O Que Eu Gosto de Você was introduced in December 1962 by Sylvio Rodrigues Silva, better known as Sylvio Cézar (or Silvio César), as the B-side of the single Preciso Dar um Jeito. Arranged by Ed Lincoln, O Que Eu Gosto de Você also appeared on Cezar’s 1963 debut album Amor Demais.
Although it was only released as a B-side by Cézar himself and also by Pery Ribeiro, O Que Eu Gosto de Você quickly became one of the most popular songs by Cézar.
Dóris Monteiro’s recording, under the artistic direction of Armando Pittigliani, was accompanied by Walter Wanderley, whose own recording, like Pery Ribeiro’s, was arranged by Lyrio Panicali.
The identity of the other two musicians in the trio is not revealed on the cover of Bossa G, the only album by pianist José Geraldo. However, there is a rumour that Kenny Burrell’s guitar can be heard on at least some of the tracks.
Selected recordings of O Que Eu Gosto de Você:
1. Sylvio Cézar from the single Preciso Dar um Jeito b/w O Que Eu Gosto de Você (1962, Musidisc M-78-013) and the album Amor Demais (1963, Musidisc Hi-Fi 2074)
Artwork for Amor Demais by Joselito with photograph by Mafra
2. Os Farroupilhas from the album Os Farroupilhas (1963, Farroupilha LPFR-601)
3. Ely Arcoverde from the album O Órgão Que Canta Sambas Vol. 2 (1963, RGE XRLP 5212)
4. Dóris Monteiro from the album Gostoso é Sambar (1963, Philips P 632.130 L)
Artwork for Gostoso é Sambar by Paulo Brèves with photograph by Mafra
5. Walter Gonçalves aka Waltinho from the album Magi Ritmo (1963, Magisom GMLP 1010)
6. Sebastião Tapajósfeaturing Luiz Olavo from the album Apresentando Sebastião Tapajós (1963, Entré/CBS 4025)
7. Geraldo Trio from the album Bossa G (1963, Chantecler CMG 2246)
8. Pery Ribeiro from the album Pery é Todo Bossa (1963, Odeon MOFB 3314)
Artwork for Pery é Todo Bossa with photograph by Mafra
9. Walter Wanderley from the album Samba no Esquema de Walter Wanderley (1963, Odeon MOFB 3358)
Artwork for Samba no Esquema de Walter Wanderley by Moacyr Rocha witg photograph by Klaus Werner
10. Orquestra Os Modernistas from the album Baile Moderno (1964, Chantecler CMG 2271)
11. Manfredo Fest from the album Evolução (1964, RGE XRLP 5236)
12. Os Velhinhos Transviados from the album Embalados (1965, RCA Victor BBL 1319)
13. Agnaldo Rayol from the album As Minhas Preferida (1968, Copacabana CLP 11523)
Selected medleys including O Que Eu Gosto de Você:
1. Conjunto Boa Bossa from the EP Só Danço Bossa Nova (1963, Odeon 7BD-1069)
O QUE EU GOSTO DE VOCÊ
O que eu gosto de você • É esse seu jeitinho de falar • É esse seu jeitinho de sorrir • Esse sorriso lindo como que!
O que eu não gosto de você • É esse seu olhar indiferente • Que machuca tanto a gente • Quando a gente fala com você
Eu não sei bem porque • Fui gostar mesmo assim • Sem saber se você • Vai gostar de mim
Mas o que eu sinto por você • Já é definitivo, não tem jeito • Já não vivo satisfeito • Esperando sempre por você • Adoro esse seu jeito • De pensar e de ser • Será que não há jeito • De você compreender • Que no meu dicionário • Só existe uma palavra: Você!
Of all the Brazilian musicians who have used pseudonyms in addition to their real names, Ed Lincoln certainly had most of them by at least 18.
Eduardo Lincoln Barbosa Sabóia made his first recording as Eduardo Lincoln in 1955 on the album Uma Noite no Plaza as part of Trio Plaza alongside Luiz Eça on piano and Paulo Ney on guitar. He kept that name on Noite e Dia, his collaboration album with Luiz Bonfá in 1957. The next year, he shortened his name to Ed Lincoln which first appeared in 1960 on his solo debut album Ao Teu Ouvido.
