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Clique e ouça faixas de toda a carreira de Zé Eduardo Nazario, entre trabalho solo, projetos coletivos e participações
Timeline / Percussônica
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
Lelo Nazario, Zé Eduardo Nazario and Felipe Avila.
1998 - 2002
Drums, percussion: Zé Eduardo Nazario
Keyboards: Lelo Nazario
Guitar, synth guitar: Felipe Avila

My journey into the world of musical instrument endorsement began in 1995. After more than thirty years playing on well-worn instruments, struggling to preserve and maintain them, and facing the hard reality of a Brazilian musician, a new "economic miracle" happened in Brazil. Brazilian real parity with US dollar created attractive opportunities for musical instruments manufacturers to expand their presence in Brazil, so they looked at musicians like me as a window to promote their brands and products.

Through those new partnerships, my image became better-known, and this strategy (though its ups and downs) eventually caused an increase in the presence of Brazilian instrumental music in the media. Besides, there was a contribution to musical education in the country, and also an impulse for national industry to quickly develop and be competitive. This phenomenon gradually increased over the years in which Brazilian currency remained strong.

In 1998, AVEDIS ZILDJIAN CO., the world’s famous cymbal company, in Norwell (near Boston, USA), invited me to join the "Zildjian Family," which included a visit to its plant in the United States, and also a concert in the ZILDJIAN DAY BRAZIL ’98 in São Paulo, which also featured other great Brazilian percussionists, such as Dinho Gonçalves, and Indian percussionist Trilok Gurtu.

For that concert I set up a trio with my long time partners in music, my brother Lelo Nazario on keyboards and Felipe Avila on guitar. There is a detail to mention: both of them had never played together before, although they admire each other’s work – so making the occasion more auspicious. The informal and warm atmosphere during the rehearsals was always productive and pleasant, with everyone working together to achieve a high standard at concerts. It seemed to have something of the divine in the music, a kind of a new fusion, like nuclear energy drawn into the music, completely controlled and dominated.

On the night of the concert, our dear friend Marlui Miranda was in the audience, so we invited her to join us on the stage to play one of the pieces from our repertoire, what proved to be so enriching for musicians and listeners. We played for fifty minutes to an enthusiastic crowd, and we felt good at the end of the concert. We didn’t know at the time, but sound engineer Alberto Ranelucci had recorded the concert, so that when we listened to the recordings some days later, we felt that the result was good. The material was then mastered by Lelo, and we decided to release the CD "Percussônica" in 1998. The name

PERCUSSÔNICA came about because of the fact that the keyboard and guitar some times worked as percussive instruments, so creating electronic percussive sounds, which in association with the drums and the acoustic percussion developed unusual timbres or intriguing melodies and contemporary harmony.

The trio performed a series of concerts, including one at SESC Paulista (unfortunately, only a few days before the institution began to record the Instrumental SESC concert series for the SESC / SENAC Television Network); another one at the event Percussões do Brasil (Percussions of Brazil) at the SESC Vila Mariana in 1999 (fortunately, this one was recorded and broadcasted by TV Cultura of São Paulo); and one at the event titled Jazz em Harmonia Brasileira (Jazz in Brazilian Harmony) at the Banco do Brasil Cultural Center in São Paulo on October 22, 2002 – almost four years after the trio’s very first concert. This concert was also recorded live, and again with a good quality, so we decided to release a second album. This new CD, "Percussônica ao Vivo – Hoje," included old and new material written between 1998 and 2002, and was released by Editio Princeps in 2004.
Percussônica (1998)
Zé Eduardo Nazario / Lelo Nazario / Felipe Avila

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

Ao Vivo - Hoje (2004)
Zé Eduardo Nazario / Lelo Nazario / Felipe Avila

1. N´Daê :: 2. Percussônica :: 3. Hoje :: 4. Não Temo :: 5. Minas d´Água :: 6. Festa na Rua :: 7. Flor do Sul :: 8. CEP :: 9. Africana :: 10. Dança das Águas :: 11. Maracatu :: 12. O Sétimo Portal :: 13. A Xepa :: 14. Psicopático

