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From Wikipedia, the free encyclopedia

Edu Lobo
Zizi Possi e Edu Lobo.jpg
Zizi Possi and Edú Lobo
Background information
Birth nameEduardo de Góes Lobo
Born (1943-08-29) August 29, 1943 (age 76)
Rio de Janeiro, RJ
OriginBrazil

Eduardo de Góes "Edu" Lobo (born August 29, 1943) is a Brazilian singer, guitarist, and composer.[1]

Edu Lobo, 1963.
Edu Lobo, 1967

He achieved fame in the 1960s as part of the bossa nova movement.[1][2]

His compositions include the world-famous Upa Neguinho (with Gianfrancesco Guarnieri), Pra Dizer Adeus (with Torquato Neto; also known in its English version as "To say goodbye"), Choro Bandido, A história de Lily Braun, Beatriz (the latter three songs with Chico Buarque), Arrastão and Canto triste (both with Vinicius de Moraes), and Ponteio (with Capinam). Ponteio won best song at the 3rd Festival de Música Popular Brasileira in the recording by Quarteto Novo in 1967.[1][3][4]

He has worked with, and his songs have been covered by artists like Toots Thielemans, Marcos Valle, Elis Regina,[5] Sylvia Telles, Sergio Mendes, Antonio Carlos Jobim, Milton Nascimento, Maria Bethânia, Gilberto Gil, Gal Costa, Caetano Veloso, Monica Salmaso, Sarah Vaughan, Earth, Wind & Fire, Caterina Valente and others.

Dos Navegantes, a collaboration album by him, Romero Lubambo and Mauro Senise, won the 2017 Latin Grammy Award for Best MPB Album.[6]

YouTube Encyclopedic

  • 1/3
    Views:
    35 305
    401 843
    3 227
  • ✪ Um Café Lá em Casa com Edu Lobo e Nelson Faria
  • ✪ 𝐓𝐡𝐞 𝐁𝐞𝐬𝐭 𝐨𝐟 𝐋𝐨𝐛𝐨 || 𝐋𝐨𝐛𝐨'𝐬 𝐆𝐫𝐞𝐚𝐭𝐞𝐬𝐭 𝐇𝐢𝐭𝐬 (𝐅𝐮𝐥𝐥 𝐀𝐥𝐛𝐮𝐦)𝐈 𝐝𝐨 𝐧𝐨𝐭 𝐨𝐰𝐧 𝐚𝐧𝐲𝐭𝐡𝐢𝐧𝐠 𝐨𝐟 𝐓𝐡𝐢𝐬....𝐕𝐢𝐝𝐞𝐨 𝐂𝐥𝐢𝐩!!
  • ✪ Lobo "Am I Going Crazy (Or Just Out Of My Mind)"