The same year, he joined Musidisc, a label founded and owned by Nilo Sérgio who had switched from singer and orchestra leader to record producer. One of Sérgio’s main goals was to enhance the quality of music production by using an exemplary echo chamber and the latest 4-channel recording technique while major studios were still using 2-channel recorders. An aspiration that he liked to emphasise with the aptly titled ‘Masterpiece’ tag on the covers as well as a sublabel and a series of the same name.
Sérgio founded also Nilser as his “de luxe” label whose albums were often produced with elaborate gatefold sleeves and die-cut front covers. Musidisc and Nilser were the first Brazilian labels to produce records in the new ‘Microgroove 33 RPM Long Playing’ system, to produce in Stereo as well as to stop the manufacturing of 78 rpms.
Being a trained pianist, Ed Lincoln switched to the electric organ in 1958 when he unexpectedly had to fill in for Djalma Ferreira. After this, the organ became Lincoln’s favourite instrument, and the one which brought him to fame. He was a trendsetter of sambalanço, a style that was extremely popular in the early 1960s, filling a kind of gap between samba and the newly emerged bossa nova which was considered not very suitable for dancing. Nilo Sérgio’s high-quality music production improved Ed Lincoln’s sound and thus his success during the heyday of the electric organ. He became a key player in Sérgio’s line-up working not only as an artist in his own name but as session musician, musical director, arranger and composer.
In 1960, Lincoln startet his use of pseudonyms with the name Don Pablo de Havana on the album Bolero Espetacular, also more appropriately released as Cha Cha Cha Espetacular. It is unclear wether Lincoln or Sérgio invented the name but Sérgio commonly invented names which only exist on records such as ‘Bob Fleming’ which first disguised Moacyr Silva in 1959 before being passed on to Zito Righi for at least 16 subsequent albums.
In 1961, Nilo Sérgio formed Les 4 Cadillacs, a studio group featuring Ed Lincoln which released five popular albums with instrumental versions of mostly international repertoire.
The same year, Nilo Sérgio also formed The Lovers, another successful outfit featuring Ed Lincoln which released three albums with light dance music.
In 1964, Ed Lincoln appeared as Eduardo Barbosa on the EP O Povo Canta, recorded and released by the Centro Popular de Cultura da U.N.E (CPC) in Rio de Janeiro, shortly before it was closed by order of the Military Government.
In 1965, Ed Lincoln started to use the name Cláudio Marcelo on an album that was released twice that year on different labels as Cláudio Marcelo – Vol. 1 and Dance Suavemente.
In 1966, after Lincoln left Musidisc, his pseudonyms began to get confusing when Coledisc released three albums credited to Conjunto Balambossa, a name that is often stated as one of Lincoln’s aliases. However, the first and the third album, Poema do Adeus and Samba ao Vivo, only included recordings previously released by Celso Murilo and Fats Elpídio, whereas only the second one, Não Quero Ver Você Triste, is sort of a Ed Lincoln album—actually, it is Cláudio Marcelo – Vol. 1 aka Dance Suavemente from the previous year which makes Não Quero Ver Você Triste by Conjunto Balambossa the re-release of an Ed Lincoln’s double alias release with a band‘s name that had already been used otherwise.
To add to the confusion, Cláudio Marcelo‘s debut album was reissued the same year as Cláudio Marcelo e Seu Órgão. In the 1970s it was re-released three more times, in 1974 as Ternura Azul by Danny Marcel and as And I Love Her e Outros Sucessos by John Marcel, and in 1976 again as Ternura Azul, this time by Marcel Saboier. In summary, Cláudio Marcelo‘s debut album had been reissued six times over the course of 11 years using five names. Cláudio Marcelo became Ed Lincoln‘s most used pseudonym appearing on at least 11 albums until 1982, however, not always for his own recordings. Cláudio Marcelo – Vol. 2 from 1972, for example, is a compilation of recordings released by Celso Murilo from 1961–63.
In 1968, Ed Lincoln founded his own short-lived label Savoya Discos. Apart from three releases with the name Ed Lincoln on the covers, he issued one single as DeSavoya e Seu Conjunto and one album as DeSavoya Combo, whereas his album titled De Savoya by De Savoya was released on Polydor in 1972.
