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Timeline / Hermeto Pascoal
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
Zé Eduardo Nazario and his percussion stand
1973 - 1977
Drums, percussion: Zé Eduardo Nazario
Piano, flauta, sax, violão, voz: Hermeto
Drums, piano: Nenê
Bass: Mathias Mattos, Zeca Assumpção
Piano: Lelo Nazario
Voice, percussion: Aleuda
Guitar: Toninho Horta, Heraldo do Monte
Reeds: Hamleto, Bolão, Nivaldo Ornelas, Satanás, Roberto Sion, Nivaldo Ornelas, Carlos Alberto, Hector Costita, Demétrio, Bola, Mazinho, Mauro Senise, Raul Mascarenhas, Zé Carlos Bigorna, Márcio Montarroyos, Oberdan Magalhães
e outros

In 1969, 1970, there was a club in São Paulo called CAMJA (The Friends of Jazz) installed in a beautiful house at the corner of Estados Unidos Street and Antilhas Street. The club was frequented by music critics such as Fausto Canova and Armando Aflalo, musicians such as the Zimbo Trio members (Hamilton Godoy, Luiz Chaves, and Rubinho Barsotti), and many other jazzmen of the time. There was an acoustically prepared room with all kind of instruments where one could play or study, and the club members played in jam sessions. The club was a way to bring together good musicians on those hard days during the military dictatorship. I became a member and began frequenting the club. On one of those afternoons just as Itiberê Zwarg and I arrived at the club, we heard the amazing sound of a piano being played in the small auditorium. As we opened the door we could find the light was turned off! And when we turned the light on, we saw Hermeto (at the time of the Quarteto Novo, wearing short hair) who was studying. He greeted us warmly and immediately invited us to play saying, "Hey guys, let’s make music together!"

I have to admit I was a little afraid at first, because I never had met him before, his little eyes spinning. But I went ahead and we played together for about an hour. After that day, I only met Hermeto again in 1972, when he came back from the United States, where he had recorded with Miles Davis on the album Live Evil, as well as with Airto Moreira on the percussionist’s first albuns, and also his own first solo LP with orchestra, which is one of my favorites. At that time, Hermeto attended a concert by Mandala, organized by our friend, architect Zico Priester. Later, Hermeto attended another concert I was playing in, this time with baritone player Bauru and his orchestra at a club called Garitão in São Paulo.

Afterwards I was told that Hermeto was setting up a band, and recording a new album in Brazil, but I had been invited to work in Minneapolis, United States, and I was making the arrangements for the travel. Then pianist and drummer Nenê, who was already a friend of mine, called me saying that Hermeto needed a drummer and percussionist to replace Anunciação in a concert in Londrina, Paraná. Hermeto had just released the album "A Música Livre de Hermeto Pascoal," and I had to learn the repertoire in only a few days to perform in the concert. Some days later, when I went to Hermeto’s home in the Aclimação neighborhood, in São Paulo, to receive my payment, he invited me to stay in the band. I accepted his invitation right away and gave up the trip, because all I wanted to do was play with Hermeto.

At that time, when Nenê played the piano, I performed on drums, and when he played drums, I performed on percussion instruments exclusively. Aleuda Chaves, who was married to Nenê, was the vocalist of the band. We recorded a special concert for TV Cultura (São Paulo) in 1974, and another one for a Baden Baden TV (Germany). Sometimes, guitar player Heraldo do Monte also performed with the band. Mathias Mattos was the bass player. For each concert, Hermeto used to invite a different group of reed players, depending on their availability, which included Roberto Sion, Nivaldo Ornelas, Bolão, Carlos Alberto, Hector Costita, Demétrio, Hamleto, Bola, and Mazinho.

However, Hermeto and other members of the band had an aspiration to have a steady group of performers who had full availability and improvisation skills, and were also connected to contemporary music. So Mauro Senise, Raul Mascarenhas, Zé Carlos Bigorna, Márcio Montarroyos, Toninho Horta, and Oberdan Magalhães joined the band. This was happening at the end of 1975, when we recorded the Taiguara’s album "Ymira Tayra Ypi Taiguara" in Rio de Janeiro, and Hermeto was already thinking in moving to that city because those players we met during the recording sessions were really willing to work with us.

Before that, at the beginning of 1975, the band performed Hermeto’s "Porco na Festa" at the TV Globo’s Abertura Festival, featuring Aleuda on vocals, Nenê and myself on percussion, Mathias Mattos on bass, and Hermeto on pífano. The composition consisted of an introduction especially written by the author for me to play with the percussion stand I had created known as "barraca de percussão," accompanied by orchestra, which was followed by the theme in baião/xaxado form which included rhythm and lyrics. Soon after the festival, we recorded a single with "Porco na Festa," with which Hermeto won the Festival’s Best Arranger award, on the A-Side and "Rainha do Mar," also by Hermeto, on the B-Side. The single was recorded in São Paulo by RCA, that recruited musicians to the orchestra and cut off the introduction. I played percussion on both tracks, which were Nenê’s last work with Hermeto before joining the Elis Regina band.

