| Tudo é Som (All is Sound) the music of hermeto pascoal edited by Jovino Santos Neto UE 70045 POV DVD VV DG VG GGG VG GG GV VV VVGGVGGVSSVSVGOVVGVVesyveyPOOP PPO V BOP V VV VV VVVVVVUVUVUVUVUVOVULELEDEVUUOLYD ‘TABLE OF CONTENTS MENTE CLARA 4 ABOUT THE MUSIC 5 ABOUT HERMETO PASCOAL 6 Hermeto Pascoal Discography 9 ‘TUNE DESCRIPTIONS 10 Aquela Coisa 13 Balaio 15 Bebé 16 Bocateando: 18 Campinas 19 Capivara 20 Chorinho pra Ele 21 Essa Foi Demais 2B Fatima 24 Floresta 26 AGrande Tourné 27 Ginga Carioca 28 Os Guizos 29 Haja Coracio 30 Hermeto 32 Juvenal No Grumari 34 Mata Verde 35 Mente Clara 37 Montreux 3 ‘Miisica das Nuvens e do Chao 39 Nas Quebradas 4l Para Eliane Elias ‘a3 Para Miles § Rebuligo 7 Samba do Belaqua Santo Antonio ‘acho ‘Tupizando Vale Da Ribeira Viva o Gil Evans Viva 0 Rio De Janeiro: Voa, liza ABOUT THE EDITORMENTE CLARA Clear Mind Hermeto Pascoal Merle Clara Figura viva 0 forte e sensitva Nos fis somrin. nos faz chorar Nas ia: viver ao acordar Nir esperanga e na certeza De encontrar sempre acesa esta luz Este amor. esa forga ‘Que beleza! Ponsa querer saber Pra dizer ou néo dizer Fazer ou nao fazer Reswmiriia, tudo 880 6 maravitboso livendo eqprendendo Correncéo equerendo chegar lé Jtrtos. sempre juntos ‘Na certeza de encontrar Sempre, lear Mind 4 live picture Sirong and sensitive Ht makes ws smile, it makes us ory It mais us tre when wwe wake up Jn hope and in certainty Of always. finding this light shining This love, this force How beautifiel! Ta think is to want to know To say or not to say Todo or not to do In essence. al his i wonderful Living and learning Running. trying to get there Together alta’ together inn the conviction of finding Always. CE Tons PLKLHHHRAHRAOKRAEHMHRHHSHHOHRHRHSOHRH OHHH HH OR AOP ORO R ERE ERT POT OP Hr,ABOUT THE MUSIC oo Choosing the material fortis first publication was not ar easy task, Hermeto's work is vast and covers many diferent sivles and instrumentations. For most people, the first contact with Hermeto’s music has been through the fer recordings that are available. I decided to focus on those compositions that could be played by musicians with basic reading and improvising skill, assembling a kind of “real book’. with the tunes represented as lead sheets. About half cof the pieces have been recorded by Hermeto or by other artists (recording titles and dates are indicated) and the other half has been road tested by the Grpo on countless performances and rehearsals. [tried to notae the basic form ofeach tune, sometimes keeping most of Hermeto’s ar rangement, but at other times leaving it out so that other players can arrange them as they like it. kept chord symbols simple. For instance, if particular chord is notated as a major seventh (maj”). itusually has the sixth and the ninth built in it. Similarly, minor seventh chords (min7) often will work well with the added ninth and the eleventh extensions, Hermeto’s harmonic concept views complex chords as stacked triads, so sometimes the chord notation reflects this, such 2s E/C instead of C maj7 (#5). At times I opted for a simplification of this concept for the sake of comprehensi- bility such as when Hermeto writes an F# triad over an interval of Aand G: 8/47. This approach. clearly represent- ing the voicing of the chord, was replaced here by the more conventional A13(b9). ‘The reader will notice the absence of key signatures throughout the book, With Hermeto’ swift changing harmonies, a better result comes out of reading accidentals as they happen, their value lasting only for one measure indicated the basic feel of each tune using some of the most ‘yell known Brazilian stvles: samba, bai, frevo. ete. These indications should be used as suggestions, and not necessarily as rigid stylistic requirements. In fact. in the Grupo we might pla the same composition as a samba, ot o, with minor adjustments. In Hermeto’s view. a well- crafted song can be dressed up in several ways without losing its essence. The same applies to the tempo markings in each score, which can be altered either war. according to technical equitements and taste. One ofthe most reward- ing aspects of studying Hermeto’s music comes from playing passages that are meant tobe played ata very fas