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Clique e ouça faixas de toda a carreira de Zé Eduardo Nazario, entre trabalho solo, projetos coletivos e participações
Timeline / Solo ou Band Leader
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
 
Octeto Zen, 2001
1982 - 2008


a. Poema da Gota Serena

Grupo Um had established a very high reputation among music critics as a noted force that successfully created a kind of innovative music that was unlikely to be produced in Brazil at the time. Also, its independent albums were breaking barriers and bringing courage to those who were in stagnation because of the mantle of mediocrity that shrouded the record industry and the media. Then it was the time for us to grow further as we produced a lot of material, and aimed at releasing everything possible on records. So, when I was invited by the then newly founded Lira/Continental label to release a new album, I had no doubts at all about writing a new story together with reeds player Cacau and my brother pianist Lelo Nazario.

The album "Poema da Gota Serena" had to be recorded in two days in 1983 at the same studio (JV Studio, São Paulo) and at the same period when Grupo Um’s "A Flor de Plástico Incinerada" was also being recorded. But I wanted to make a new album different from the previous ones, and chose to set up two duets. The first one with Lelo, because of our good relationship and also because of his musical conception and approach, based on trying not to repeat anything and always seeking new forms and sounds. The second duet was with Cacau, a new pal who used to come to São Paulo regularly and play with me for hours at my house basement at Teodoro Sampaio Street. He also took part in my percussion workshops as a guest in my group. Cacau possessed an unlimited creativity, so he was particularly fitted to the work I was developing.

Around 1984, with the dissolution of Grupo Um, I released my new album "Poema da Gota Serena" with a series of percussion solo concerts in which I played many instruments such as berimbau, tambourine, tabla, the percussion stand – a structure I had created known as "barraca de percussão" in which percussion instruments were arranged in a way that they could be played as only one instrument – drums, vocal sounds, everything… As a simultaneous activity, I received at home an increasing number of students, who were eager to learn all those techniques, rhythms, and the language of the drums and percussion that I had been developing since the time of the Grupo Experimental de Percussão (Experimental Percussion Group, 1969), firstly together with Guilherme Franco, later in the groups of Hermeto and Egberto, and ultimately with Grupo Um. Such a work enabled me to develop a variety of graphic symbols and a transcription system for the Brazilian percussion instruments that actually didn’t exist in the market. And although I have not published a textbook, my manuscripts have been spread all over Brazil and abroad, as many people have reported to me, so achieving their goal of promoting the art of Brazilian percussion among students, teachers and musicians.


b. Zen Octet

In 1992 I began frequenting the city of Pouso Alegre, in the State of Minas Gerais, where I presently live. There I began working for the Juscelino Kubitschek de Oliveira State Conservatory of Music firstly as an invited instructor and artist to give workshops to music teachers and perform at concerts and events, and later as a full-time teacher giving classes to music students from 1998 to 2004. During that time, I ran an instrumental group with some music teachers, known as ZEN Quintet. Later, when some new members have joined, the group turned out to be the ZEN Octet.

The ZEN Octet performed a series of concerts in Pouso Alegre and in several other cities in the Minas Gerais State, including a special concert at the Pampulha Museum in Belo Horizonte as a guest of the Secretary of Culture of Minas Gerais, receiving a great deal of recognition. The ensemble also performed at the Sesc Brasil Instrumental festival in São Paulo, in January 2002, which concert was recorded live and broadcasted on the national SESC TV network. Depending on the occasion, the ZEN Octet could play in different formations, from trio to quintet, always keeping its personal sound.

In more recent years, I formed the Zé Eduardo Nazario Trio / Quartet / Quintet / Sextet, which regularly performed at the All of Jazz nightclub, in São Paulo. The group also played a series of concerts at the SESC units, at some Jazz and Instrumental Music Festivals, as well as all over the São Paulo and Minas Gerais States. In 2007, the group participated in the BIA – Andradas Instrumental Brazil, also in Minas Gerais, and the Poços de Caldas International Jazz Concert. The ensemble has been regularly performing at the New York Bar in the city of Poços de Caldas, Minas Gerais.