After the Abertura Festival, bass player Zeca Assumpção replaced Mathias Mattos. Soon later, at the end of 1975 me and Hermeto talked about my brother Lelo during a train trip to Rio. Lelo had been frequenting Hermeto’s rehearsals, and both of us used to play our own music during the breaks, or in the mornings since I used to arrive earlier to study. On these occasions Hermeto used to watch what we were doing, and from time to time he joined us and then we kept playing and improvising freely for a long time! That’s because Hermeto decided to invite Lelo to join the band. After Nenê left the band, a new group was formed: Lelo Nazario, Zeca and myself on the piano, bass and drums (so establishing what was then known as "Paulista rhythm section" – a trio featuring musicians from the city of São Paulo, while other performers were from Rio de Janeiro), Aleuda Chaves on vocals, Mauro Senise, Nivaldo Ornelas, Oberdan, Zé Carlos, and Raul Mascarenhas on reeds, Toninho Horta on guitar, and Márcio Montarroyos on trumpet, among other guest musicians who were invited to play with the regular band.

In 1976 we recorded 46 minutes of music at Vice-Versa Studio in São Paulo, but such material was never released. At the same time we performed in a concert at Bandeirantes Theatre, also in São Paulo. Eventually, Hermeto moved to the Jabour neighborhood near his parent’s home in Rio de Janeiro. We kept going to Rio to rehearse and perform in concerts at the Museum of Modern Art and Theresa Raquel Theatre at the end of 1976. We stayed in the band until the beginning of 1977. By then, Grupo Um was on the road…
Porco na Festa / Rainha do Mar (1975)
Hermeto Pascoal (pífano, voz, arranjo) / Aleuda (voz) / Zé Eduardo Nazario (percussão) / Nenê (percussão) / Mathias Mattos (contrabaixo) / orquestra da RCA
Single released by RCA-Victor, as a result of the performance of Hermeto Pascoal’s "Porco na Festa" at the TV Globo’s Abertura Festival.
Disco inédito (1976)
1. Casinha Pequenina (Brazilian folklore theme)
Zé Eduardo Nazario - Drums/Percussion/Vocals :: Lelo Nazario - Keyboards :: Zeca Assumpção - Bass :: Hermeto Pascoal - Reeds, Keyboards :: Mauro Senise - Reeds :: Nivaldo Ornelas - Reeds :: Raul Mascarenhas - Reeds

2. Dança do Pajé (Hermeto Pascoal)
Zé Eduardo Nazario - Drums/Percussion :: Hermeto Pascoal - Flute :: Lelo Nazario - Piano :: Zeca Assumpção - Bass :: Aleuda Chaves - Vocals

3. Tema das Flautas (Hermeto Pascoal)
Zé Eduardo Nazario - Tiny Flutes/Percussion :: Hermeto Pascoal - Flute :: Nivaldo Ornelas - Flute :: Mauro Senise - Flute :: Raul Mascarenhas - Flute

4. Mavumvavumpefoco (Hermeto Pascoal)
Zé Eduardo Nazario - Drums/Percussion :: Lelo Nazario - Keyboards :: Zeca Assumpção - Bass :: Hermeto Pascoal - Reeds :: Mauro Senise - Reeds :: Nivaldo Ornelas - Reeds :: Raul Mascarenhas - Reeds :: Aleuda Chaves - Vocals

5. Casinha Pequenina (Brazilian folklore theme)
Zé Eduardo Nazario - Drums/Percussion/Vocals :: Lelo Nazario - Keyboards :: Zeca Assumpção - Bass :: Hermeto Pascoal - Reeds, Keyboards :: Mauro Senise - Reeds :: Nivaldo Ornelas - Reeds :: Raul Mascarenhas - Reeds

