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Clique e ouça faixas de toda a carreira de Zé Eduardo Nazario, entre trabalho solo, projetos coletivos e participações
Timeline / Outras Histórias
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

One day in 1966, a cousin of mine told me that he would be playing on a television show (Ensaio Geral on Excelsior TV) together with drummer Edison Machado, who was my great idol at the beginning of my career. So I asked to watch the rehearsal, during which I stood really still like a statue behind the curtain of the stage, just a few feet from Edison.

By the time the rehearsal finished, Machado began to disassemble the hi-hat and remove the cymbals, but he had already noticed my presence there. As I was very shy and didn’t say a word, he took the initiative to ask if I liked music. I replied yes, and said I played a little bit. Then he asked what instrument I played, and I said, "Drums." In a stunning gesture, he assembled everything again, opened his stick bag, offered me a pair, and said, "Play a little." I couldn’t deny. I knew his style well enough because I heard all his albums. So I played a little, and he then asked the other members of his quartet, which consisted of saxophonist Paulo Moura, pianist Osmar Milito and Dorian to join me and play something. It was an amazing experience!

As we became friends, I began traveling regularly to Rio de Janeiro, where I met and played with great musicians such as Vítor Assis Brasil, Cláudio Roditi, Luis Eça, Alfredo Cardim, Ricardo Santos, Ion Muniz, Haroldo Mauro, among many others.
When I was playing with Xangô 3 on a Record TV show in São Paulo, I met Guilherme Franco who was replacing the orchestra’s drummer (Xororó) that night. We talked a little after the show and said goodbye. Some time later, in 1967, when I began to frequent the night life of São Paulo accompanied by colleagues such as Itiberê, who knew the places where there was good music, I went to a dancing restaurant called "Totem," at Santo Amaro Avenue, owned by amateur guitarist and jazz lover Ismael Campiglia. He used to hire good musicians to play with some freedom and express themselves in a very difficult political environment that the country confronted in the sixties, and that affected the night life of the large cities, so dramatically shrinking the market for nightclubs and bars mainly from 1969 onwards.

At Totem, a true oasis in the night life of São Paulo, two trios used to play. The first one consisted of Tenório Jr. on piano, Zé "Bicão" Alves on bass, and Áureo de Souza on drums. The other trio featured Luiz Melo on piano, Cláudio Bertrami on bass, and Guilherme Franco on drums. I began frequenting the place, and because of our friendship, Guilherme used to invite me to join them on the stage to play percussion using some instruments he had in a bag, such as tambourine, bongoes, etc.

As I earned the confidence of other musicians, I also began to play drums, and due to such a constant relationship, I was invited to replace Áureo de Souza in the Tenório Jr. trio, because the drummer was moving to Rio de Janeiro.

Tenório was one of the most brilliant pianists I’ve ever played with. He had a great knowledge of harmony, extreme good taste and sagacious intelligence. I stayed with him at Totem for a year, when finally it was nearly impossible to survive on earnings from playing at nightclubs alone. Almost all the musicians had to engage in commercial recordings that most interested record companies and the market.

Tenório then moved to Rio with his wife Carmen and children. I went to see him in his home at Cosme Velho a few times. A few years later, an infamous tragedy occurred during a tour he made with Vinicius de Moraes and Toquinho through Argentina in March 1976. Tenório was killed "by mistake" by the Argentinean military regime, on the eve of the military coup led by General Jorge Videla against Isabelita Perón.
My parents lived at Conselheiro Rodrigues Alves Street, Vila Mariana, in São Paulo. The back of the house was bounded by the Godoy brothers’ house, pianists Hamilton (Zimbo Trio), Adylson (also a composer), and Amilson "Tuca" (Bossa Jazz Trio). I was a friend of Tuca, the youngest of the brothers Godoy, because we met several times in bossa nova concerts in which I played with Xangô 3 at the beginning of my career. One afternoon I went to his house and rang the bell, and Tuca opened the door accompanied by singer Milton Nascimento, still a boy, who had come from Belo Horizonte to show a song to singer Elis Regina – I think it was the first song by him she recorded. Milton was introduced to me as Bituca, and then we went to my mother’s house to have a cup of coffee. After that we went to the Paramount Theater, where he would meet Elis, and I came back home.