In 1989, after his last Ed Lincoln album Novo Toque, he concentrated on producing and arranging but continued to record in his home studio. Allegedly since then he used the pseudonyms Orquestra Romance Tropical, Orquestra Los Angeles, Gloria Benson and TecnoOrquestra for new releases, but this seems not sufficiently proven which is why they are not listed below.
As a session musician, among others on Djalma Ferreira’s 1959 album Depois no Drink and João Donato’s 1965 album Sambou, Sambou, he is sometimes credited simply as Lincoln.
One might get the impression that Ed Lincoln enjoyed confusing his audience, but the reasons for his frequent use of pseudonyms are likely very simple. Don Pablo de Havana, Cláudio Marcelo and De Savoya, for example, were obviously pseudonyms for changes of style to satisfy the audience’s demand for mainstream music.
Some of these recordings were so successful that they were repeatedly marketed on different labels, either with their original or compiled track listings, but if that label did not own the rights of the recordings, the name could not be used either unless it was subordinate to the owning label. At the same time, however, this made it possible to create the impression that these were new recordings by new artists.
In summary, Ed Lincoln released more albums using pseudonyms than with his own name. Excluding compilations, he released about 16 albums as Ed Lincoln, at least 10 as part of a group but at least 45 albums with aliases.
A chronological but certainly incomplete list:
1960
→ Don Pablo de Havana → Bolero Espetacular, also titled Cha Cha Cha Espetacular (Musidisc XPL-1)
Artwork with illustration by Aldemir Martins
Including Aquarela do Brasil (Ary Barroso):
1961
→ Les 4 Cadillacs → Doucement Novamente (Musidisc XPL-19)
→ Les 4 Cadillacs → Doucement, Cherie (Masterpiece Master 11033)
Artwork by Joselito with photograph by Mafra
→ Les 4 Cadillacs → Les 4 Cadillacs (Masterpiece Master 11034)
Artwork by Joselito
1964
→ Eduardo Barbosa → O Povo Canta (EP) (C.P.C. Da U.N.E. UNEC-001) Featured soloist on Canção do Trilhãozinho.
→ Les 4 Cadillacs → Les 4 Cadillacs (Masterpiece Master 11035)
Artwork by Joselito with photograph by Mafra
→ Don Pablo de Havana → Garota de Ipanema (EP) (Nilser NS 19)
→ The Lovers → O Melhor de Lover (EP) (Nilser NS 21)
1965
→ The Lovers → Isto é Dynascope (Nilser NS 1021) Various artists compilation.
→ Don Pablo de Havana → Ardente (Nilser NS 1022)
→ Cláudio Marcelo → Cláudio Marcelo – Vol. 1 (Itamaraty/CID ITAM 7024) Identical with Cláudio Marcelo’s Dance Suavemente (1965, Paladium 7004) and Conjunto Balambossa’s Não Quero Ver Você Triste (1966, Coledisc CD 020). Also identical with Cláudio Marcelo’s Cláudio Marcelo e Seu Órgão (1966, Destaque C-7024) except for track Adventures in Paradise.
Artwork by Joselito
→ Cláudio Marcelo → Dance Suavemente (Paladium 7004) Identical with Cláudio Marcelo’s Cláudio Marcelo – Vol. 1 (1965, Itamaraty/CID ITAM 7024) and Conjunto Balambossa’s Não Quero Ver Você Triste (1966, Coledisc CD 020). Also identical with Cláudio Marcelo’s Cláudio Marcelo e Seu Órgão (1966, Destaque C-7024) except for track Adventures in Paradise.
Artwork by Fernando
Including The Shadow of Your Smile (Johnny Mandel-Paul Francis Webster):
1966
→ Conjunto Balambossa → Não Quero Ver Você Triste (Coledisc CD 020) Identical with Cláudio Marcelo’s Dance Suavemente (1965, Paladium 7004) and Cláudio Marcelo’s Cláudio Marcelo – Vol. 1 (1965, Itamaraty/CID ITAM 7024). Also identical with Cláudio Marcelo’s Cláudio Marcelo e Seu Órgão (1966, Destaque C-7024) except for track Adventures in Paradise.
→ Cláudio Marcelo → Cláudio Marcelo e Seu Órgão (Destaque C-7024) Identical with Cláudio Marcelo’s Dance Suavemente (1965, Paladium 7004), Cláudio Marcelo’s Cláudio Marcelo – Vol. 1 (1965, Itamaraty/CID ITAM 7024) and Conjunto Balambossa’s Não Quero Ver Você Triste (1966, Coledisc CD 020) except for track Mr. Kildare.
