- Moacyr Silva — Samba é Bom Assim
(1961) Copacabana CLP 11220 - The Bells — Proibido Para Maiores 18 Anos
(1963) RGE XRLP 5214 - João Donato — A Bossa Muito Moderna de João Donato e Seu Trio
(1965) Polydor LPNG 4107 - João Gilberto, Roberto Menescal, Sérgio Mendes, Carmen Costa, Bola Sete, José Paulo, Sérgio Ricardo, Oscar Castro Neves, Luiz Bonfá, Milton Banana, Agostinho dos Santos, Carlos Lyra, Caetano Zamma, Normando Santos, Otávio Bailly, Paulo Moura, Chico Feitosa, Ana Lúcia, Durval Ferreira, Henry Percy Willcox, Iko Castro Neves, Roberto Ponte Dias, c — Bossa Nova at Carnegie Hall
(1963) Áudio Fidelity AFLP 2101 - Edgard Gianullo — O Assunto é… Edgard
(1964) Farroupilha LPFA-404 - Geraldo Trio — Bossa G
(1963) Chantecler CMG 2246 - Hugo Luiz — Bossa Hugo
(1965) Paladium PAL50006 - Ed Lincoln — Seu Piano e Seu Órgão Espetacular
(1963) Musidisc XPL-27
Ed Lincoln — Ed Lincoln – Seu Piano e Seu Órgão Espetacular
(1961) Musidisc XPL-12
This double-page spread from the book features multi-instrumentalist Ed Lincoln and the historical concert known as ‘Bossa Nova at Carnegie Hall’.
Eduardo Lincoln Barbosa Sabóia (1932-2012) was a bass player, organist, pianist, arranger and composer. Born into a musical family with his mother playing organ in the local Presbyterian Church and his older sister studying classical piano, Ed Lincoln started playing the piano at the age of thirteen after he saw Rhapsody in Blue at the movies. At sixteen, he formed a trio with his friend and a cousin, playing at Radio Iracema. His most notable influences were jazz musicians like Chet Baker, J.J. Johnson and especially Oscar Peterson.
At 18, Ed Lincoln performed at Radio Roquette Pinto in Rio de Janeiro in order to finance his studies of architecture. There, he got acquainted with Geraldo Vandré, Luiz Eça, Sérgio Ricardo, Dick Farney, Antônio Carlos Jobim and Johnny Alf. The latter asked him to join a trio on double bass. Although Ed Lincoln never played the bass before, he agreed, bought himself an instrument and rehearsed one week until the first performance at the Plaza Hotel in Rio de Janeiro as part of Trio Plaza with Luiz Eça on piano and Paulo Ney on guitar. In 1955, the group recorded their instant succees with the album Uma Noite no Plaza. After Luiz Eça left the group to study at the academy of music in Vienna, Lincoln reformed the trio with Baden Powell on guitar, Luiz Marinho on bass and himself on piano as Hotel Plaza Trio, featuring Claudette Soares as recurring vocalist. In 1956, Luiz Bonfá asked Ed Lincoln to join him on the album Noite e Dia – Com Luiz Bonfá e Eduardo Lincoln, later reissued as Passeio no Rio, Ed Lincoln & Luiz Bonfá and Perdidos de Amor.
In 1958, Ed Lincoln served a regular bass player for Djalma Ferreira’s backing group Os Milionários do Ritmo. When Ferreira was wounded by a gunshot caused by a business rivalry, Ed Lincoln was instructed to play the organ within a few hours to fill in for Ferreira at his nightclub Drink. Prior to the accident, Ed Lincoln wasn’t even allowed to touch Ferreira’s B3 though he was interested to learn. After this, the Hammond organ became Lincoln’s favourite instrument, and the one which brought him to fame.
Later that year, Ed Lincoln recorded his debut album as a soloist, Ao Teu Ouvido, reissued 1962 and 1963 in varied track order as Ed Lincoln Boite. In 1960, Ed Lincoln signed with Nilo Sérgio’s label Musidisc where he also worked as arranger and musical director. The album Ed Lincoln – Seu Piano e Seu Órgão Espetacular, featuring his favourite vocalist Pedrinho Rodrigues on several tracks, launched Lincoln’s succcess with dance music. In 1963, after recording the album Seu Piano e Seu Órgão Espetacular, a car accident forced Ed Lincoln to stay away from work for seven months by causing irreversible restricted mobility. Eumir Deodato filled in for Lincoln on public performances, who returned in 1964 with his album A Volta. In the late sixties and early seventies, Ed Lincoln sucessfully moved away from previous styles in favour for more eclectic sounds.
Among the Brazilian musicians recording with aliases, Ed Lincoln used by far the most. While other instrumentalists used pseudonyms mainly for contractual reasons, Lincoln was fond of using a new name for a new style or even just a new album. He used his real name Eduardo Lincoln as part of ensembles, became Ed Lincoln in 1958 as a soloist and released records with at least 18 other names including Don Pablo de Havana, Cláudio Marcelo, Berry Benton, The Lovers, Cláudio Marcelo, Ed Costa, Les Amants and De Savoya. In addition, he recorded as Muchacho nas Bocas with Moacyr Silva, and probably played on all albums by Les 4 Cadillacs.