CCBB, 2002 SESC Paulista SESC Paulista Percussônica
Revista Cover Batera - 1998 - G.L.
The great Zé Eduardo Nazario took the stage accompanied by a guitar player (Felipe Avila) and a keyboard player (his brother Lelo Nazario). Zé is a true "monster" drummer, and his concert was tremendous. They began the show with a series of calmer pieces featuring electronic percussive sounds produced by the keyboard, combined with organic percussion with Nazario also playing a wind instrument, which produced a sound similar to a harmonica mixed with an accordion, and including a series of sound effects… When Nazario took the drum chair the temperature began to rise with melodies going through Brazilian popular music, jazz and fusion. The performance left everyone breathless, showing why this musician deserves so much respect. The last piece, "Psicopático", the concert’s high point, was vibrantly and viscerally played, and suffice is to say that neither Zappa nor Max Roach could complain!
Drummer Brazil Magazine - no. 24 – December, 1998 - Andreia Colmatti
Now it was the turn of another master artist, Zé Eduardo Nazario. He always plays with his heart and soul, but we can say he was specially inspired that night. Together with his brother Lelo Nazario on keyboards and Felipe Avila on guitar… they gave a tremendous concert. On the opening piece Zé played berimbau, with a special guest performance by Marlui Miranda on vocals. The concert resulted in a synchronized instrumental performance and sounded extremely captivating, with some drum solos which seemed like talking to the gods. …the audience was on their feet, clapping with enthusiasm, and at the end rushed to buy the Nazario’s new CD titled ZEN.
Batera e Percussão Magazine - no. 28 – November, 1999 - Regis Tadeu
Consistent with his career path as an experimentalist, drummer and percussionist Zé Eduardo Nazario releases one of the most intriguing CDs of the history of Brazilian modern music. Working on unusual rhythmic cells, Nazario (un)builds musical themes combining ethnic elements with other movements, interspersed with intense and subtle, and calm and uncomfortable tones. All surrounded by the extreme competence of his brother Lelo on keyboards and Felipe on guitar, who provide almost claustrophobic arrangements, like the one for "Psicopático" (with a spectacular solo by Zé Eduardo).
Modern Drummer Magazine – February, 2005 - André Carvalho
The trio was set up when one of the greatest Brazilian drummers, Zé Eduardo Nazario, was invited to play at the Zildjian Day Brazil 98, and brought together his brother, keyboard player Lelo Nazario, and guitar player Felipe Ávila to join him. That concert, as well as another one were recorded live, and the result is on this new CD. The combination of Brazilian music, contemporary sounds, avant-garde jazz, and a lot of improvisation recalls some of the works of the Pau Brasil group and Grupo Um, but with a special touch. Zé Eduardo’s solo on the track "Hoje" is one of the album’s high points, along with his performance on "Flor do Sul," in which he plays with brushes. A virtuoso performance and good taste are the keynote of this CD.
Backstage Magazine - Year 12 - no. 128 – July, 2005 - Jorge Pescara
Zé Eduardo Nazario, Lelo Nazario, Felipe Avila. It’s been a long time that I didn’t have the chance to listen to such an audacious music, like the one of this trio… starting with the instrumentation, which doesn’t include a bass, but nobody misses it. Percussônica is an album recorded live at two different concerts in São Paulo, and beautifully mixed. In its booklet one can read: an outstanding fusion of avant-garde jazz with Brazilian rhythms and contemporary music, mixing acoustic and electronic sounds with bags of energy and improvisation. Also, the album is a clear evidence of what great musicians can do when they bring together excellent compositions and brilliant performances. Yes, this CD neither is a conventional project nor follows an old "instrumental music" style… This album is for those who have an open mind. Those who are plugged into the world know to recognize good music. I have been looking for an album like this, but youngsters insist in doing the same things over and over again… Percussônica on them all!
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