Recorded at the Vice-Versa Studio - SP - 1976
1973 1976 1973 1973 1974
Embú, 1973 MAM-RJ, 1976 Embú, 1973 Nenê and Hermeto   Percussion stand, 1974
Jornal de Música e Som, n. 13 - 1975
Hermeto – "I would like to see everybody with a tape recorder in hand registering what I’m playing. I’m not going to release any more recordings, because I don’t want to repeat myself. This is important. As you can see, it takes at least one hour to get my musicians warmed up. Then everything begins exploding. My concerts take about two hours and a half without a break. Nobody wants to take the risk of producing such a recording." Hermeto complains about old musicians who lost their enthusiasm and are interested only in success. But he admires young musicians, "who put an end to the idea that each one should only play one kind of music." He talks about the young people with enthusiasm, and immediately mentions some names which he considers important and badly promoted, "such as Toninho Horta, Novelli, Raul Mascarenhas, Nivaldo Ornelas, Lelo (a 19 year-old pianist), and Zé Eduardo (a great drummer and percussionist)."
O Globo – Rio de Janeiro, Tuesday, Feb. 24, 1976
In an overcrowded auditorium of the Museum of Modern Art, the concert began in darkness... The superb band playing with Hermeto included Nivaldo, Mauro Senise, Raul Mascarenhas, Lelo, Aleuda, Toninho Horta, Zeca (a vigorous bass player), and Zé Eduardo (one of the rare drummers who can heat things up). The band plays with great inspiration, creativity and above all joie de vivre.
Jornal de Música, n. 21 - Rio de Janeiro, August, 26, 1976 - Ana Maria Bahiana
Ah, Hermeto Pascoal! There are not enough letters in the alphabet to give at least a pale idea of what happened in the performance at the Museum of Modern Art. There was music. There was madness. It was everything together, and sometimes it was very much for our poor human ears... There is a thing to highlight, the notable "Paulista rhythm section" for Hermeto, with the extremely hot drummer Zé Eduardo punctuating… and the audience was so diverse as Hermeto’s super music. Musicians such as Gilberto Gil, Caetano Veloso, Robertinho, and Luiz Alves, and professor Mário Altuori were among several celebrities. Ah, Serginho of the Mutantes was also there. Let’s hope that he got a good vibe.
Revista ELE – August, 1976 - Nelson Motta
We shouldn’t waste time speaking about people who have not yet been to a Hermeto’s concert. … Hermeto always performances with a basic team that includes keyboard player Lelo, splendid and precise bass player Zeca, and one of the most powerful drummers and percussionists I have ever heard in Brazil, Zé Eduardo. He is from São Paulo. Zé Eduardo develops a style that best represents the creative strength of the instrument, that is energy and intensity associated to an eagerness to play, and push the band forward… To be a member of the Hermeto Pascoal’s band represents an outstanding achievement even for top musicians (such as Egberto, Robertinho, Airto, Toninho Horta, who already played with Hermeto). Zé Eduardo plays for two hours and a half to three hours, with a short break… For hours, the drummer plays with his whole body also showing an amazing physical performance… He creates many different atmospheres and moods, some times smooth or free, other times tense and fury, and also in a syncopated and light rhythm. The trio, the rhythm section, evolves some times as a locomotive, other times as electric beings: a complete madness.
O Globo - Tuesday, Sept. 14, 1976 - Nelson Motta
Gilberto Gil hurried into the Theresa Raquel Theatre only in time to see the second part of the Hermeto’s concert. Egberto Gismonti was there from the beginning. And as always, the performance was simply tremendous. It is indispensable to mention the rhythmic punch and energy of drummer and percussionist Zé Eduardo, who can challenge Airto [Moreira], and who together with bassist Zeca (other giant) provide an irresistible beat to the all star band. Zeca, Zé Eduardo and pianist Lelo, who are exceptionally creative, and individually well-skilled musicians, support the music with plenty of energy all the time, and provide a superb backing for individual and collective improvisations. … Unfortunately, Hermeto recorded only one album, a studio, dispassionate, and cold LP that didn’t capture one-hundredth of his immense music and creativity. It is crucial and urgent to record an album with Hermeto and his band, the largest concentration of top musicians at the moment. But it must be live in order to capture all music that is created at the moment and all those improvisations… Don’t miss the concert: it’s Music!
Modern Drummer – Portuguese edition - 10/2002
Zé Eduardo Nazario – "At the end of the sixties, me and Itiberê Zwarg (bass player) played together and used to frequent a jazz club in São Paulo called CAMJA. On afternoon just as we arrived at the club, we heard the sound of a piano being played. The room was in darkness, and asked ourselves, ‘What’s going on?’ We smiled and entered the room. When we turned the light on, we saw Hermeto who invited us to play with him. So we played Johnny Alf’s "Céu e Mar" for about one hour without stopping. After that day, I only met Hermeto again some years later in 1972, when he attended some concerts I was playing in. In 1973 he invited me to join his band, and that was all I wanted to do at that moment. I grasped that opportunity with nails and teeth, and during the four years I was in the band, I am sure I gave an important contribution to the development of a special work with the spiritual force we all were connected to, and still are."

ZEN asks Hermeto – What if we all play together again?
Hermeto Pascoal – Jesus Christ! This would be very nice, a dream, you know, we are a family! You, Lelo and all your family know all of you are in my heart. It doesn’t matter who left the band, we keep loving each other more and more.
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