Over the last ten years, the musicians I have been playing with in different instrumental formations are:
Adriano de Carvalho (guitar)
Alexandre Zamith (piano)
Alexei Tziganov (vibraphone)
Alfredo Cardim (piano; a friend of many years who I met again in Boston, in November 2007)
André Juarez (vibraphone) Bocato (trombone)
César Galvão (piano; he was a member of the old Xangô 3, and now we are playing together again after forty years)
Chico Oliveira (trumpet)
Daniel Alcântara (trumpet)
Danielle Dauzcuk (alto sax)
Deivid Santos (guitar)
Dom Romão (drums / percussion)
Eduardo Toledo (piano)
Enéias Xavier (bass)
Fábio Bizarria (Tenor Sax)
Felipe Ávila (guitar) Fernando Pereira (guitar)
Fernando Huergo (electric bass)
Irio Jr. (piano)
Jorge (guitar) Frank Herzberg (bass)
Guilherme Cordeiro (electric bass)
Itamar Collaço (bass / electric bass)
Jean Pierre Rickebush (trumpet)
John Stein (guitar) John Pierce (trombone)
Lelo Nazario (keyboards)
Letícia Ribeiro (tenor sax)
Luciano Vieira (electric bass)
Mario Cechetto (tenor sax)
Marta Karassawa (piano)
Moisés Alves (piano)
Nélio Porto (piano / keyboards)
Nelson Sachetto (reeds)
Regina Vilela (percussion)
Renato Khefi (piano)
Ricardo Pacheco (piano)
Roardo Bernardo (reeds)
Rubinho Antunes (trumpet)
Teco Cardoso (reeds)
Vinicius Dorin (reeds)
Zerró Santos (bass)
 
 
DISCOGRAPHY
Poema da Gota Serena (1982)
Zé Eduardo Nazario / Lelo Nazario / Cacau

1. N'daê :: 2. Percussônica :: 3. Festa de Rua :: 4. Flor do Sul :: 5. Dança das Águas :: 6. Maracatu :: 7. O Sétimo Portal :: 8. A Xepa :: 9. Psicopático

 
ZEN (1998)
Zé Eduardo Nazario / Lelo Nazario / Cacau

1. Flor do Sul :: 2. Acarajé ao Curry:: 3. Anônima :: 4. Vida :: 5. Energia dos Três Mundos / Só pra Ouvir :: 6. Pra Sentir e Contar :: 7. ZEN

 
 
PHOTOS and MATERIAL
2002
Octeto Zen, 2002 Quarteto ZEN Quarteto ZEN Quarteto ZEN
 
 
ON THE PRESS
REVIEW
Som Três – Monthly Magazine – February, 1984
The album "Poema da Gota Serena" is a very successful effort by Zé Eduardo Nazario in the difficult field of "percussion recordings." As an extraordinary skillful musician, he explores, together with the also great Lelo Nazario and Cacau, a vast arsenal of instruments, always with great sensitivity, balance, and good musical sense. The album is quite varied, offering a stimulating hearing and featuring themes that combine the music from India, the school of Vienna, the Brazilian Northeast, etc. In other words, a high quality, creative music.
 
THE INSTRUMENTAL MUSIC OF ZÉ EDUARDO NAZARIO
O Estado de São Paulo, May 31, 1985
Composer, drummer and percussionist Zé Eduardo Nazario and his band will be performing an instrumental music concert at the São Paulo Museum of Art today and tomorrow… The band is formed by six musicians – Zé Eduardo Nazario, Felipe Ávila, Miguel Briamonte, Paraná, Guelo, and Fernando Marconi, and also by Cacá Malaquias and Wilson Ribeiro as guest artists, and it will be playing a variety of rhythms and a kind of music that link the conventional to the modern, the acoustic to the electronic. Still, the concert will feature Indian classical music vocalist Meeta (Ravindra) Karahe, who will sing a series of ragas together with Nazario.
 