1967
→ The Lovers → 1º Festival de Ié Ié Ié (Rosicler/Chantecler R-7033) Various artists compilation.
1968
→ Cláudio Marcelo → Som de Boite (Paladium PAL 203)
Including Manifesto (Mariozinho Rocha-Guto Graça Melo):
1969
→ De Savoya Combo → De Savoya Combo (Savoya Discos SV-8002)
Including Jogaram o Caxangá (Ed Lincoln):
→ Cláudio Marcelo → Mais 17 Sucessos (Itamaraty/CID ITAM 7066)
Including L’amore Dice ‘Ciao’ (Armando Trovaioli):
→ Muchacho nas Boca → Um Sax Muito Louco (Equipe EQC-5069) Collaboration album with Moacyr Silva.
Including Esperanças Perdidas(Adeílton Alves-Délcio Carvalho):
→ Ed Kennedy → Ed Kennedy (Star STLP 80122) Including tracks from De Savoya Combo (1969, Savoya Discos SV-8002)
1974
→ Ed Costa → Ed Costa Musicshow – Feito Para Dançar (Alvorada CALP 8074)
→ Les Amants → Vida… Amor, Muito Amor em Forma de Música (Equipe 77025)
→ Danny Marcel → Ternura Azul (Esquema 1239015) Identical with Cláudio Marcelo’s Cláudio Marcelo – Vol. 1 (1965, Itamaraty/CID ITAM 7024), Cláudio Marcelo’s Dance Suavemente (1965, Paladium 7004) and Conjunto Balambossa’s Não Quero Ver Você Triste (1966, Coledisc CD 020). Also identical with Cláudio Marcelo’s Cláudio Marcelo e Seu Órgão (1966, Destaque C-7024) except for track Adventures in Paradise.
→ John Marcel → And I Love Her e Outros Sucessos (Esquema 1239085) Identical with Cláudio Marcelo’s Cláudio Marcelo – Vol. 1 (1965, Itamaraty/CID ITAM 7024), Cláudio Marcelo’s Dance Suavemente (1965, Paladium 7004) and Conjunto Balambossa’s Não Quero Ver Você Triste (1966, Coledisc CD 020). Also identical with Cláudio Marcelo’s Cláudio Marcelo e Seu Órgão (1966, Destaque C-7024) except for track Adventures in Paradise.
→ Cláudio Marcelo → Isto é Muito Bom – Vol. 2 (Itamaraty/CID 1967) Various artists compilation.
Estamos Aí was introduced in 1962 by Ed Lincoln on his second solo album. Featuring a harmonica solo by co-composer Maurício Einhorn, the joyful ditty soon became a favourite among the bossa jazz outfits with Durval Ferreira and Maurício Einhorn recording their own version in 1964 as part of Os Gatos.
In 1965, the 22 year old Leny Andrade was the first who recorded Estamos Aí with lyrics when she featured the song as the title track on her third solo album, arranged by Eumir Deodato and conducted by Lyrio Panicali. Being a perfect vehicle for her scat singing, the song became her signature tune, impressively demonstrating why Tony Bennett dubbed her ‘Ella Fitzgerald of Brazil’.
