The Musical Genius of Hermeto Pascoal
Early Life and Beginnings
Hermeto Pascoal, born on June 22, 1936, is a Brazilian composer and multi-instrumentalist. He was born in Lagoa da Canoa, Alagoas, Brazil. Pascoal’s career began in 1964 with appearances on several Brazilian recordings alongside relatively unknown groups. These albums and the musicians involved established widely influential new directions in post-bossa nova Brazilian jazz.
Career Development
In 1966, he played in the Sambrasa Trio, with Airto Moreira and Humberto Clayber; they released only one album, Em Som Maior. Then he joined Trio Novo (Airto Moreira, Heraldo do Monte, Theo de Barros) and in 1967 the group, renamed Quarteto Novo, released an album that launched the careers of Pascoal and Moreira.
International Recognition
Pascoal initially caught the international public’s attention with an appearance on Miles Davis’s 1971 album Live-Evil, which featured him on three pieces, which he also composed. Davis allegedly called Pascoal “the most impressive musician in the world”. Later collaborations involved fellow Brazilian musicians Airto Moreira and Flora Purim.
Unique Musical Style
Known as o Bruxo (the Sorcerer), Pascoal often makes music with unconventional objects such as teapots, children’s toys, and animals, as well as keyboards, button accordions, melodica, saxophones, guitars, flutes, voices, various brass and folkloric instruments. He uses nature as a basis for his compositions, as in his Música da Lagoa, in which the musicians burble water and play flutes while immersed in a lagoon.
Legacy and Influence
From the late 1970s onward, he has mostly led his own groups, playing at many prestigious venues, such as the Montreux Jazz Festival in 1979. Other members of the group have included bassist Itibere Zwarg, pianist Jovino Santos-Neto and percussionists Nene, Pernambuco, and Zabelê. Pascoal is best known in Brazilian music for his orchestration and improvisation, as well as for being a record producer and contributor to many Brazilian and international albums.
Current Status
Now in his eighth decade, Pascoal claims he has no plans to retire. “Lots of artists of my age are stopping – I feel like I am just starting,” he says, in his distinctive north-eastern accent. “In my head, there is always more stuff. Wouldn’t it just be really tedious if a bunch of old guys from my generation all died or fell asleep on the stage? Our primary concern is innovation.”
- Hermeto (aka Brazilian Adventure): This album, released in 1970, marked the beginning of Pascoal’s international career. It showcases his unique blend of jazz and Brazilian music.
- A Música Livre de Hermeto Pascoal: Released in 1973, this album is a testament to Pascoal’s free-spirited approach to music. It features a mix of traditional Brazilian rhythms and experimental jazz.
- Slaves Mass: This 1977 album is considered one of Pascoal’s masterpieces. It features a fusion of jazz, samba, and other Brazilian music styles.
- Zabumbê-bum-á: Released in 1979, this album showcases Pascoal’s innovative approach to instrumentation, with unconventional objects used to create unique sounds.
- Cérebro Magnético: This 1980 release is a testament to Pascoal’s virtuosity as a multi-instrumentalist. It features a wide range of instruments, from traditional to unconventional.
- Hermeto Pascoal & Grupo (aka The Legendary Improviser): Released in 1982, this album features Pascoal’s band and showcases his skills as a bandleader and composer.
- Lagoa da Canoa, Município de Arapiraca: This 1984 release is named after Pascoal’s hometown and features a mix of jazz and traditional Brazilian music.
- Só não toca quem não quer: Released in 1987, this album’s title translates to “Only those who don’t want to, don’t play”. It encapsulates Pascoal’s philosophy of music being accessible to all.
- Festa dos deuses: This 1992 release features a blend of jazz and Brazilian folk music, showcasing Pascoal’s ability to seamlessly blend different musical styles.
- Eu e eles: Released in 1999, this album features a mix of solo performances and collaborations, highlighting Pascoal’s versatility as a musician.