ternpo really slow: because one can observe how a master composer such as Hermeto takes the utmost care in the placement of notes and chords. Thus 2 fast samba can become a lovely ballad. and vice-versa. The titles often have ‘an anecdote or story behind them, and | tried to illustrate the Portuguese titles bv translating them into English, As I mentioned earlier these songs are but a small sample of Hermeto Pascoal's immense output as a composer. It is, my intention to follow this volume with more material from our archives. focusing on different aspects of his music- solo piano works. flate/piano duos, flute quartets, big band charts. smphonic and chamber music, and combo arrangements, | would like to acknowledge the support from Robert ‘Thompson and Universal Edition for this project, and for realizing the importance of Hermeto Pascoal in the un- iverse of contemporary music, I thank Bruce Gilman from Brazil magazine, a serious fan of Hermeto’s work, for his help with editing the text. Also, my gratitude is extended to all the musicians who once were and still are part of the Grupo, because they were the ones that inspired Hermeto to write most of this material in the first place. To Hermeto himself, for havingbeen a constant source of inspiration and commitment to music, I dedicate this work, in the hope that ment more musicians, beginners and veterans alike, will also be touched by his incredible artistry and wisdom, as I was. Jovinio Santos Neto Seattle, December 20006 ABOUT HERMETO PASCOAL ™*%iansin these ensembles had to be extremely versatile. In the rich and diverse universe of music in Brazil. the presence of Hermeto Pascoal shines like a comet. crossing across several eras and musical circles. leaving astrong influence on generations of musicians. and building name that represents unbridled creativity and inspiration. Better known as a genial multi-instrumentalist, he is capable of extracting music out of the most unexpected objects, while exhibiting his virtuosity on piano. flute, saxophones. strings, percussion and many other conven- tional (and otherwise) instruments. Hermeto Pascoal was bom in 1936 in Lagoa da Canoa, a small village in the interior of Alagoas stat, in the heart of the fertile tobacco-planting interior of Northeastem Brazil The son of peasant shopkeeper who moonlighted as an accordionist at weekend parties, he was soon enveloped in the sounds and traditions of the rich culture of his birth- place. As an albino child, he could not stand the fierce tropical sun, and spent his hours sitting n the shade of a tree listening to the birds while carving small makeshift flutes and whistles out of leaf stems, with which he would engage the birds and frogs in musical conversations His grandfather was a blacksmith whose backyard shop ‘was a constant source of wonder for the young Hermeto. \who used to search for sonorous scraps of iron in the junk pile at the back, A restless and inquisitive child, he soon found the place where his father kept his aito bartxos (8- button diatonic accordion), and his first attempts on the instrument were aimed at emulating the bell-like sounds of the scraps of iron he found in the vard. Within a few months, Hermeto and his brother José Neto, who was also albino, were accompanying their father in local parties and festivities, taking turns on the oifo batves. triangle and pandeiro Atthe age of 14, Hermeto lft Alagoas for Recife, the busy capital of Pemambuco state. His goal was to land a job as aun accordionist atthe prestigious Jomal do Coméreio radio station. Inthe 50s, alot of music in Brail happened in ive radio broadcasts. Famous singers would tour the country performing with local groups. known as regfonais. The Jeaming new songs by ear and creating new arrangements and kev changes on the spot. The music director in Recite however, tumed Hermeto down. He could not believe that this albino teenager. with his poor eyesight. could be read for the task. Hermeto went instead to the inland town of Caruaru, where he was immediately hired for the job at he Difusora radio station. During his years there. he became favorite of the older musicians, who loved his curiosity and affinity for music. Caruaru was also the