Selected recordings of Estamos Aí:
1. Ed Lincoln from the album Álbum No. 2 (1962, Musidisc Hi-Fi 2055)
Artwork for Álbum No. 2 by Joselito with photograph by Mafra
2. Luiz Chaves from the album Projeção (1963, RGE XRLP 5233)
3. Eumir Deodato & Neco from the album Samba Nova Concepção (1963, Equipe EQ 803)
Artwork for Samba Nova Concepção by Maurício
4. Astor Silva aka Lord Astor from the album Dance com Astor (1964, CBS 37348)
5. Os Gatos from the album Os Gatos (1964, Philips P 632.189 L)
6. 5 no Balanço from the album 5 no Balanço (1964, RCA Victor BBL 1266)
7. Leny Andrade from the album Estamos Aí (1966, Odeon MOFB 3428)
Artwork for Estamos Aí by Moacyr Rocha with photograph by Mafra
8. Raul de Souza from the album À Vontade Mesmo (1965, RCA Victor BBL 1307)
Artwork for À Vontade Mesmo by Tide Hellmeister
9. Chuca-Chuca from the album Uma Noite no Montana Clube (1965, Continental PPL 12198)
10. Geraldo Vespar from the album Samba Nova Geração (1965, Odeon MOFB 3433)
11. Manfredo Fest from the album Manfredo Fest Trio (1965, RGE XRLP 5272)
Artwork for Manfredo Fest Trio by Urano Dornelles Lima
12. Milton Banana from the album Vê (1965, Odeon MOFB 3431)
13. Sambalanço Trio from the album Sambalanço Trio (1965, Som Maior SMLP 1501)
15. Breno Sauer from the album 4 na Bossa (1966, Musidisc Hi-Fi 2133)
Artwork for 4 na Bossa by Joselito
16. Quarteto Lambari from the album Quarteto Lambari (1966, Farroupilha LPFA-417)
Artwork for Quarteto Lambari by Antônio Melero
17. Boliche Trio from the album Boliche Trio (1966, Chantecler CMG 2406)
18. Luiz Loy from the album Luiz Loy Quinteto (1966, RGE XRLP 5301)
Artwork for Luiz Loy Quinteto by Dirceu Côrte-Real
19. Carlos Monteiro de Souza from the album Pra’ Frente (1968, Parlophone/Odeon PBA 13006)
Selected medleys including Estamos Aí:
1. Leny Andrade, Pery Ribeiro and Bossa Três from the album Gemini V – Show na Boate Porão 73 (1965, Odeon MOFB 3445)
Artwork for Gemini V – Show na Boate Porão 73 by Moacyr Rocha with photographs by Mafra
Selected recordings of Estamos Aí originally not issued in Brazil:
1. Leny Andrade and Breno Sauer from the album Leny Andrade (1966, Discos RVV [MEX] RVV-116)
ESTAMOS AÍ
Só se for agora, a bossa vai prosseguir • Todo mundo vai cantar • Nosso samba é demais • Bossa nova vai mostrar que pode arrasar • Se falar de sol, de amor, de mar e luar
E de gente que, cantando, vai • Gente que só tem na alma paz e amor • E pro mundo todo vai mostrar, então • Que a bossa nova cresce • Que a bossa nova vence • Que a nossa bossa vale • Estamos aí
E pro mundo todo vai mostrar, então • Que a bossa nova cresce • Que a bossa nova vence • Que a nossa bossa vale • Estamos aí
Vivendo e Aprendendo was introduced in 1961 by bass player, organist, pianist, arranger and composer Eduardo Lincoln Barbosa Sabóia aka Ed Lincoln as the closing track on his album Órgão Espetacular, produced by Nilo Sérgio.
The catchy song was picked up only once, also in 1961, when saxophonist Moacyr Marques aka Bijú included Vivendo e Aprendendo on his album Samba 40 Graus, introducing Uruguayan percussionist Humberto Garin as vocalist.
Recordings of Vivendo e Aprendendo:
1. Ed Lincoln from the album Órgão Espetacular (1961, Masterpiece Master 11026)
2. Moacyr Marques featuring Humberto Garin from the album Samba 40 Graus (1961, Pawal P-20.004)
Olhou Pra Mim was introduced in early 1961 by Wilson Simonal on the album Isto é o Drink, suspected of being his debut recording. Apart from Simonal, this collaboration album also featured singers Lila, Sandra and Luiz Bandeira with Celso Murilo on organ and as ‘Conjunto Drink’ musicians from Djalma Ferreira’s nightclub Drink in Rio de Janeiro including Américo Cerqueira, Paulinho Nogueira, Sebastião de Barros, Fernando Alves, Francisco Neto ‘Ceará’ and Julio da Silva.
The same year, Margarida Oliveira, artistically better known as Lila, was the first to pick up the song on her solo debut album, followed by Moacyr Silva and Sérgio Mendes the next year but the heyday of Olhou Pra Mim was certainly 1963 with eight recordings, including the ones by both the composers.