Some time later, I saw Milton again in São Paulo with the band Som Imaginário, and we met several times during the recording of the Taiguara’s album "Ymira Tayra Ypi Taiguara." I used to go to his home in Barra da Tijuca or Recreio dos Bandeirantes, I don’t remember well, in Rio de Janeiro, together with Novelli, who lived near there too, I think. In those days, there were only a few buildings in that area, the landscape was dominated by beaches. Then Milton invited me to record on his album "Clube da Esquina 2" in 1978. There are some mistakes in the album credits: I played drums on the "O que foi feito de Vera" recording sung by Elis, and also on the Chico Buarque’s "Canción por la Unidad Latino-Americana." Also I played percussion with a Chilean group, but the information was missed…
In 1978 I had two parallel situations in my career, both of them artistically interesting, although different in many ways. Since 1973, when I joined the Hermeto Pascoal band, and especially together with my brother Lelo, we were experiencing a period of intense musical development, which enabled us to create a very personal style, partly because our creative energy could flow freely. After all, we were doing instrumental music in Brazil, probably with some of the few groups that welcomed such a creativity – the bands of Hermeto and Egberto, and also the Grupo Um.

One day Egberto told we would play in the 1st São Paulo Jazz Festival in September 1978. I knew that great musicians would come to play a whole week, so I began preparing for a great performance. I decided to go to a quiet place outside São Paulo with my instruments, and allow myself the time to study and prepare physically, just like an athlete does before a competitive tournament. Then, trumpet player Márcio Montarroyos called me two weeks before the event to invite Grupo Um to perform with him at the festival. Due to the lack of time to properly work on his material, I proposed that we played Grupo Um’s repertoire, as he knew it intimately. So I had the opportunity to present the two most important projects I was involved with during that period – Egberto Gismonti’s band and Grupo Um. I was sure that all of us would put our careers a step ahead.

The Egberto concert took place on Wednesday with great success. But the organization of the festival faced some problems. The same team of workers was responsible to assemble and disassemble the stage every day, so they became progressively fatigued as the festival progressed. There were an afternoon and an evening presentation of each concert, and the Márcio Montarroyos and Grupo Um concert was programmed for the last day of the festival, on Monday. On that day, we arrived in time to assemble our instruments, but no one from the festival organization was in attendance. We had to wait, and this delayed all scheduled rehearsals. We were in the middle of our rehearsal when suddenly I noticed somebody behind my percussion stand, just observing me, who happened to be John McLaughlin! I immediately spoke to him and tried to explain that the delay was not caused by us, but by the festival team who showed up late for work, but he just said, "Don’t worry, take your time. I’m enjoying the music!" I could say this was the beginning of my friendship with him and other members of his group, among them drummer Tony Smith, who invited me to play a gig with him in their afternoon concert, together with L. Shankar singing those Indian rhythms…

Unfortunately, no one could imagine what would happen a few hours later, when the organization of the festival boycotted our evening presentation, because they didn’t "like" my brother Lelo’s electroacoustic composition "Mobile / Stabile." So they turned off the sound to force us to stop playing and leave the stage, under the false claim that we had exceeded the established time limits. It’s enough to say that in the afternoon presentation we had played the concert in full, performing the same repertoire in the same time.

