1943出生于里约热内卢的吉他手Edu Lobo在六○年代迁居美国加州之前早已是个歌手与作曲家，写过电影配乐与灌录过唱片，是著名的bassa nova作曲家。
by Jason Ankeny
A driving force behind the rise of the MPB (Musica Popular Brasileira) sound, singer/composer Edú Lobo was born in Rio de Janeiro in 1943; at 18 he formed his first trio with Dori Caymmi and the great Marcus Valle, and in 1962 forged a long-term writing partnership with renowned lyricist Vinicius de Moraes. Drawing influence from bossa nova masters including Antonio Carlos Jobim, Jo?o Gilberto and Baden Powell, Lobo released his debut LP A Musica de Edú Lobo por Edú Lobo in 1963; that same year he also authored the music for Oduvaldo Vianna Filhos play Os Azerados Mais Os Benvidos, the first of many stage collaborations. The album Cinco Na Bossa, recorded with Nara Le?o and the Tamba Trio, followed in 1965, the same year Lobo took top honors at the First Annual Brazilian Popular Musical Festival with his composition Arrast?o, a major hit for singer Elis Regina. (In 1967, he repeated the feat with Ponteio.)

Albums including 1968s Edú followed before Lobo met Sergio Mendes in 1969, resulting in a contract with A&M Records for From the Hot Afternoon, which featured saxophonist Paul Desmond; by now a resident of Los Angeles, he toured with Mendes and Brasil 66 before resurfacing in 1971 with Sergio Mendes Presents Lobo, followed later that same year by Cantiga de Longe. Upon returning to Brazil, Lobo focused his energies on composing for films before returning to the studio for 1973s Missa Breve; he then spent the mid-1970s writing music for Globo, the worlds fourth-largest television network, including work on the hit series Caso Especial. 1976 saw the release of the LP Limite Das Aguas, with the widely-acclaimed Camale?o appearing two years later; in 1979, Lobos score to the feature Barra Pesada earned Best Soundtrack honors at the Gramado Film Festival.

Lobo inaugurated the 1980s with a flurry of activity, following the LP Tempo Presente with the 1981 soundtrack Jogos de Danca (a work composed for the Ballet Guaira) as well as Tom e Edu, a collaboration with Antonio Carlos Jobim. In the wake of two more ballet scores, O Grande Circo Mistico and Gabriela, Lobo worked on a series of stage musicals — Vargas, O Corsario do Rei and Danca da Meia-Lua — before finally returning to the studio in 1990 for the LP Serie Personalidade. Corrupi?o followed in 1993, and two years later he returned with Meia Noite. The score to the 1997 film Guerra de Canudos preceded Lobos next project, a planned adaptation of Jo Soares book A Samba for Sherlock.