Selected recordings of Olhou Pra Mim:
1. Wilson Simonal with Celso Murilo and Conjunto Drink from the album Isto é o Drink (1960, Remon RD 101)
Artwork for Isto é o Drink with photograph by Mafra
2. Lila from the album A Madrugada na Voz (1961, Columbia LPCB 37168)
3. Sérgio Mendes from the album Dance Moderno (1962, Philips P 630.491 L)
4. Moacyr Silva from the album Sax Sensacional No. 3 (1962, Copacabana CLP 11250)
5. Sylvio Cézar from the album Amor Demais (1963, Musidisc Hi-Fi 2074)
6. Dóris Monteiro from the album Gostoso é Sambar (1963, Philips P 632.130 L)
Artwork for Gostoso é Sambar by Paulo Brèves with photograph by Mafra
7. Julinho Barbosa from the album 100% Bossa – Julinho, Seu Piston e Seu Conjunto (1963, Masterplay MDL 13025)
8. Ed Lincoln from the album Seu Piano e Seu Órgão Espetacular (1963, Musidisc XPL-27)
9. Bossa Três from the album Os Bossa Três (1963, Audio Fidelity AFLP 1988)
10. Astor Silva from the album Samba… Só Samba! (1963, CBS 37310)
11. Severino Filho from the album Metais e Vozes em Festival (1963, Polydor LPNG 4074)
12. Manfredo Fest from the album Bossa Nova – Nova Bossa (1963, RGE XRLP 5209)
13. Moacyr Peixoto from the album Pra Balançar (1964, Philips P 632.175 L)
Artwork for Pra Balançar by Paulo Brèves with photograph by Mafra
14. João Donato from the album Muito à Vontade (1964, Polydor LPNG 4085)
Artwork for Muito à Vontade by Paulo Brèves
15. Raul de Souza from the album À Vontade Mesmo (1965, RCA Victor BBL 1307)
Artwork for À Vontade Mesmo is by Tide Hellmeister
16. Breno Sauer from the album 4 na Bossa (1966, Musidisc Hi-Fi 2133)
Artwork for 4 na Bossa by Joselito
OLHOU PRA MIM
Olhou pra mim • Sorriu pra mim • Fez tanta coisa pra chamar minha atenção • Mandou dizer fingiu sofrer • Fez, tudo tudo para ter meu coração
Eu quiz olhar, eu quiz sorrir • Eu quiz dizer tanta coisa bonita de agradar • Porem não sei me atrapalhei • Perdi a voz perdi até o coração • Perdi a voz e perdi o coração • Olhou pra mim
Amor Demais was introduced in 1961 by saxophonist Zito Righi on his debut album Sax de Ouro. Although co-composer Silvio César was featured on this album as guest vocalist with Parti, the song was recorded as an instrumental.
The first vocal version of Amor Demais was recorded by Ted Moreno in 1962 on his album Receita de Saudade. Silvio César recorded the song only in early 1963 as the title track on his debut album, accompanied by Ed Lincoln’s band and featuring Waltel Branco on guitar.
Amor Demais is one of about a dozen compositions by Silvio César in collaboration with Ed Lincoln including Parti, Vivendo e Aprendendo, Nunca Mais and Olhou Pra Mim.
Selected recordings ofAmor Demais:
1. Zito Righi from the album O Sax de Ouro (1961, Musidisc XPL-15)
2. Ted Moreno from the album Receita de Saudade (1962, Copacabana CLP 11247)
3. Silvio César from the album Amor Demais (1963, Musidisc Hi-Fi 2074)
4. Lila de Oliveira from the album Gosto a Noite (1963, CBS 3728)
5. Cauby Peixoto from the album Cauby Interpreta (1964, RCA Victor BBL 1260)
6. Elis Regina & Zimbo Trio from the album O Fino do Fino (1965, Philips P 632.780 L)
AMOR DEMAIS
A canção é o lamento do amor demais • Quem chorou, quem sofreu • Quem perdeu a paz • Vem dizer na canção • O que chorou seu coração
Vem, a noite é linda, vem cantar • Vem, toda a tristeza vai passar • Só assim tu serás • Amor sem fim, amor demais
Mulher de Trinta was introduced in late 1959 as A-side to Meditação by Os 7 Velhinhos, an all-star ensemble including Ivan Paulo da Silva aka Carioca, Abel Ferreira, José Menezes, Nelson Martins aka Nelsinho, Orlando Trinca, José Luis aka Formiga, Pedro Vidal, José Américo and Chiquinho do Acordeom. Os 7 Velhinhos issued a few singles and three albums until 1965, and even though unconfirmed, there are indications that they were the precursor of Os Velhinhos Transviados, a popular novelty act that José Menezes lead from 1962 until the mid-seventies.