But that didn’t ruin my friendship with John McLaughlin. On the contrary, our relationship became even stronger. We traveled together in the following year, when the Egberto Gismonti band joined John McLaughlin’s One Truth Band and Indian violinist L. Shankar in a concert called "Tropical Jazz Rock" touring Brazil and Argentina. The Luna Park in Buenos Aires shook with applause and shouts from the audience when we played together at the end of the tour. I met John again in 1991, when he introduced me to Trilok Gurtu in São Paulo, and once again in 1993, when he came back for a concert with Paco de Lucia, so confirming our friendship. He is a great musician and a great person! !
In 1994, I was invited as a special guest to play drums in the Joe Zawinul’s symphony "Stories of the Danube" together with Joe and Zawinul Syndicate’s members Amit Chaterjee and Buhan Oçal as soloists, accompanied by the São Paulo Symphonic Jazz Orchestra, conducted by Kaspar Richter. We performed two concerts at the Latin America Memorial Theatre in São Paulo, and at the Campos do Jordão International Winter Festival, one of the most prestigious musical events in Brazil. The opportunity to meet people like Joe with such a high spirit gave me an invaluable and unforgettable experience!
I always admired Indian music, and I frequented the family of Indian singer Meeta and her husband Ravindra for a few years. They are wonderful people who I consider as siblings. Around 1985 I began frequenting their home in São Bernardo do Campo, near São Paulo, to rehearse and learn a little about that rich culture, in which I am a beginner, considering its complexity. It was a time of learning and recycling that was very good for me. Me and Meeta participated in many events, especially for the Indian community in São Paulo. We were invited to give a concert in Manaus during the 50th Indian Independence Anniversary celebration in 1997, in the presence of Ambassador of India to Brazil. On the occasion, I had the honor to receive from the Government of India a bronze plaque as "a tribute to the talent and contribution in promoting Indian Music in Brazil." I worked with Meeta until the mid-1990s.
After the dissolution of Grupo Um my teaching activities had expanded. I began frequenting guitarist Felipe Avila’s country house in Carapicuíba, where we and some friends, all of them musicians, used to play a "pelada" (an informal soccer game) on weekends. They included, among others, pianist Miguel Briamonte and Randal. After some time of just playing soccer, it was inevitable that we were going to play music together, too. Then we tried to produce something, and got to record some material with the participation of percussionists Guello, Paraná, and Fernando Marconi. Later, in 1985 and 1986, we worked on another project with the participation of Ubaldo Versolatto and Cacá Malaquias. This band was called Velocípede, but unfortunately it was not released.

We also set up a quartet with Felix Wagner, but then he moved to Europe, where he lives until today. Later, in the 1990s, I played again with Felipe in the band Os Cinco, together with Vinicius Dorin, Itamar Collaço or Zerró Santos, and Chico Oliveira. The band gave many concerts at Mezzo Freddo, as well as in special events, such as the Dom Um Romão’s concert in São Paulo, and the I Drums Festival of Brazil. The band brought back the "samba jazz" in the early 1990s.
Also with Felipe Avila, I gave some concerts with Paulo Barnabé’s Patife Band in the 1980s. Some former students of mine had played and recorded with him. Paulo (composer Arrigo Barnabé’s brother) and me were colleagues and used to meet at Lira Paulistana Theatre. One day, he invited me to play with him, and I decided to face the challenge of playing rock, a kind of music which I was not used to. But there were a lot of energy and a careful mental effort behind it. I think the band was a forerunner of the style, with an original work in the style of Paulinho.
Like Edison Machado, drummer and percussionist Dom Um was my idol when I was a boy. I admired his recordings. He moved to the United States in 1965, where he lived and worked for many years, recording with some ensembles, such as Weather Report. I had the happiness of seeing him playing with this group at the Rio de Janeiro Municipal Theatre in 1972. Dom Um was 75 years of age in 1997 when I interviewed him for a drums magazine. At the end of the interview, Dom Um suggested that we should play together, and then we performed a concert in São Paulo, accompanied by my quintet. It was just fun!
For the last few years I have been playing more often with German-born Brazilian bassist Frank Herzberg. Besides his own trio, which included me and pianist Alexandre Zamith, we play with the pianist Marta Karassawa’s jazz quintet. Also we recorded on the album "Canja" by vibraphonist André Juarez, which was released in 2007.
Brazilian saxophonist Ivo Perelman, who has been living in the United States for some years now, invited me to record some material together in 1994. I always liked that kind of formation – sax and drums – because I think it matches very well. I actually used it on a couple of tracks on my first solo album "Poema da Gota Serena" in 1982, having Cacau on the saxophone. Then Ivo and me arranged a recording session at Be Bop Studio in Pinheiros, São Paulo, which resulted in the album "Soccer Land," which was released in the United States in 1994. This album received many reviews (see below), mainly in the Free Jazz field.