Transcription

Bravo. – That's it. Thank you. You nailed it. Folks, I'm here today with Edu Lobo. It's a dream come true for me to be here with him. I'm a huge fan of him. Thank you. – It's an enormous honor. Thank you. Thank you. It's so great to receive you here. And to play these songs with you! I remember when I first heard this song. I would have been a teenager. I remember buying that album: "Limite das Águas". Back in the days when we had LP's, right? – Yes. Such a long time ago. LP's are so good. True. I was 27 when I recorded that album. Really? – I was young. You were a kid. Well, a grown-up kid. But if we think about that period of festivals... Let's go back in time... when Elis (Regina) won the best singer prize for "Arrastão". I was... It was in 1965? I was 22 years old. I'm not sure if I was 22 already or going to be. I can't remember in which month the festivals were held. I saw that image of Elis singing "Arrastão" a lot. It's beautiful. She gets emotional at the end. Sure. Later with "Ponteio", it was in 1967 and I was about 23, 24. I was a young man. And how did it go? Because you're like a... direct descendant of bossa nova. The bossa nova generation came a bit earlier than yours. Sure! It's like Tom and the bossa nova people passed on the baton to you: "Edu, it's your turn now!" No. All right. I remember I was in Recife. I remember the exact day I first saw "Chega de Saudade". I became immobilized. I even remember what I was wearing: shorts, without a shirt. It was summer. There was so much! If you think, there was João Gilberto's guitar, his voice, Tom's piano, Tom's arrangement, and Vinicius de Moraes' lyrics. Five new things! I couldn't move. Because I had never heard anything like it. The other styles were Noel (Rosa), Dorival (Caymmi), Ary (Barroso), etc, with beautiful songs, of course, but that stuff was completely new. I went completely nuts. I started buying all the albums, going after them. Then I met Vinicius. I was 19. I played lots of his compositions for him and so on. Then I was at a party and he said, "You wouldn't have a little samba without lyrics, would you?" I had one. I showed it to him. He said, "Would you mind if I wrote some lyrics now? I said, "Of course not!" He wrote the lyrics and I put the paper in my shoes. Because I was afraid to lose them. You have to understand that I was 19. Which song was that? I'm curious. – "Só me fez bem". I was in my second year of law school with no desire at all. Because I was never going to be a lawyer in my life, but I was going to pursue a diplomatic career, which probably wasn't going to work for me. I don't like ceremonies, I don't like speeches, neither to give nor to listen to them, so... It was not going to match my temperament. Good! We lost a diplomat, we lost a lawyer, but we got this composer. No! There was no way of me being a lawyer. Through Vinicius, I met everybody: Tom, Carlinhos (Lyra), Baden (Powell). And I already knew Luizinho. I went to his house almost every day. Luizinho Eça. – Right. Of course. Anyway. At a certain moment I realized that... I was going to be one more guy there, just not as good as those guys. You know? The bossa nova guys? – Exactly. So, in that group I was not going to fit in. Then there were the songs from the Northeastern region. Because I'd spent months of vacation there, what we called the "big vacation". I'd spent the entire months of January, February and March there. Including the Carnival. You have Northeastern roots, right? Completely. The other day I discovered that I'm a Pernambucan. Because both my mother and father were born in Pernambuco. So my blood is Pernambucan. So the melodies that came to me, I used to hear there all the time. You couldn't escape your roots, right? Then you... I started mixing things... – When you mixed, it worked. ...those things, together with the harmonies I was learning. So all my frevo compositions already had harmonies... Because I was learning there. I was developing myself. So what happened is that I ended up creating my little signature. Totally! And there was a time I couldn't write, read, nothing! The first album I recorded with Luizinho Eça... was hell to me because I'd come up with... "I want a fatter sound, a more colorful thing". You know what I mean? – Yes, I do. And Luizinho with that face, trying... – To decipher. ...to decipher my completely crazy language. Because I didn't know what to say. So at one point in my life I said, "I'd better take a plane and leave to study music seriously." "Otherwise I'm not a composer." You were already a super intuitive composer, making incredible things already. But you left in order to study music in depth. I studied orchestration all the time... with an English guy who's not with us anymore. His name was Sir