center of the cagreste region, and its local street market attracted crowds of farmers, artisans and the caratadores, vocal improvisrs \who created music on the spot in exchange for coins. Ina few years, Hermeto was summoned to Recife, as word got out about the young new accordion master making an impression through the air waves, From the mid-fifties on Hermeto’s musical development accelerated, as he came into contact with musical influ- ences from many different places, such as jazz, Italian, French and Gypsy songs. He soon started to play piano. and hisharmonic and melodic concepts expanded to add a ‘modem twist to his growing knowledge of music. In the late 50s Hermeto moved to Brazil's political and cultural capital, Rio de Janeiro. He arrived there as musi- cians like Antonio Carlos Jobim, Luiz Bonf, and Joao Gilberto were combining modern chord changes with sophisticated samba beat to create what became known worldwide as basse nova. Hermeto was there, playing at the same clubs, but he was careful not to associate his name to any kind of musical “movement”. His music needed more room to expand, and he found himself in Sto Paulo, where a vibrant music scene was being created. He took up the flute (as always, entirely self-taught), and soon created a unique sound that made him a favorite of recording studios, while playing at up to 3 different ch everynight. He was quickly developing his talent as an arranger. and worked with many popular artists ofthe time. as well as in commercial jingle production. During the famous song festivals ofthe late 60s, where ‘MPS (Brazilian Popular Music) was forged by composers such as Chico Buarque de Holanda, Milton Nascimento Edu Lobo, Caetano Veloso and many others, Hermeto was a vemos TKerereer alee sn tli t eeasee Ie III tees constant presence. His brilliant flute playing in Edu Lobos Ponleio, the winner of the 1968 festival. brought him national acclaim through TV broadcasting, At this time a new musical group was formed: The Quarteto Noro. With Hermeto on flute and piano, Airto Moreira on percussion. Heraldo do Monte on guitars and Theo de Barros an bass, this was an ensemble devoted to creating instrumental ‘musicwith a definite Brazilian flavor, blending serious artistry with an earthy devotion to the country’s rhythmic treasures, a deep mixture of African, European, Native and Eastem historical and cultural influences. Up until then, the music from the interior of Brazil was considered rude, ‘uncultured and almost relegated to a secondary plane in comparison with bossa ov ard foreign ses, Ttwas caipira, or hillbilly. music, The Quarteto Novo challenged that assumption, steering clear of jazze phrasing (even. though all of the members were excellent jazzmen) and introducing new wavs to produce sound. such as @ donkey's jaw and the ancient viola cajpira. a 10-string guitar that descended from the moors who once colonized Portugal. Soon after, Airto Moreira relocated from Sio Paulo to New York City, a move that led to an invitation for him to join Miles Davis’ group. Miles loved the different sounds and the way Airto created rhythms and effects. When Airto told him about the “crazy albino” living down in Brazil, an invita- tion was quickly sent to Hermeto to come up, which he -ccepled. This visit led to Miles’ reconding of 2 of Hermeto’s compositions, Nem Lint Talvez and Little Chuercb, for the Live Evil album, Even with the language barrier (neither spoke the other's tongue). a deep musical affinity was created between Miles and Hermeto, Around that time Hermeto also recorded his first album as a leader. origi- nally titled Hermeto, and featuring some of the finest jazemen in New York: Ron Carter. Joe Farrell, Hubert Laws. ‘Thad Jones and several others, creating a full big band plus strings, all written and arranged by Hermeto. The recording sessionsbecame legendan: and musicians such as Herbie Hancock, John MacLaughlin, Gil Exans and others came to pay their respect to Hermeto’s genius. An invitation followed for Henmeto to stay inthe United States and join Miles’ newelectric group. but he declined and retumed to Brazil. He intended to create his own group in Siio Paulo, along with some young plavers he had met FOUR