Eu vivia enfim o grande…
Roberto Carlos Minha alma canta vejo O Rio de Janeiro estou morrendo De sau…
Silvio Cesar Minha alma canta Vejo o Rio de Janeiro Estou morrendo de sau…
Sylvia Telles Minha alma canta Vejo o Rio de Janeiro Estou morrendo de s…
Tim Maia & Os Cariocas Minha alma canta, vejo o Rio de Janeiro Estou morrendo de…
Tom Jobim & Gal Costa Minha alma canta Vejo o Rio de Janeiro Estou morrendo de sau…
Tom Jobim & Nelson Riddle and His Orchestra "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
Tom Jobim & Os Cariocas Minha alma canta, vejo o Rio de Janeiro Estou morrendo de…
Tom Jobim & Vinicius "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
Tom Jobim & Vinícius de Moraes Vamos carioca sai do teu sono devagar O dia já vem…
Tom Jobim feat. MPB Um, dois, um, dois, três, já Minha alma canta Vejo o Rio…
Tom Jobim/Gal Costa Minha alma canta Vejo o Rio de Janeiro Estou morrendo de sau…
Tony Bennett How my heart is singing I see Rio de Janeiro My longing,…
Vinicius de Moraes Antonio Carlos Jobim Vamos carioca sai do teu sono devagar O dia já vem…
ミウーシャ & Antonio Carlos Jobim Minha alma canta Vejo o Rio de Janeiro Estou morrendo de sau…
We have lyrics for these tracks by Baden Powell:
'Round About Midnight It begins to tell 'Round midnight, midnight I do pretty well…
(Samba) Triste Samba triste A gente faz assim: Eu aqui Você longe de mim, d…
A Felicidade Tristeza não tem fim Felicidade, sim... A felicidade é como …
A Garota de Ipanema Tall and tan and young and lovely The girl from Ipanema…
Apelo Ah, meu amor natildeo vaacute embora Vecirc a vida como chor…
Berimbau [Instrumental]…
Cai Dentro Até que eu vou gostar Se de repente combina da gente…
Canto de Iemanj Eu vim de bem longe eu vim, nem sei mais…
Canto de Iemanjá Oh, oh, oh Oh, oh, oh Oh, oh, oh É Iemanjá Oh, oh, oh Oh,…
Canto de Ossanha O homem que diz dou (não dá) Porque quem dá mesmo…
Canto de Xango Eu vim de bem longe Eu vim, nem sei mais de…
Canto do Caboclo da Pedra Preta Olô pandeiro, olô viola Olô pandeiro, olô viola Pandeiro não…
Consolaçăo Se não tivesse o amor Se não tivesse essa dor E se…
Consolação Se não tivesse o amor Se não tivesse essa dor E se…
Deixa Deixa Fale quem quiser falar, meu bem Deixa Deixe o coraç…
Deve Ser Amor David Byrne Rei Momo Loco De Amor (salsa/reggae) There's …
Euridice Tantas vezes já partiste Que chego a desesperar Chorei tan…
Feitinha pro Poeta Ah! Quem me dera ter a namorada Que fosse para mim…
Formosa Formosa (letra) Composição: Vinicius de Moraes / Baden Powe…
Garota de Ipanema Tall and tan and young and lovely The girl from Ipanema…
Iemanja Oh, oh, oh Oh, oh, oh Oh, oh, oh É Iemanjá Oh, oh, oh Oh,…
It Might As Well Be Spring The things I used to like, I don't like any…
Labareda Labareda te encostou Lá vai, lá vai labareda Labareda te…
Lapinha Quando eu morrer me enterre na Lapinha, Quando eu morrer me…
Maria Me perdoe, Maria Por não ver em seu riso O sorriso das…
Na baixa do sapateiro Oi, o amô, ai, ai Amô bobagem que a gente não…
O Astronauta Quando me pergunto Se você existe mesmo, amor Entro logo e…
Preludio Eu sem você Não tenho porque Porque sem você Não sei nem cho…
Qua Quará Qua Quá Quaquaraquaquá, quem riu Quaquaraquaquá, fui eu Quaquaraqu…
Refém da Sólidão Quem da solidão fez seu bem Vai terminar seu refém E a…
Round About Midnight It begins to tell 'Round midnight, midnight I do pretty well…
Samba da Bênção É melhor ser alegre que ser triste Alegria é a melhor…
Samba de aviao "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
Samba De Bencao É melhor ser alegre que ser triste Alegria é a melhor…
Samba do Veloso "Eparrê, Aroeira beira de mar Salve Deus e Tiago e…
samba em prelúdio Eu sem você Não tenho porque Porque sem você Não sei nem cho…
Samba En Preludio Eu sem voce Nao tenho porque Por-que sem voce Nao…
Samba Triste Samba triste A gente faz assim: Eu aqui Voc� longe de mim, d…
Tempo de Amor Ah, bem melhor seria poder viver em paz Sem ter que…
Tempo Feliz Feliz o tempo que passou, passou Tempo tatildeo cheio de rec…
The Girl From Ipanema Olha que coisa mais linda mais cheia de graça É ela…
The Shadow Of Your Smile The shadow of your smile When you have gone Will color all…
Triste Samba triste A gente faz assim Eu aqui Você longe de mim, de…
Tristeza ala, laralara... Quero, de novo, cantar Tristeza, por favor,…
Tristeza E Solidão Ela não sabe Quanta tristeza cabe numa solidão Eu sei que …
Vou Deitar I Rolar Quaquaraquaquá, quem riu Quaquaraquaquá, fui eu Quaquaraqu…
Xangô Eu vim de bem longe eu vim, nem sei mais…
You Are the Sunshine of my Life You are the sunshine of my life That's why I'll always…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
Marcel Mendes Carvalho
A interpretação do Rafhael Rabello nessa música já é incrível, mas o Baden Powell é mestre, ele supera tudo, esse é o verdadeiro mestre ! Linda demais
guariba63
Tive a felicidade de ver Baden Powell ao vivo 3 vezes. A primeira em Colonia, na Barbarossaplatz, a segunda em Bonn, no Harmonie. Em Bonn ele já estava bem marcado pelo cancer. A terceira vez na minha querida Petrópolis, no Teatro Municipal (onde era antigamente o Cinema Dom Pedro), talvez em 1999, pouco antes dele morrer. Soberbo...
Raquel Triano
guariba63 felicidade mesmo, salve Baden!
WILLIAM FERNANDES
Que qualidade na execução! Extraordinário Baden e Raphael foram magníficos!
Julio Soto
a master. One the greatest guitarist of all time
charly
que maestro Baden !!!
Claudio Cursini
Era um mestre no violão - ele, toquinho, paulinho nogueira, joao bosco e outros
IRINEU FILHO
BADEN..... O MESTRE DO VIOLÃO
IRINEU FILHO
@wellington da silva souza...... Pois é..... O próprio brasileiro não sabe dar valor à música brasileira (de qualidade).
wellington da silva souza
Ele foi um dos maiores violonistas brasileiros mas infelizmente aqui no Brasil ele é pouco conhecido.