In early 1960, the song was issued on at least three more singles including A-side releases by Antônio Medeiros Francisco aka Bill Farr and Silvio Ribeiro but it was Miltinho’s version, though released only as B-side to Rí, that became the fifth most popular song of the year and Miltinho’s most successful song to chart. The single was taken from his solo debut album Um Novo Astro, credited Miltinho & Sexteto Sideral including Jorginho on tenor sax, Celso Pereira on piano, Baden Powell and Neco on guitar, Célio Damasio on bass, Maurício on drums and Humberto Garin and Nilson on percussion. Um Novo Astro was also recorded in late 1959, which is why it might even be possible that it was Miltinho who recorded the song first and Os 7 Velhinhos have released the song earlier.
However, Mulher de Trinta became one of the iconic hits of the year and one of the most popular compositions by Antônio de Pádua Vieira da Costa, better known as Luiz Antônio.
Orquestra Arco-Íris, presenting a witty version in 1963, should not be confused with Geraldo Miranda’s formation from 1966 or the contemporary Spanish act of the same name. The original was a one-off studio project arranged by Carioca, original member of Os 7 Velhinhos, and conducted by Arcy Barbosa who also played tenor saxophone.
Selected recordings ofMulher de Trinta:
1. Os 7 Velhinhos from the single Mulher de Trinta b/w Meditação (1959, Musidisc M-8.011-a) and the album Os 7 Velhinhos (1961, Musidisc XPL-5)
2. Miltinho & Sexteto Sideral from the albums Um Novo Astro (1960, Sideral LPP 2004) aka Reprise de Sucessos (1960, Euterpe LPE 30.002)
3. Ribamar from the album Palmas Para Ribamar e Seu Piano (1960, Philips P 630.431 L)
4. Os Vocalistas Modernos from the album Sambas de Sucesso de Luis Antonio (1961, Philips P 630.459 L)
Art work for Sambas de Sucesso de Luis Antonio by Ronald with photograph by Rovigati
5. Walter Wanderley from the album Samba é Samba com Walter Wanderley (1961, Odeon MOFB 3248)
6. Zaccarias & Quarteto Excelsior from the album Coquetel Dançante Vol. 4 (1961, RCA Victor BBL 1116)
7. Agostinho dos Santos from the album Agostinho Canta Sucessos (1961, RGE XRLP 5096)
8. Ed Lincoln from the album Órgão Espetacular (1961, Masterpiece Master 11026)
9. Gaúcho from the album Sambas e Boleros (1961, Philips P 630.438 L)
10. Orquestra Arco-Iris from the album Palmas para o Samba! (1963, Polydor LPNG 4079)
11. Izio Gross from the album Isto é Bossa (1964, Mocambo LP 40064)
Selected medleys including Mulher de Trinta:
1. Sandoval Dias from the album Sambas (1960, Philips 425.629 PE)
2. Sylvio Mazzucca from the album Baile de Sucessos No. 2 (1961, Columbia LPCB 37157)
3. Miltinho from the album Os Grandes Successos de Miltinho (1962, RGE XRLP 5135)
4. Miltinho from the album Miltinho ao Vivo (1965, RGE XRLP 5281)
5. Dóris Monteiro & Miltinho from the album Dóris, Miltinho & Charme Vol. 2 (1971, Odeon MOFB 3680)
MULHER DE TRINTA
Você mulher • Que já viveu • Que já sofreu não minta • Um triste adeus • Nos olhos seus • A gente vê • Mulher de trinta
No meu olhar • Na minha voz • Um novo mundo sinta • É bom sonhar • Sonhemos nós • Eu e você • Mulher de trinta
Amanhã • Sempre vem • E o amanhã, pode trazer alguém
Você mulher • Que já viveu • Que já sofreu não minta • Um triste adeus • Nos olhos seus • A gente vê • Mulher de trinta
No meu olhar • Na minha voz • Um novo mundo sinta • É bom sonhar • Sonhemos nós • Eu e você • Mulher de trinta
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 