UU UU UU UU UU UU UV UU VEU UGUEOOULEUELEELOOOD there, And that he did, starting 2 collective of musicians for sshich he wrote and arranged a wide variety of music. ranging from delicate woodwind ensemble work to all-out free explorations. His 1973 released Meisica Livre de ‘Hermeto Pascoal (The Free Music of Hermeto Pascoal) represents this period. Meanwhile, he did return occasion- ally to the US, collaborating with Airto and his wife, singer Flora Purim, in a number of recordings that continued to establish his reputation a5 2 musician's musician. He picked up the soprano, and later the tenor saxophone. and again developed a strong personal style on the reed instru- meats Back in Brazil, Hermeto’s Group went through several personnel changes, culminating with his more back to Rio de Janeiro in 1976, the same year he recorded Slaves Mass in Los Angeles, with Airto, Flora and a host of great musi- cians, and featuring the sound of live pigs grunting and squealing musically on the title track. In 1977, Hermeto invited me to join his group as.a pianist, and this marked a tuming point in my life as a musician. In the following years, nucleus of yourig instrumentalist formed around him, as we started to develop a routine of daily rehearsals. Eventually, in the early 80's, the Grupo took its most constant form, with Itiberé Zwarg on bass and tuba, Carlos Malta on flute and saxophones, Marcio Bahia on drums, Pernambuco on percussion, and myself on piano and flute Hermeto’s son Fabio Pasooal joined the group, also on percussion, in 1988. We all ended up living 2s neighbors in the West Zone suburb of Jabour, an hour's drive from downtown Rio, as the Grupo became a literal full time activity for us. ‘This was an extremely fertile phase for Hermeto. He com- posed literally thousands of themes, exploring all aspects of the musicians’ talents, encouraging us to expand the boundaries of what we could do. He would often write extremely elaborate arrangements, while urging us to play 1s intuitively and creatively as possible. His strong presence asa leader inspired and coaxed us to practice and rehearse more and more, while the Grupo went on several tours of Europe and recorded a number of albums for the Som da Gente label. Hetmeto’s own restless spirit led him to write ‘music for jazz big bands, symphony orchestras, string quartets and many more line-ups, while his own playing as, LE wsan improviser reached new levels, supported by our tight ensemble work. He started to play the flugelhorn and wrote his own technical exercises in the form of brand nec music. In 1992 the Grapo went through its first personnel change since 1981, as both Carlos Malta and myself left the band to pursue our individual careers in music. 1 moved with m family to Seatle. and started to organize a musical archive that had been maintaining since the beginning of my tenure with Hermeto. This included a mountain of manu- scripts loose parts and some music kept mostly in the players’ memories, This is an ongoing effort, and hopefull: the book you now hold in your hands will be followed by others. focusing on the varied facets of the life of a true musical genius, the likes of which our planet onl rare! sees. ‘Today. Hermeto continues to be a major force in the music of the world. The Griypo still plays in Brazil and abroad 10 large audiences, and Hermeto has been composing almost during all of his waking hours, In 1996 he celebrated his 60" birthday by writing one piece a day for a full year resulting in a publication issued in Brazil, 0 Calendiério do Som (The Calendar of Sound), with 366 themes (96 was a leap year) arranged by date. so that, according to him, everyone, regandless of date of birth, can have his or her own song, Recent collaborations have led him to England for a big band concert of brand new music. and he recorded a solo CD, £u e Eles (Me and Them), where he plays over 60 diferent instruments, He continually stretches the boundaries of music in all its aspects: rhyth- mic, melodic and harmonic. He has developed a concept of harmony that offers new ‘Ways to create and improvise, giving musicians new Options that go beyond the merely linear use of scales and ‘modes, His profound knovvledge ofthe hundreds of shythms from Brazil is reflected in his music, which ranges from sublime and lyrical to intense and fierce. He also created a new concept. 