PEARL MASTER CLASSES
Modern Drummer Brasil – June, 1996 - Alexandre Hisayasu / Luis Tadeu Correa
Zé Eduardo Nazario opened the event by outlining the history of the drums in Brazil. Speaking about his career, Nazario focused the workshop on the development of Brazilian rhythms, and showed to an attentive audience that he has a lot of stories to tell. The event also counted with the participation of performers Chiquinho D’Almeida (reeds), Itamar Collaço (bass), and Felipe Ávila (guitar), who gave a concert full of Brazilian spirit. 
 
EVENTS – I DRUMS FESTIVAL
NAZARIO’S CROWDED WORKSHOP
ZÉ EDUARDO NAZARIO, ONE OF THE GREATEST HIGHLIGHTS OF THE EVENT
Modern Drummer Brasil - no. 11 - 1997 - Andrea Colmatti
The city of São Paulo recently hosted the I Drums Festival of Brazil. The event was held on May 21-25 at the Vergueiro Cultural Center... with the participation of some great names of our music… Zé Eduardo Nazario’s workshop and performance drew a crowd of aficionados, anxious to not miss a word of what he was going to say. His idea to honor some veteran musicians, such as Milton Banana and Edison Machado, who meant so much to his career, was fantastic. As he said, "To establish understanding of our origins is a very important thing… All I want is to help young musicians to know more about our great drummers, looking to preserve their memories and honor their stories." Nazario started punctuating with a bossa nova groove dedicated to composer Tom Jobim. As the performance went on, his superior musicality made the audience often interrupt the music with applause. The Nenhum de Nós band’s drummer Sady attended the workshop and said, "Bossa nova is a great school, and for me Zé is the father of bossa nova."
 
NAZARIO BROTHERS RELEASE SOLO ALBUNS
Correio da Cidadania - Cultura – February 1, 1999 - Alexandre Pavan
Brothers Zé Eduardo and Lelo Nazario are role models of high level competency and rare ability, both as composers and performers. They started their careers very young… playing in concerts and on recordings together with great musicians of the instrumental music… Later, they set up the legendary Grupo Um in São Paulo… The group was a kind of musical "cooperative" where all those young musicians could explore and experience their many musical ideas. It was the time of the Lira Paulistana Theater, located in the Pinheiros neighborhood, São Paulo, which served as a cultural center for a new musical movement in the city. In its golden era, the theater was also responsible for the release of several albuns… Now, drummer and percussionist Zé Eduardo launches his CD "ZEN" (independent)… The CD is basically a percussive work focused on Zé Eduardo’s talent as a performer. His composition work for percussion instruments (some of which were created by him) is greater than the one for harmonic instruments. But it is what gives the CD its identity, delivering at the same time a virtuoso and restrained performance… Finally, both are good recordings by excellent musicians, who are brothers, and although working on individual projects they appear as a singular identity. One percussive, the other harmonic. An association that is the foundation of everything. Maybe there is a purpose behind the fact that Pau Brasil group – which presently includes Zé and Lelo – came up again with the Grupo Um’s personnel.
 
ZÉ IS ZEN, LELO IS SIMPLE
Jornal do Brasil - Rio de Janeiro, February 24, 1999 - Tárik de Souza
A refined musician who played with Grupo Um and Pau Brasil, and also recorded with Hermeto Pascoal, Milton Nascimento, and Egberto Gismonti, drummer Zé Eduardo Nazario from São Paulo releases a solo CD. "ZEN," from the initial letters of his name, is a collection of his own compositions from 1981 to 1991, including some tracks from the Grupo Um’s albums "Reflexões sobre a Crise do Desejo" and "A Flor de Plástico Incinerada." 
 