Albert Harris. I didn't have bands or any Berklee kind of things, but he taught me instrument by instrument. I knew how to write for everything. And when I came back, I wrote something. Later, nowadays, my favorite work method... is to share the orchestrations with someone. Because I give... I write introductions, I write countermelodies, I write pieces of things, I give my ideas about orchestrations... and let the other person do it. There are lots of great people working with me: Cristóvão Bastos, Nélson Ayres, Chiquinho de Moraes, Gilson Peranzetta! They can guess what I want. Although today I speak the language I'm supposed to speak... so as not to invent things like "fat chord" and "tune some more there" etc. That's ridiculous! I played with Baby (do Brasil) for a long time and she'd say, "Play a chord that's like a coconut tree swinging." I said, "A swinging coconut tree? That'll be difficult!" But listen! I once saw Elis rehearsing. I've never forgotten it because she said... She didn't play any instrument at all. And she said to the pianist, "It's not this chord." Then he said, "Wait! Let's see. Is it this one?" And she said, "No, not yet." And on the fourth attempt she said, "That's it!" How do you explain that!? – It's in the ears. For sure. And in the heart. Right. But I'd like to talk about something I find interesting: knowledge is never too much. Of course not! – It's always good to have knowledge. I see there're some people that are apprehensive: "I already write well intuitively so I'm afraid to study and lose that." Let me tell the story of a great composer, I won't mention anybody's name. He had a wonderful music teacher who told him, "You're already great in what you do. Don't mess with it." "When you start discovering about notes, you'll throw all of it away." "You'll loose everything you know by intuition." This is one of the most reactionary things I've ever heard in my life. Totally. It's denying information. – Exactly. So let me tell you, for example, since 1981, since "Circo Místico", Wow, "O Grande Circo Místico"! I started discovering that the piano is my instrument for composing. For a simple reason: since I don't play solos, like you, for example, I can't play solo, I can only accompany, play the chords. So I play the melody with my mouth, my throat. I proceed making things with limitations. The piano, I'd never sing "Beatriz", this half tone underneath. I'd sing it like many people do. You know? But the piano takes you... Exactly. That's it. Because the piano gives you that possibility. It's a music box that... The piano, the keyboard gives you a notion. It has an enormous texture. You have the whole orchestra here. – Exactly. So much so that with two pianos you can play any orchestral work, such as "The Rite of Spring". I've just downloaded it from iTunes. Martha Argerich and Daniel Barenboin are playing "The Rite". It's impressive! If you imagine... – Everything's there. If you imagine "The Rite" being played in the original orchestration... That's a giant. And you see two pianos playing and functioning in a way... Well, she's a genius. He plays great. So the two of them make do and... They make everything happen. They play everything. Nothing is missed. Do you normally write the music and give it to the lyricist? Or do you also take a poem to put music to it? That has also happened, but it's not ideal. The ideal is to make the melody and hand it to the partner; the partner writes the lyrics and returns it to me. Some situations are inevitable. For example, a poem by Fernando Pessoa. What am I going to do? Am I going to call someone? Listen, I want to change a verse! You can't do that. Or occasionally one of my partners sends me some lyrics... and I make the music. But it's not what I like to do. Not at all. I like to be free in music, do what I want and pass on the problem. I love all your partnerships. You have Vinicius who is amazing, you have Chico, you have... Capinã. You have Paulo César Pinheiro. – Cacaso. Paulo César Pinheiro is amazing. There is one tune by him that I recorded with Leila Pinheiro. It's called "Dois Navegantes" or "Os Navegantes"? Which is it? "Dos Navegantes". – Exactly. It's not DOIS (two), but DOS, which means "regarding" the seafarers. Right. The lyrics are crazy. – Definitely. You even recorded it recently on an album you made... with Mauro Senise and Romero Lubambo. Right. And it's called "Dos Navegantes". Ah! That's the name of the album. – Right. How nice. DOS! – It's "Regarding the Seafarers". Yes. But we'd joke and say, "We have to call it 'Three Seafarers'". Not two! But the lyrics of this song are so keen. It's so... Terrible. – It's almost mean. My goodness! By Paulo César. Let's play it? Sure. That's it. Perfect! Even with an imperfection, it's