The following year, Ivo came back to Brazil, and we recorded a second album entitled "Tapeba Songs" with some contributions by Lelo Nazario, Rodolfo Stroeter, and Paulo Bellinati. The album was also released in the United States in 1996.
Bizz Magazine - February 1988 - Sônia Maia
Paulo Barnabé would be in a prominent position as one of the most creative musicians of 1987 if his album "Corredor Polonês" had been released in a proper manner by WEA records… The Patife Band gives personality to the most popular songs… mainly by making use of elements of the dodecaphonic and classic music, as well as of asymmetric rhythm, all combined with rock and pop. The rhythm section members include the schizophrenic bass of Sidney Giovenazzi and the drums (with the right to a solo performance) of Zé Eduardo Nazario, a master of jazz and Brazilian rhythms. The audience was big (...).
ECO Magazine – 1989
German drummer and producer Hubl Greiner invited Zé Eduardo Nazario among the greatest Brazilian drummers and percussionists to record two tracks with German progressive rock group The Blech on its next album. Greiner’s attitude is in line with the global trend of looking for new elements that can enrich the music as a whole. One thing is for certain: Brazilian rhythm is a great dish… Nazario is presently developing a new work – a duet with his brother, keyboard player and composer Lelo – which is been prepared for the Second Meeting of Brazilian Drummers.
Correio Brasiliense - Saturday, February 1, 1992
The Martins Pena Concert Hall at the National Theater got a record that will be very hard to beat: an audience of 870 people (more than the double of its capacity) watched the jam session of Nico Assunção, Nivaldo Ornellas, André Dequech, José Eduardo Nazario, and Nelson Faria on Wednesday night. After that night, the second National Theater’s concert hall will never be the same. And there are those who say that there is no audience for instrumental music in Brasília. Most of the audience was composed by people who live in the city.  
Folha de São Paulo - Friday, February 10, 1995 - Carlos Calado
Brazilian sax player Ivo Perelman takes a new step in his successful international career as a jazzman. He has just released two new records in the US market, so launching his own record label, Ibeji… The album "Soccer Land," which was recorded in São Paulo during the last Soccer World Cup, takes its title from one of its tracks… Instead of the showy artists who accompanied him in his first albums, in this new CD Ivo chooses to economize with his partners. Even so, he is very well accompanied only by the drums and percussion of Zé Eduardo Nazario.
The Toronto Star (Canadá) - Thursday, 02/16/1995
And then there’s Ivo Perelman, a tenor saxophonist whose roaring style combines with drummer José Eduardo Nazario on Ibeji Record’s "Soccer Land". Soccer is something else brazilians are good at and Perelman combines modern jazz with folkoiric motifs in a revolutionary recipe.
The Boston Phoenix (USA) - 02/24/1995 - Norman Weinstein
Ivo Perelman finds his compass point in the folk melodies of his native Brazil... The result is a galaxy away from the Brazil- flavored jazz coolness of Bud Shank or Stan Getz. This fire is further refined in two new releases, "Soccer Land", and " Man of the Forest ". The former features duets with drummer José Eduardo Nazario... If you can spring for only one disc, and particulary if Perelman’s art is unfamiliar, go for "Soccer Land". It opens with a rip-roaring samba, 11 minutes of joyously crying sax well matched with locomotive drumming. The other peak is " Forró de cabo a rabo ", improvised sax phrases set to a traditional folk-dance rhythm. It’s a cyclical dance usually accompanied by accordion, but Perelman makes the trnsition to tenor sax seem as natural as breathing. 
Los Angeles Weekly (USA) - 1995 - Greg Burk
Speaking of Coltrane, not since Trane’s duos with Elvin Jones or Rashied Ali ( or Archie Shepp’s with Max Roach ) have i experienced a tenor / drums assault as powerfull as Perelman’s "Soccer Land". And it’s powerful in a whole different way - once again the songs are selected from brazilian sources, with traditional beats from samba to forró to congada. Drummer José Eduardo Nazario, a collaborator with Hermeto Pascoal and Egberto Gismonti, shows brazilian music doesn’t have to be gentle or dreamy, with a full-on cannonade on " Samba de Ogum ", whose joyous energy could lift you thrashing right out of your seat. He’s also able to slip into a simple thump-boom on " Tristeza do Jeca " while Perelman explores the full range of his horn... Hard to believe this studio date was the first time the two ever played together.