ZÉ EDUARDO NAZARIO - ZEN - INDEPENDENT ZEN
Backstage Magazine - no. 51 – 1999
This article’s title can summarize everything that this CD features. You need to be "zen" about the instrumental music, or at least listen to it as a way to reach your nirvana. Nazario is a tremendous performer. "Zen" has musicality and rhythm with Zé Eduardo playing tablas, berimbau, kalimba, and his own voice… The CD tracks "Prá Sentir e Contar" and "ZEN" are a synthesis of this Brazilian percussionist’s talent, but it is "Energia dos 3 Mundos / Só prá Ouvir," with saxophonist Cacau, that turns the fire up. There you have the tenor sax playing jazz phrases, while the drums is heating all the things up. A great album.
 
CD RELEASES - ZÉ EDUARDO NAZARIO – INDEPENDENT
Revista Batera - 03/1999 - Sérgio Gomes
The title of the Zé Eduardo Nazario’s second solo album reveals the initial letters of his name and the influence of the Hindu culture on his music. This can be perceived by the presence of tablas and some Indian words in the compositions "Acarajé ao Curry" and "Prá Sentir e Contar," as well as by the use of a modal language and ostinato in long compositions. Other special features are the use of electronic percussion in "Anônima," a kind of "free electroacoustic composition," and the explosion of the "power samba" drums in "Energia dos 3 Mundos," a duo of drums and saxophone (Cacau) as long as fifteen minutes. ZEN is a first class CD of the highest quality for modern ears. The CD extends traditional standards of the instrumental composition… With this work, Zé Eduardo Nazario confirms that he is one of the greatest musicians and drummers of this country.
 
HETEROGENEOUS WORKS FROM THE BRAZILIAN MUSICAL SOUL, WISE VISIONARIES
Tribuna da Imprensa - Rio de Janeiro, Monday, May 3, 1999 - Arnaldo DeSouteiro
Moving through completely different spheres of sensibility, brothers Lelo and Zé Eduardo Nazario develop brilliant individual works… On the first track of the album "Zen," by extraordinary drummer and percussionist Zé Eduardo Nazario, we feel the touch of Lelo in relentless dialogue with his brother in "Flor do Sul." They go on playing together in "Acarajé ao Curry" (an alien capoeira in wich berimbau takes command of the groove in connection with tabla and an arsenal of keyboards). In "Anônima" we find a highly precise electronic composition (and percussion). With "Vida," the CD gets even more exotic characteristics, begining with a very crazy beat which is followed by instruments such as marimbau and khena of Laos. As a duo of drums and tenor sax (performed by the great Cacau, who as Zé Eduardo played with Hermeto’s band), "Energia dos 3 Mundos" does not lose the rhythm and the power of attraction, although its long duration, and cosmically connects to "Só prá Ouvir" through flute, kalimba, and tubophone. "Prá Sentir e Contar" incorporates overlapping vocal effects… and also xylophone, which also appears together with marimba in the composition "ZEN." Our souls appreciate it.
 
PERCUSSION OF BRASIL
Revista Batera e Percussão - no. 23 - 06/1999 - Sérgio Gomes
From May 18 to 30, 1999, Sesc Vila Mariana in São Paulo hosted one of the larger percussion events nobody’s ever seen, bringing together a variety of Brazilian rhythms, as well as drummers and percussionists, who represented different Brazilian traditions… Zé Eduardo Nazario gave a great workshop on the "Evolution of Brazilian Drums." … Nazario also performed a powerful contemporary music concert with his band, featuring compositions from his new CD "ZEN."
 
