Damn! Another legend passes.
I first learned about Hermeto Pascoal thanks to his early ‘70s collaborations with Miles Davis. Two studio tracks (most of the album is live recordings) – ‘Selim’ and ‘Nem Um Talvez’ – both by Pascoal, are included on the 1971 Miles release, Live/Evil.
On an album of Miles’ post Bitches Brew stuff, that’s veering ever closer to ‘Free Jazz’, Pascoal’s influence brings a beautifully lyrical and gentle Brazilian vibe to proceedings.
My next encounter with him came via following up leads provided via the Blue Brazil series of releases, from Blue Note.
The track ‘Misturada’ enthralled me. And eventually I tracked down and bought the sole release by Quarteto Novo, from which it came. A terrific album.
Along with bassist Theo, and guitarist Heraldo, this short lived group included two soon to become legendary Brazilian musicians: percussionist Airto Moreira, and flautist/multi-instrumentalist, Hermeto Pascoal.
The series of images below show the later hirsute Hermeto most people are more familiar with. These images also remind us of his multi-instrumental prowess…
Pascoal’s music ranged far and wide. From minimal and mellow, to orgiastic free-improv’, and taking in a huge range of expression in many modes, often marked by a pronounced freedom to experiment.
I don’t always like the results. But I always admire the freedom, and the questing spirit that motivates and informs his music.
Pascoal is one of the many musicians to have passed before I got (or rather made/took) the opportunity to talk to them, for my long mooted book on music of the early ‘70s.
RIP, maestro.