good. Right. It's part of it. – Hoarseness has a... We record this program the same way as it was done in the past. With a microphone and let's play. – Let's play. Of course! I'm curious, but many people are probably also curious... about your composing process. How does it go? I sit at the piano and start to search. But do you do it regularly like "I'll compose every day"? Not at all. Like Villa-Lobos who wrote every day. No. I go to the piano and start searching, looking for things. Looking for melodies. – Right. Sometimes I start with a harmony, with any harmonic insight that suggests a melody, then the right hand searches and gets going and, well... I'm extremely... I'm a Virgo. That can be a quality, but in my case it's a big shortcoming. Because I'm never satisfied. I always think there's something wrong. Super demanding. – Highly self-critical. Self-criticism? My God! But it's like that. The brain... It's incredible to hear that from Edu Lobo. How crazy! But you'll hear it from almost everyone. How crazy. From almost everyone. I know many composers who have doubts. The "Choro Bandido", for example, has a B section. I thought the B section was completely wrong. I went to Tom's and said, "This B part is ruining the A." I liked the A section very much. Then he said, "Son, go home! Take a rest. Don't do that to yourself." "Rest. Be at peace." "Stop that." "Your choro is beautiful." Well. That's it. I'm asking you about your... method of composing because you have a vast oeuvre. You have lots of works. Well, it could be more. If I had more discipline to make myself go to the piano everyday. The impression we get is that you do. Because you have tons of music. And it's all good! One could pick and play a song out of your song book blindfolded. Thank you. I can only be grateful. – But it's like that. You know it. So we get curious. How can you produce so much, right? That's really nice. And I have another question for you. It's about the lyrics of one of your songs. Because... Torquato Neto wrote the lyrics to a melody of yours... and some time later, I don't know when, he put an end to his life. And these lyrics have always been seen as a farewell letter or something that he... And it is a farewell letter. I remember exactly when that happened. I was driving my car, probably around 1 or 2 PM. I remember the sun was shining. I don't remember if it was summer or not. It doesn't need to be summer here to have too much sun, right? I don't remember which month it was. But all of sudden they started playing "Pra Dizer Adeus" on the radio. At a moment it was not supposed to be there. Then they played a song that wasn't mine but it had Torquato's lyrics. So I waited for the news. It had to be that. He had planned his death a long time in advance. It was the day of his birthday. He committed suicide on his birthday? – That's right. How mad. Then I revisited the whole lyrics... in a way I'd never listened to them before. With another vision, right? Completely different. It's a farewell letter from a guy who won't... # I go to never return # # And wherever I go # # I know I'll go alone # He's already saying it. But we just don't want to think about that. We move on. We think about a romance or something... – Exactly. Of course! "I know I'll go alone" to the movies! No! It's "alone" out of life. You can't bring anyone. – No, you can't. Exactly. So much so that I wrote a fragment of the lyrics which are exactly: # Ah! Shame I didn't know # # How can I tell you # # I loved you so much # # But still I want to say " Come" # He wrote that. # But still... # That's also by him. # ...I want to say "Come" # # I can only say "Come" # # even if you come alone # # to say goodbye # It's a goodbye. The guy is leaving. It's that. But the melody is so beautiful that... And the lyrics, too. – The lyrics are amazing. If there has to be something nice left behind when a guy departs, it's lyrics like these. For sure. The lyrics are incredibly beautiful. Let's play it here? – Sure. Thank you, Edu. – I think it was... It was an enormous honor to have you here. For me, too. Wait! Don't leave yet. Did you like it? Then don't forget to subscribe to our channel, make a comment, like the video... and if you really liked and enjoyed our Um Café Lá em Casa, go to the above link... and come to make this program with us. English subtitles YAEMI NATUMI Well, we're going to kill this one right away. Better not to say it because Sacan is listening to us. Do you know the god Sacan? What? The god Sacã. The god Sacan? It's the god who is hidden in the machines. Oh, yes. And when you say "that one we'll kill rapidly", you end up recording for three long hours! Then: "What time is it?" "3:40 AM!" And the guy here needs a cane already... and is feeling sick, all pale!