0 Som da aura (The Sound of the Aura), by which human speech is set to music and treated as amelody,a refined echnique that requires a sharp ‘musical sense of hearing. something Hermeto started 10 develop from birth One of the most remarkable proofs of Hermeto’s total and complete dedication to music happened just a few weeks before I wrote this foreword, when Dona Ilza Pascoal. Hermeto’s wife of 48 years, passed away in Rio after @ battle with pancreatic cancer. The news came to Hermeto 2s bi ‘was about to play’ a concert in Copenhagen. Denmark. with the Greipo. He went on to play the entire concert with all hisenergy. and ended by dedicating a beautiful piano solo to the love of his life. Only then the audience found out \whiat had happened, and as they applauded him in tears, the musicians retumed tothe stage for a 30-minute encore that expressed through music the entire range of human emotions. I came to know Hermeto and his music in the 70s, and for 15 years of my life I worked on a daily basis with one of the ‘most amazing persons | have ever met. I continue to be inspired by his beautiful and challenging compositions. and he remains as an example of true dedication and commitment to music, Below are some of his favorite phrases: 1 do not play Brazilian music. | am Brazilian and ver proud of it, but the only label I will ever accept for my music is Universal” Music holds the world together, as long as we live" “Ifyou don't create in this world, you will be created i the nest Allis Sound, and all Sound is Music” FASEEEHKEKEKKKKKRAEKKEKEKELEKK KEKE KER KeCerrege?HERMETO PASCOAL DISCOGRAPHY (AS A LEADER) 6° Hermto (Baa, ry us of ern Pas ‘ambos (Som da Get Poypram Brazil ie Ee | Ridio MEC)TUNE DESCRIPTIONS Aquela Coisa(That Thing) - Recorded by HP& G on Lagoa da Canoa, Municipio de Arapinaca (Som da Gente, 1984)- This energetic samba was composed in 1980. but did not come to life until 1981, when it became 2 staple item in the Grzpo's concerts. We recorded it on a late night session following an intense performance in So Paulo. The solos changes are simple, but thes ofter countless possibilities for expansion. The short interlude on page 2is challenging for piano and bass, but i is certainly worth the practice Balaio (Basket)- Recorded by Jovino Santos Neto and Richard Boukas on Balaio (Malandro Records, 2001 - This tune was written in 1977, and it has had many versions since then. It was also recorded in a different form, by Hermeto under the name Macia on his solo piano album Por Diferentes Caminbos (Som da Gente, 1989) and it lends itself to be played as a bai. toada or even asa frevo, which was how Hermeto once arranged it (or a saxophone section in the soundtrack of the film Trindade). \tis 2 good example of how Hermeto can chain familiar chord sequences in an unexpected way. It winds its way through many tonalities, creating different harmonic colors with this movement. Bebé (Babs) - Recorded by Airto Moreira on Nattura! Feelings (Skve Records, 1970) and by Hermeto in 1 A lkisica Livre, (released in the US as The Free Mus Hermeto Pascoal, Nerve 1991) this baiao is one of the best known of Hermeto’s compositions, having been covered by many artists (Eumir Deodato, Assad Brothers, and more) Hermeto wrote it on the guitar, inspired by his youngest son Flavio’s first attempts to speak, hence the repeated, stutter: like notes in the melods; Soloists may improvise on the 4 minor chords of the first 4 measures, or over the entire form of the tune. Samba do Belaqua (Belaqua’s Samba) — Composed in 19°9, this samba was named after an imaginary character tiokingly invented by us) who represented a typical malandro street-smart type from Rio, with a white suit, straw hat and a penchant for the easy'life. The chord inges forthe theme have their own syncopated rhthm, ‘which was simplified for the improvisation chorus Campinas - Recorded by Jovino Santos Neto and Richard Boukas on Balaio (Malandro, 2001). Named after a city in Sdo Paulo State, this beautiful ballad was written on a tour bus, as Hemmeto came to play a concert there in 1977 Playing it has always been one of the Grzypo’s favorite \ways to end a dar of intense rehearsals, because of its slowly winding melods: and lyrical harmon changes Capivara (Capybars)- Recorded by Sergio Mendes on “Oceano (Polygram. 