Hermeto Pascoal, the eccentric and prodigiously prolific Brazilian composer and self-taught multi-instrumentalist, has passed away at the age of 89. His family announced his death on his official social media page on Saturday night, though they did not disclose the cause of death or the specific location. Known affectionately in Brazil as “The Sorcerer” and “The Mad Genius,” Pascoal's unique appearance included long, unkempt hair and a thick beard, embodying a wild man's aesthetic while maintaining a serious dedication to music.
Pascoal was renowned for his extraordinary ability to play a wide array of instruments. His primary instruments included the piano and the flute, but he also showcased his versatility by playing tenor and soprano saxophones, guitar, drums, accordion, euphonium, and various other keyboard, reed, brass, and percussion instruments. His performances often incorporated everyday objects—such as bath toys, teapots, and even his own beard—transforming them into instruments of music that delighted audiences worldwide. One of his most memorable moments included recording the album “Slaves Mass” in 1976, where he famously utilized live pigs in the studio, incorporating their squeals into the musical mix.
Born on June 22, 1936, in Olho d’Água das Flores, a rural area in the impoverished northeastern Brazilian state of Alagoas, Pascoal faced significant challenges during his childhood. As an albino, he could not work in the fields under the tropical sun, which allowed him to stay home and delve into music. By the age of 7, he had already taught himself to play his father’s button accordion and a fife made from a dried gourd. He began his professional music career at just 10 years old, performing at rural dances and weddings.
By the age of 14, Pascoal's reputation had spread, leading him to join the house band of a radio station in Recife that specialized in hillbilly music. Shortly after, he formed a novelty act with fellow accordionist Sivuca, and the duo performed popular music styles across northeastern Brazil. In the late 1950s, he migrated 1,500 miles to Rio de Janeiro and joined another radio station's orchestra, where he discovered jazz and began performing in nightclubs. During this time, he learned to play multiple instruments, including the piano, flute, and saxophone.
Pascoal's career flourished when he joined the Rio-based Quarteto Novo in 1964, collaborating with renowned Brazilian artists. His talent as a composer and arranger became evident as he blended jazz with northeastern folk styles. Encouraged by percussionist Airto Moreira, who had joined Miles Davis's ensemble, Pascoal moved to the United States in late 1969. He recorded his first album as a leader in 1971, featuring prominent New York jazz musicians like Ron Carter and Thad Jones. His collaborations with Miles Davis included three compositions featured on the iconic “Live-Evil” album.
Throughout his life, Pascoal maintained a reputation for complex harmonies, dense orchestrations, and innovative melodies, captivating musicians and audiences alike. His extensive catalog of songs has been recorded by notable artists such as Cannonball Adderley and John McLaughlin. In the mid-1970s, he secured his status in the jazz world as both a talented musician and an amiable oddball, earning the affectionate nickname “that crazy albino” from Davis.
Though he toured extensively in the United States and Europe, Pascoal returned to Brazil, where he formed a permanent band and continued to create music that blended jazz with bossa nova and Brazilian folk elements. In 1997, he embarked on a unique project, composing a song a day for an entire year, resulting in the publication of his notated “Calendar of Sound.” His personal life saw significant changes after the passing of his wife, Ilza da Silva, in 2000; he later met Aline Paula Nilson, who became his companion and inspired him to move to Curitiba, Brazil.
In an interview with The New York Times in 2004, Pascoal shared his philosophy on music, stating, “The instrument I like most is whatever instrument I happen to be playing at the moment.” He believed that everything around us, from the sound of water to a symphony orchestra, could be an instrument, emphasizing that music was ever-present in his life. Hermeto Pascoal's legacy as a groundbreaking musician and a true innovator in the jazz genre will continue to resonate in the hearts of music lovers around the world.
