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Clique e ouça faixas de toda a carreira de Zé Eduardo Nazario, entre trabalho solo, projetos coletivos e participações
Timeline / Grupo Experimental de Percussão
TIMELINE :: Xangô Três :: G.E.P.S.P. :: Mandala :: Malika :: Hermeto Pascoal :: Egberto Gismonti :: Marlui Miranda :: Grupo Um :: Band Leader :: Duo Nazario :: Pau Brasil :: Percussônica :: John Stein :: Other stories
Paulo Cezar Willcox, Oswaldo D'Alessandro,
Zé Eduardo Nazario and Guilherme Franco. 1972
1969 - 1972
Percussion: Zé Eduardo Nazario, Oswaldo D'Alessandro, Guilherme Franco

While still a teenager, I began frequenting Totem, a nightclub in São Paulo in which great artists such as pianists Tenório Júnior and Luiz Mello, and bassists Zé (Bicão) Alves and Cláudio Bertrami among other musicians used to play regularly, and where I also began playing some time later. There I met Guilherme Franco and we became friends as we had a common experience in listening to and playing the modern music of the 1950s and 1960s. We then began to study different styles, including classical music, that took us beyond Bossa Nova and jazz.

Some time later, we created the Grupo Experimental de Percussão de São Paulo (Experimental Percussion Group of São Paulo) that put together all the elements of a percussion group (the Strasbourg Percussion Group was a reference to us) combined with different music languages which included Brazilian rhythms such as samba, baião, maracatu, and frevo, instruments such as berimbau, Indian tabla, and drums, as well as music trends of the time such as modern jazz and jazz rock. We imagined to craft a musical utopia that was alive in our minds, but not in the Brazilian reality at that moment. In a certain way this music would be achieved by new groups we would work with in the years that followed.

Although the group made only a few concerts, it was the embryo of a music that I kept developing together with other musicians, who had also envisaged this same trend for the music that was about to be set up by Hermeto Pascoal, Grupo Um, Egberto Gismonti, and Pau Brasil among other groups I played with.

In 1980 Guilherme Franco was playing with McCoy Tyner, and came to Rio de Janeiro for a performance at the Monterey Jazz Festival. Visiting São Paulo for a few days after the festival, Guilherme came to see me. We played for a while in my home and then we decided to invite percussionist Dinho Gonçalves to join us in a recording session at Nosso Estúdio (Som da Gente), playing an up-to-date version of the Experimental Percussion Group’s work. Then we talked to pianist Amílson Godoy and bassist Cláudio Bertrami who accepted to take part in the project. But the idea did not take off mainly because we did not have the money for the whole project, and so Guilherme went back to the United States, Dinho had his own projects, and the Group revival was aborted. At least, the remaining recordings still may be released some day. Who knows...?
1972 1972 1980
TV Cultura, 1972 Zé and Guilherme Franco Concert Program, 1972 Reunion at Nosso Estúdio, 1980   Concert Program, 1972
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