Discography

  • A musica de Edú Lobo Por Edu Lobo – Edú Lobo – 1964 Elenco[7]
  • Edú canta Zumbi – 1965 Som Maior
  • Edú & Bethania – Edú Lobo / Maria Bethania – 1966 Elenco
  • Reencontro – Sylvia Telles / Edú Lobo / Trio Tamba / Quinteto Villa-Lobos – 1966
  • Edú – 1967 Philips
  • Edú Canta Zumbi – 1968 Elenco
  • Sergio Mendes Presents Lobo – Edú Lobo – (A&M, 1970)[8][9]
  • Cantiga de longe – Edú Lobo – 1970 Elenco[10]
  • Missa Breve – Edú Lobo / Milton Nascimento – 1972 EMI Odeon
  • Deus lhe pague – Varios / Several – 1976 EMI ODEON
  • Limite das aguas – Edú Lobo – 1976 Continental
  • Camaleão – Edú Lobo – 1978 Philips
  • Tempo presente – Edú Lobo – 1980 Polygram[11]
  • Edú & Tom – Edú Lobo / Tom Jobim – 1981 Polygram
  • Jogos de Dança – 1981 –
  • O Grande Circo Místico – Milton Nascimento / Jane Duboc / Gal Costa / Simone / Gilberto Gil / Tim Maia / Zizi Possi / Chico Buarque / Edú Lobo – 1983 Som Livre[12]
  • Dança da Meia Lua – Edu Lobo – 1985 Sigla
  • O Corsário do Rei – Fagner / Edú Lobo / ChicoBuarque / Blitz / Gal Costa / MPB4 / Nana Caymmi / Lucinha Lins / Tom Jobim / Zé Renato / Claudio Nucci / Ivan Lins / Marco N – 1985 Som Livre
  • Rá-Tim-Bum – Boca Livre, Caetano Veloso, Joyce, Maíra, Quarteto Quatro por Quatro, Ze Renato, Edú Lobo, Jane Duboc, Rosa Maria – 1989 –
  • Corrupião – Edú Lobo – 1993 Velas[13]
  • Meia Noite – Edú Lobo, Dori Caymmi – 1995 Velas[14]
  • Songbook Edú Lobo – Varios / Various – 1995 Lumiar Discos
  • Album de Teatro – 1997 BMG
  • Cambaio – Edú Lobo / Chico Buarque / Gal Costa / Lenine / Zizi Possi – 2002
  • Tantas Marés – 2010 Biscoito Fino
  • Dos Navegantes – Edú Lobo / Romero Lubambo / Mauro Senise – 2017 Biscoito Fino

With Paul Desmond

References

  1. ^ a b c "Edu Lobo". AllMusic. Retrieved August 18, 2017.
  2. ^ McGowan, Chris; Pessanha, Ricardo (1998). The Brazilian Sound: Samba, Bossa Nova, and the Popular Music of Brazil. Temple University Press. ISBN 9781566395458. page 77
  3. ^ "Edu Lobo: 70 Anos". Música Brasileira. December 9, 2014. Retrieved August 19, 2017.
  4. ^ Cultural, Instituto Itaú. "Edu Lobo – Enciclopédia Itaú Cultural". itaucultural.org.br. Retrieved August 20, 2017.
  5. ^ Castro, Ruy (April 1, 2012). "Bossa Nova: The Story of the Brazilian Music That Seduced the World". Chicago Review Press. Retrieved August 20, 2017 – via Google Books.
  6. ^ Ceccarini, Viola Manuela (November 20, 2017). "The 18th Latin GRAMMY Awards in Las Vegas". Livein Style. Retrieved December 28, 2017.
  7. ^ "A Música de Edu Lobo por Edu Lobo". AllMusic. Retrieved March 8, 2018.
  8. ^ "Sergio Mendes Presents Edu Lobo – Edú Lobo – Songs, Reviews, Credits". AllMusic. Retrieved August 18, 2017.
  9. ^ Nielsen Business Media, Inc. (April 24, 1971). Billboard. Nielsen Business Media, Inc. p. 54. ISSN 0006-2510.
  10. ^ "Cantiga De Longe – Edú Lobo – Songs, Reviews, Credits". AllMusic. Retrieved August 18, 2017.
  11. ^ "Tempo Presente – Edú Lobo – Songs, Reviews, Credits". AllMusic. Retrieved August 18, 2017.
  12. ^ "O Grande Circo Místico – Chico Buarque, Edú Lobo – Songs, Reviews, Credits". AllMusic. Retrieved August 18, 2017.
  13. ^ "Corrupiao – Edú Lobo – Songs, Reviews, Credits". AllMusic. Retrieved August 18, 2017.
  14. ^ "Meia Noite – Edú Lobo – Songs, Reviews, Credits". AllMusic. Retrieved August 18, 2017.
  15. ^ "From the Hot Afternoon – Paul Desmond – Songs, Reviews, Credits". AllMusic. Retrieved August 18, 2017.

External links


This page was last edited on 5 December 2019, at 06:25
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