BRAZILIAN DRUMS – 80 YEARS OF HISTORY
Revista Batera e Percussão - no. 31 - March 2000 - Gustavo Faleiros
We have to talk about the people who struggled for instrumental music. The 1970’s also brought good results in this field. At the beginning of the decade, Zé Eduardo Nazario – who, at the age of 14, had appeared on Excelsior TV playing "Jequibau," a samba beat in 5/4 – together with Guilherme Franco – other important drummer and percussionist who developed a career in the U.S. – set up the Experimental Percussion Group of São Paulo… In 1973, Hermeto Pascoal returned from the United States bringing his first recorded album. He had become known in the press, since he had recorded with Miles Davis. And as soon as he arrived in Brazil, Hermeto decided to form his own band. Over the 1970’s, some important drummers played with the "champion’s" band, such as Zé Eduardo… [Later] after leaving the band of composer Egberto Gismonti, Zé Eduardo… set up a new band, Grupo Um. … Grupo Um’s first album, "Marcha sobre a Cidade," is considered a very important chapter in Brazilian instrumental music. As drummer André Jung said, "Zé Eduardo and Grupo Um have created a work that is still (to this day) the most avant-garde Brazilian instrumental music. The first time I saw them, I had the feeling it was something very special, and I had to evolve to higher levels in order to understand that." … During the 1990’s, other musicians who dedicated themselves to the instrumental music… Zé Eduardo playing with Pau Brasil, and also Os Cinco.
 
AN OUTSTANDING PROJECT - ABSOLUTE SUCCESS
Jornal O Progresso - Pouso Alegre / MG - Friday, June 9, 2000
The "Sexta em Sintonia" [Friday in Tune] Project started on last June 2 at the Pouso Alegre Municipal Theater… featuring ZEN Quintet with absolute success. The ensemble, led by drummer and composer Zé Eduardo Nazario, gave a beautiful performance that included the best Brazilian instrumental music, and pleased the audience to the point of delirium. By the way, I was happy to see that the crowd filled Municipal Theater to full capacity, proving that the people of Pouso Alegre have a refined taste for music.
 
ECHOES – BRAZILIAN MUSICIANS IN DENMARK
Revista Batera e Percussão - no. 42 – February 2001 - Júlia Grassetti
Zé Eduardo Nazario was one of the Brazilian musicians who taught at the Brazil Week in Copenhagen event, Denmark. The event was held from October 9 to 13, 2000 at the Rytmiskmusik Konservatorium, a music school supported by the Ministry of Culture of Denmark, and counted on the participation of about twenty Brazilian artists… together with Carlos Malta and Jovino Santos, three percussionists, Zé Eduardo, Robertinho, and Ronaldo Silva, gave a concert that included original compositions rooted in Brazilian rhythms, such as maracatu and samba. The musician also noted that in Denmark all the performers and singers have the same importance, "improvisations are highly valued and applauded, and instrumental music is appreciated as much a song is. Brazilian people are losing the opportunity to hear great works of instrumental music."
 
CULTURE – RESCUING THE GOOD MUSIC
Jornal Domingo - Pouso Alegre / MG – April 1, 2001 - Willian Sanches
The Secretary of Culture of Minas Gerais State, Ângelo Oswaldo, fell in love with the music of the ZEN Quintet during his visit to the Juscelino Kubitschek de Oliveira State Conservatory of Music in Pouso Alegre, in October last year. Surely he must have thought in Brazilian instrumental music, Bossa Nova or Brazilian Jazz, which were played in the 1960’s… The Secretary, then, invited the Quintet to perform on April 11 at the Pampulha Museum of Art in Belo Horizonte.
 
NEWS
Modern Drummer Brasil Magazine – February, 2006
Drummer and teacher Zé Eduardo Nazario has just been awarded the "Notório Saber" by the Federal University of Bahia (UFBa), a title which granted him the status of university professor in accordance with the Lei de Diretrizes e Bases da Educação Nacional (LDB), the law that regulates education in Brazil. He is one of the first drummers and percussionists to receive such an honor, which is based on the assessment made by Doctors in Music not only from UFBa, but also from other Brazilian universities. Congratulations, Nazario!
 
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