#99【アルバム紹介#79】🇧🇷 Claudio Marcelo e Seu Conjunto – Mais 17 Sucessos
ブラジルのオルガン奏者でバランソの王様 Ed Lincoln別名義「Claudio Marcelo e Seu Conjunto」によるアルバム「Mais 17 Sucessos」をご紹介します。リリース年は1969年（不明）だと思われますが、この名義で他2枚を出しています
↓彼の生い立ちと作品一覧は以下（世界遺産レベルのまとまり
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.
↓1955年 Eduardo Lincoln名義
「Trio Plaza – Uma Noite No Plaza」
↓1957年 Eduardo Lincoln名義
「Luiz Bonfá E Eduardo Lincoln – Noite E Dia」
↓1960年 Ed Lincoln名義
「Ed Lincoln – 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.
↓ Nilo Sérgioと彼が設立したMusidiscについて（貴重な映像資料）
Brazilian label, created by Nilo Sergio, active between the end of 1952 and 1971.
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.
↓Nilo Sérgioが別レーベルNilserを設立していたということで、過去記事で挙げたgatefold装丁のnilserについて
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.
↓ Ed LincolnとDjalma Ferreira
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.
↓1960年 Don Pablo De Havana名義
「Don Pablo De Havana E Sua Orquestra – Bolero Espetacular」
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.
↓1961年 Les 4 Cadillacs名義
複数枚のアルバムをリリース
The same year, Nilo Sérgio also formed The Lovers, another successful outfit featuring Ed Lincoln which released three albums with light dance music.
↓1961年 The Lovers名義
アルバム3部作
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.
↓1965年 Cláudio Marcelo名義
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.
↓1966年 Conjunto Balambossa名義
MusidiscからColediscに拠点を変える
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.
↓1974年 Danny Marcel名義
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.
↓ 1968年 DeSavoya Combo名義
↓1972年 De Savoya名義
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.
↓彼が映っている動画
↓私が好きな作品
↓Ed Lincolnと出会ったきっかけ
大学生の頃、paddyfield recordsさんで、Ed Lincolnのアルバム「A Volta」での出会い
ブラジル音楽、とりわけバランソにハマっていきました
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