1996). this happy samba in 7/4 shows Hermeto’s fluidity in writing so-called odd meters. The version notated here reflects recent changes Hermeto made to the tune, Chorinho pra Ele (Chorinho for Hin) - Recorded by Hermeto on Slaves ass (WEA, 1977)- The chor or cborinha is one of the most interesting styles of the music from Brazil, blending sinuous melodies derived from European dance forms of the 19** century with a synco- pated 2/4 beat, Ithas been swinging in and out of fashion since the early 1900s, and almost all the great composers from Brazil have written chores. This tune is characteristic of Hermeto’s writing. with its sextuplets on the B section and a breath-taking double time rendition on the A section on the out head. This composition is dedicated to Hermeto’s brother Enésio, a virtuoso cavuyeeinbo plaver who passed away in the 70s, Para Eliane Elias (For Eliane Elias) — Hermeto first met Eliane Elias, the Brazilian pianist, when she was an upand coming young pianist in the S%o Paulo jazz scene. This jazzy waltz was composed in 1991, after the two met backstage in a Hermeto performance in New York. Essa Foi Demais (That Was Too Much) — Written in 1981. this funky maracatie features the bass and the left hand of the piano, with the saxophone adding an extra harmonic ‘ist. It was a favorite concert opener for the Grupo. a great \way'to warm up the musicians and the audience, with its solo section building over a pedal Fatima — Recorded by HP&G on do Vito ent Montreux (WEA, 1979). This 1978 choro is named after Hermeto’s eldest daughter presenting a challenging adventure for both melodic and harmonic plavers with its double time Tews LAAADHAHAHHSHEHHHHHOHERHEEAA AEE AEE LEAL LOG 4g wgPO PPPS PAPAAsAsFsFsFsTsssFsIsssssesesesgesvsesssvsvwvvwvwvvvvvvvsvvwrvenrs section where chord changes fall chromatically. returning gracefully tothe beginning Floresta (Forest) — Composed in 1978. this lyrical theme is presented in rubato form. and it picks up time to become a ballad during solos. retuming to a dreamy rubato on the outhead Viva o Gil Evans (Long Live Gil Evans) — Hermeto and Gil Evans had a beautiful musical affinity since the early 70s, ‘when Gil became enchanted with the arrangement of Vel6rio, a composition on Hermeto’s first recording. Sinoe then. they met several times. In 1986 Hermeto wrote and arranged an impromptu theme for Gil’s Orchestra in Italy “This jaze waltz was written in 1987. and we played it for Gil in New York. Ginga Carioca (Carioca Swing! — Recorded by HP&G on Festa dos Deuses (Polygram Brazil, 1992). This: samba places a rhythmically challenging melody over a slow samba groove, The sole changes areequaly interesting (0s Guizos (The Bells) — Recorded by Hermeto on Hermeto (1972) (re-tleased as Brazilian Adventure, Nuse Recon, 1988) with Google Coppola on vocals and a beautiful orchestral arrangement. thisexpressive ballad opens up lke a flower for the soloists Haja Coragdo (Let there be Heart) ~ Another expression of Hermeto's romantic and lyrical writing, This song winds its ‘way ftom A minor to C minor and back, providing many options for the conscious improsiser. Hermeto —Recorded by Hermeto on Hermeto (Buddha, 1972) (re-released as Brazilian Adventure. Muse Records. 1988) and by Jovino Santos Neto and Richard Boukas on Balaio (Malandro. 2001) This charming samba was the title rack of Hermeto’s first record as a leader. and its melody and harmony indicate a feel that is close to bossa nova Juvenal no Grumari —This 7/+ theme. another favorite jam piece for the Grupo was untitled until recently. in spite ofthe fact that we plaved it everr week in our rehearsals, ‘shen Hermeto satin on drums and challenged us al to follow his way of playing IN time without playing THE time, He asked me to name one of my favorite places in Rio, and I suggested Grumari Beach, (Juvenal isone of the nicknames he gave me). Para Miles (To Miles) — Hermeto loves to dedicate themes to his fellow musicians, and