Moacyr Peixoto was a Brazilian pianist, born in Niterói, a municipality in the State of Rio de Janeiro, on April 30, 1921, hailed from a family deeply rooted in music. His mother, Alice, showcased proficiency not only as a skilled mandolin player but also as a singer. Meanwhile, his father, Eliziário, known as "Cadete," was a versatile musician, contributing as a pianist, guitarist, violinist, and singer on radio stations. Additionally, he provided background music for silent films in their local community.

Moacyr was part of a family of six siblings, three girls and three boys. Two sisters, Aracy and Iracema began their careers singing on the radio and in nightclubs but retired upon marriage. Andyara, the third sister, excelled as a singer and double bassist, gaining popularity while performing as a soloist at the "Club de Paris" in Sao Paulo.

The Peixoto family would become a hub of musical talent. Moacyr’s two younger brothers, Araken and Cauby, achieving notable success in the music industry. Araken, a renowned trumpeter and singer, and Cauby, known as the "Brazilian Elvis," gained popularity as one of Brazil's leading singers in the 1950s and 1960s, particularly for introducing rock in Portuguese. The musical lineage extended to their cousin, the famous singer Cyro Monteiro, and their uncle Nonô (Romualdo Peixoto), a prominent samba pianist during the golden age of radio. Nonô was also a composer whose works were performed and recorded by internationally acclaimed guitarist Laurindo Almeida, as well as Brazilian singers like Mario Reis, Francisco Alves, and Silvio Caldas.

Within this musical milieu, Moacyr found his own path into the world of music. Despite the absence of a piano in the Peixoto household, Moacyr's early exposure to his father's intuitive and self-taught musicality kindled a deep fascination. His father's ability to play by ear, akin to Moacyr's uncle Nonô, left a lasting impression. Moacyr's interest in the piano blossomed at the age of nine while watching his father play during movie screenings. “My father took me to see those Tom Mix movies. But instead of watching the movie, I wanted to watch him play. 'But boy, turn around, go watch the movie!' he said. And I, who was already obsessed with the piano, like everyone else at home with music, simply paid attention to how my father played.” Tragically his father's death at 13 disrupted this informal education. With the family relocating to Fonseca, Niterói, Moacyr's musical education continued through radio programs, where his uncle Nonô and cousin Cyro played pivotal roles.

The rich musical background and diverse talents within the Peixoto family laid the foundation for Moacyr's own journey into the world of music. His education extended to dances, where his innate curiosity led him to approach musicians for insights into chords and techniques. His rapid learning and inquisitive nature fueled his musical growth.

This interest in music persisted as he transitioned into adolescence, culminating in his exposure to American jazz through radio broadcasts. Inspired by these influences, Moacyr began playing the piano at the age of 18. Being a self-taught, he dedicated 4 to 6 hours daily to practice, honing his musical ear with minimal theoretical knowledge.

Later, he studied for two years at the National Conservatory and, in the early 1940s, joined the international orchestra at the Casino Hotel Quitandinha in Petrópolis. There, he primarily performed Brazilian repertoire and American pop and jazz standards, solidifying his practical experience in both genres.

With the closure of casinos in 1946, Moacyr's career transitioned to nightclubs. At the age of 28, he moved to São Paulo, where he established himself as one of the best jazz pianists in the local music scene, performing both in a trio and as a solo artist.

As a performer, Moacyr declared himself influenced by several American pianists, citing Bud Powell, Oscar Peterson, and Hampton Hawes as his favorites, with figures like Charlie Parker, Miles Davis, and Shorty Rogers representing his aesthetic references in modern jazz.

In 1954, while performing at the Captain’s Bar at the Hotel Comodoro in Sao Paulo, Moacyr received a call from his brother Araken. Together, they established a successful duo that quickly gained recognition in the national artistic scene. They showcased their talent in prestigious venues in Rio, including Bon Gourmet, Night and Day, Casablanca, and the Jaraguá club, among others. Moacyr also collaborated with saxophonists Paulo Moura and the American residing in Brazil, Booker Pitman, in various musical groups.

In 1957, alongside his brothers Cauby, Araken, and Andyara, Moacyr recorded the album "Quando os Peixotos se encontram," which has become a musical legacy of the Peixoto family. Later that year, drawing inspiration from Dave Brubeck's quartet, Moacyr Peixoto formed the "Brazilian Jazz Quartet." The ensemble featured Moacyr himself on piano and three talented young musicians: José Ferreira Godinho Filho, also known as "Casé," on the alto saxophone, and a delightfully laid-back rhythm section, with Luiz Chaves on double bass and Rubens Alberto Barsotti, nicknamed Rubinho, on drums.

The Brazilian Jazz Quartet quickly captivated the audience at Club 34 in Rio de Janeiro, along with the attention of Roberto Corte Real, the radio host and producer of the Columbia label. He suggested recording a full-length album, leading to a session held on February 11, 1958, at the Columbia studios in Rio de Janeiro. During this date, the quartet skillfully interpreted a dozen well-known American standards, infusing their musical expression with influences from the "cool" and "west coast" jazz styles. Notably, the arrangements were crafted "by ear," as mentioned in the album notes. The resulting album, titled 'Coffee and Jazz,' serves as a showcase for Casé’s melodic, swinging, and eloquent style, reminiscent of Paul Desmond, while also standing as a warm and groovy testament to Moacyr's approach to the piano. Here, he displays swinging and melodic imagination with a pulse, flow, and deftness.

In September 1958, Moacyr and Casé traveled to São Paulo while Woody Herman's big band was performing in the city as part of their extensive South American tour that summer. After the performance, the band's bassist Major Holley and drummer Jimmy Campbell joined Moacyr and Casé for a successful gathering at the Michel nightclub.

The next day, Corte Real orchestrated a recording session with the quartet, conducted from 22 hours on September 21 until 1 in the morning on September 22 at the Columbia studio on Avenida Liberdade in São Paulo. They recorded seven tracks without written arrangements, including 'Rough Ridin',' 'Easy to Love,' a blues by Holley, another by Peixoto, and 'Copacabana' by Alberto Ribeiro and Braguinha

As a result of this improvised session, the album titled “The Good Neighbors Jazz” was released and acclaimed. Sixty-five years after its recording, this album stands as a testament to the thriving relationship between young Brazilian musicians and modern American jazz players in the late 1950s and early 1960s.

Despite being considered one of the pioneers of Brazilian jazz, Moacyr Peixoto's discography was sporadic, with only six releases in over 60 years of music. In contrast to his brother Araken, who never left Brazil, Moacyr toured the United States, Central America, and Europe.

He passed away on October 1, 2003, at the age of 83, at the Hospital das Clínicas in São Paulo, succumbing to acute hepatitis.

—Jordi Pujol (From the inside liner notes of FSRCD 1077)