Hermeto Pascoal
Brazilian composer, musician and record producer From Wikipedia, the free encyclopedia
Brazilian composer, musician and record producer From Wikipedia, the free encyclopedia
Hermeto Pascoal (born June 22, 1936) is a Brazilian composer and multi-instrumentalist. He was born in Lagoa da Canoa, Alagoas, Brazil.[1] 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.[2][3]
Hermeto Pascoal | |
|---|---|
| |
| Background information | |
| Born | June 22, 1936 Lagoa da Canoa, Alagoas, Brazil |
| Genres | Brazilian music, avant-garde jazz, forró |
| Occupation(s) | Musician, composer |
| Instruments |
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| Years active | 1964–present |
| Labels | Band/musisi |
| Website | Official website |
Pascoal comes from Northeastern Brazil, in an area that lacked electricity at the time he was born. He learned the accordion from his father and practiced for hours indoors, as, being albino, he was incapable of working in the countryside with the rest of his family.[2]
His career began in 1964 with appearances on several Brazilian recordings alongside relatively unknown groups. These albums and the musicians involved (Edu Lobo, Elis Regina, Cesar Camargo Mariano) established widely influential new directions in post-bossa nova Brazilian jazz.
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.[4] Pascoal would then go on to join the multi-faceted group Brazilian Octopus.[3]
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.[2] Davis allegedly called Pascoal "the most impressive musician in the world".[5] Later collaborations involved fellow Brazilian musicians Airto Moreira and Flora Purim. 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. [3]
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.[6][2] [7]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: a Brazilian television broadcast from 1999 showed him soloing at one point by singing into a cup with his mouth partially submerged in water. Folk music from rural Brazil is another important influence in his work.[2]
Between 1996 and 1997, Pascoal worked on a book project called Calendário do Som, which contains a song for every day of the year, including February 29, so that everyone would have a song for their birthday.[2]
He was married to Ilza da Silva, to whom he dedicated many compositions, from 1954 until her death in 2000. They had six children, Jorge, Fábio, Flávia, Fátima, Fabiula, and Flávio, and many grandchildren. Hermeto was later married to Aline Morena from 2003 until 2016, while living in Curitiba, Paraná, Brazil.[8][9][10][11]
He has since returned to the Jabour neighborhood in Bangu, Rio de Janeiro, where he spends much of his time composing, rehearsing and hosting musicians from all over the world.[10]
In 2019, his album Hermeto Pascoal e Sua Visão Original do Forró won the Latin Grammy Award for Best Portuguese Language Roots Album.[12]
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