As a bassist, Ed Lincoln contributed to the earliest stage of bossa nova. As a pianist, he was part of the jazz scene. As an organist, he formed dance music and space age pop.
Playlist Eumir Deodato:
1. Catedral (Celinho) from the album Ed Lincoln (1968)
2. Confissão (Djalma Ferreira – Luís Bandeira) from the album Ed Lincoln – Seu Piano e Seu Órgão Espetacular (1961) with Pedrinho Rodrigues
3. Aquarela do Brasil (Ary Barroso) from the album Bolero Espetacular (1960) as Don Pablo de Havana
4. Leçon de Baion (Jadir de Castro – Jean Rodor – Daniel Marechal) from the album Ed Lincoln – Seu Piano e Seu Órgão Espetacular (1961)
5. Cochise (RaySantos) from the album Ed Lincoln (1966)
6. Sedução (Ed Lincoln) from the album Ao Teu Ouvido (1958)
7. Balamsamba Nº 1 (Luís Bandeira) from the album Seu Piano e Seu Órgão Espetacular (1963)
8. Eu Não Vou Mais (Durval Ferreira – Orlandivo) from the album Ed Lincoln (1966)
The exquisite artwork for Seu Piano e Seu Órgão Espetacular from 1963 is by Joselito.
The equally superb artwork for Ed Lincoln – Seu Piano e Seu Órgão Espetacular from 1961 is uncredited.
The artwork for O Assunto é… Edgard is by Parlagreco.
The artwork for Bossa Hugo is by Álvaro Apocalypse.
In a joint effort with Sidney Frey, president of the US parent company of Áudio Fidelity and Mário Dias Costa, head of the culture department of Itamaraty, the Brazilian Ministry of Foreign Affairs, the concert known as ‘Bossa Nova at Carnegie Hall’ took place on Wednesday, November 21, 1962. Hosted by jazz critic Leonard Feather, the venue was filled with about 3,000 people including celebrities like Dizzy Gillespie, Peggy Lee, Gerry Mulligan, Erroll Garner and Miles Davis.
Except for a some acts like Antônio Carlos Jobim and João Gilberto, the large cast was put together with intrigues and controversy among the musicians. The microphones for broadcasting the show even to Moscow were set up properly, but the acoustic engineerig inside the concert hall was deficient. Normando Santos used an off-line microphone, Roberto Menescal muddled up the words of O Barquinho, and Antônio Carlos Jobim hit wrong notes on Corcovado. While the New York press hailed the new sound, João Gilberto’s guitar playing and Agostinho dos Santos’s voice, Brazilian media made fun of all the shortcomings in order to turn the concert into a failure of the modernistic bossa nova movement to succeed internationally—until a television recording broadcasted on TV Tupi proved the contrary, showing an enthusiastic audience who was impressed by passionate musicians.
Two weeks later, a second bossa nova concert took place at the George Washington Auditorium in Washington, D.C., with only Antônio Carlos Jobim, João Gilberto, Carlos Lyra, Roberto Menescal, Sérgio Mendes, Caetano Zama and Sérgio Ricardo, which was followed by an inviation of the cast to the White House to meet the Kennedy’s. Along the way, the New York presence of Sérgio Mendes and his Bossa Rio Sextet consisting of Paulo Moura on alto saxophone, Pedro Paulo on trumpet, Durval Ferriera on guitar, Octavio Bailly on bass and Dom Um Romão on drums, lead to another memorable album when the group went to see Julian ‘Cannonball’ Adderley at the famous Birdland. Chatting away, Adderley got more and more interested and quickly arranged a private hearing of the group. Impressed by their music, he suggested to join the recording studio together—the result of this encounter was Cannonball’s Bossa Nova, one of the most striking US albums of samba-jazz.
Although not all of the featured musicians were actually part of the bossa nova movement, the Carnegie Hall concert is a legend in its own right. In the view of the historical significance, it is a pity that the television recording has never been accessible to the public since the original broadcast.
Playlist Bossa Nova at Carnegie Hall:
1. A Felicidade (Antônio Carlos Jobim – Vinícius de Moraes) from the album Bossa Nova at Carnegie Hall (1963) with Agostinho dos Santos and Tamba Trio
2. Outra Vez (Antônio Carlos Jobim) from the album Bossa Nova at Carnegie Hall (1963) with João Gilberto and Milton Banana
3. Amor no Samba (Normando Santos) from the album Bossa Nova at Carnegie Hall (1963) with Normando Santos and Oscar Castro Neves Quartet
The artwork for Bossa Nova at Carnegie Hall is unidentified.
The artwork for A Bossa Muito Moderna de João Donato e Seu Trio is by Paulo Brèves
The artwork for Samba é Bom Assim is uncredited but Moacyr Silva is featured in article → No. 1 — Pages 38-39.
Brazilliance 