IVO PERELMAN - "Soccer Land"
Option (USA) - 1995 - Jerome Wilson
Brazilian tenor saxophonist Perelman has made a couple of fairly conventional jazz albuns before but nothing like this. This is just Perelman and percussionist José Eduardo Nazario sweating blood for 50 minutes. They play brazilian folk melodies at a hot-footed samba rhythm and waste no time in turning them into a screaming sax and drum frenzies rooted in the ghostly soul-searching of Albert Ayler and the fire-eating duets of John Coltrane and Rashied Ali. There hasn’t been this frightening a combination of latin music and jazz since Gato Barbieri’s early days. Perelman plays like a screaming and wailing hurricaine, his intensity even continuing on a quieter melody like "Tristeza do Jeca", while Nazario is everywhere, putting this music in dancing shoes it rarely wears. Free Jazz with a beat - one hell of a concept.
Option (USA) - no. 63 - 08/1995 - Bart Grooms
Brazilian tenor sax monster Perelman wails and bleats in a manner that will be familiar to avant - garde fans ... Perelman´s new album of duets with drummer José Eduardo Nazario, "Soccer Land" (for Ibeji) , is in some ways a more convincing and interactive document of the saxophonist’s awesome chops.
Utne Reader (USA) - 07/1995 - Kalaniu Ya Salaam
Brazilian saxophonist Ivo Perelman wails with Albert Aylerish abandon, while drummer José Eduardo Nazario kicks butt with the polyrhythmic finesse of Elvin Jones and the iconoclastic intensity of Sunny Murray. Just when you thought the fire had died out of contemporary jazz, here´s this super charged release of intelligent, high energy music, obviously blessed by Saint Coltrane himself.
Jazz Times (USA) - 05/1995 - Josef Woodard
Perelman’s recordings have imparted a sense of burgeoning promise and imminent maturity. The bracing ring of fire that is "Soccer Land", is something else again. Here, Perelman and drummer José Eduardo Nazario go at it in the best, mutually supportive sense. Sprawling improvisations around mostly trditional brazilian melodies carve out their own sense of direction - mostly forward, in swerving patterns around the middle. Nazario, who has played with Hermeto Pascoal and Egberto Gismonti, is one of those brazilian percussionists for whom rhythm is a function of the brain and the bloodstream, both of which pass through his heart. In this intimate setting with Perelman, he achieves a organic and fitting athletic gracefulness. This is a wonderful, ear-tingling piece of work.
IVO PERELMAN -"Soccer Land"
Cadence - vol 21 no. 7 - July 1995 - Richard B. Kamins
The eight tracks feature the saxophonist with percussionist José Eduardo Nazario... "Samba de Ogum" opens the disc in a high-flying manner, with Perelman tenor wailing over Nazario’s brutal snare work and crashing cymbals... He moves through the percussive minefield, disregarding the time and occasionally moving back into melody. There is a sweetness to his tone in the opening seconds of "Tristeza do Jeca" as he heads for the tenor’s higher ranges... Nazario’s percussion is soft and sensuous. Back to a bouncing baiao rhythm for "Forró de cabo a rabo" and another wailing tenor track. One has to admire the way Nazario keeps the beat beneath the sonic onslaught of the tenor... on his previous discs, he sounded apart from the percussionists-perhaps the problem was one of proper mixing. Here, he and Nazario are musical and sonic equals. Perelman gives the music its melodic thrust and direction, while Nazario gives the music propulsion and bottom. One never misses another voice and the program is not dragged out. The sound quality is very " live ... Ivo Perelman has gone to the generous well of his native land and created a music that employs tradition to look forward - that marks him as a true creative musician.
Down Beat (USA) - 12/1995 - John Corbett
His two new records, "Man of the Forest" ... and "Soccer Land" on (Ivo) Perelman’s own Ibeji Records, offer another kind of brazilian jazz, mixing traditional percussion music from his homeland with his expressionist tenor playing. "Man of the Forest" features improvisations on folk-inspired motifs by brazilian composer Heitor Villa-Lobos ..."Soccer Land", on the contrary, is a intense, stripped-down duet with powerhouse drummer José Eduardo Nazario.
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