when he wrote this waltz in 1989, he thought of Miles right away. Miles had called him for a meeting in March of that vear, but could not make the encounter due to his health. For Hermeto. this song was the way for them to meet in music. Mente Clara (Clear Mind) — Recorded by HP&G on S6 ‘Nao Toca Quem Nao Quer (Som da Gente,)987). this ballad was a vehicle for Hermeto’s flugelhom playing, in & dialogue with Carlos Malta's alto sax. He also wrote a poem, defining his relationship with music which was read over the recording by Ana Maria Malta. Montreux —Recorded by HP&G ono Vivo ent Montreux(WEA Brazil, 1979). We arrived in Montreux to play atthe Festival, and the first thing Hermeto did when he walked into his hotel room was to grab a laundry list, and as he looked outside of his window at Lake Leman, he drew some staf lines on the paper and wrote this tone poem dedicated tothe city: We (Hermeto on flute. mnyself on piano and Itiberé Zwarg on bass) read it at first sight onstage later that evening. This theme is yet another evidence of Hermeto’s powerful intuitive and creative spirit, and of how he lets that spirit guide him in the musical composition process. Misica das Nuvens e do Chio (Song of the Clouds and the Earth) - Recorded by HP&G on Cérebro Magnético (WEABrazil, 1980). In 1980 the Grupo had gone through another change of personnel, as Nené, Cacau and Zabelé left, and drummer Alfredo Dias Gomes joined us right as, wwe started to work on a new studio album. Hermeto wrote this theme as a foada, with 2 different harmonies, then adapted it to 27/4 beat he played on the drums for Alfredo, and we tracked it, Itsoon became another one of Hermeto’s signature classics. Nas Quebradas — Whenever a musician is taking chances rhvthmicall. playing with srncopation as tightrope Leto llwwallker sv sav he is playing as quebnadas. or “in a broken war”. This frevo or fast march does exactly that ‘with its melod:plaving hide-and —seek with te beat. learned it by ear. and it took n hile afterwards to figure out where “1” was, This represents the essence ofthe treso, daredevil lines over a steady 2/4 march, The simple TU-AI-ILV changes on the solo section are a lot of fun to play on, Tupizando - This ast 3/4 has an earthy best, over wihich « simple. vet powerful pentatonic melody was built. It refers tothe Tupi Indian Nation that was so strong when the Portuguese first came to Brazil. and whose language became assimilated into many proper Brazilian names. In this chart I kept Hermeto’s original outhead arrangement because it provides a beautiful contrast to the main theme. Vale da Ribeira (The Ribeira Vallev! - Recorded b 4 Mendes on Oceano (Polygram, 19%) and by Jovino Santos ‘Neto and Richard Boukas on Balaio (Malandro, 2001). Hermeto wrote this baiZo in April 1985. as we were working oon the soundtrack for a documentary deep inside the rainforest in S20 Paulo State. where the Ribeira River is bom. We set up our acoustic instruments on the dirt road a5 AM. and as the sun care up, Hermeto composed the music right away Viva 0 Rio de Janeiro (Hoorals for Rio de Janeiro}- Recorded by the Jovino Santos Neto Quarteto on Caboclo (Liquid City Records. 1997). This carioct style samba was ‘written in 1989, and it soon became another staple item of the Grepo’s performances. When I put together my own Quarteto in Seattle, this tune again captured the hearts of the musicians, and we recorded itwith Hermeto’s original areangement, which is notated on this chart. Tacho (Mixing Pot)- Recorded by Hermeto on Slaves Mass (WEA, 1977), Another 7/4 expansive composition. its short themte opens up many possibilities for improvisation, specially with a half-diminised C# chord that hangs for the last 4 measures I's a great jam tune, reminiscent of Coltrane's /mpressions Bocateando- This samba was written in 1980, when we received the visit of trombonist Bocato and flutist Léa Freire Often Hermeto would welcome guests to our re- brearsal by composing a piece on the spot for them to pias This one was a jot of fun to play and improvise upon. Mata Verde (Green Woods) - Another “indigenous composition of Hermeto’s. it reflects how muuch his music is inspired by nature, The strong melodic line pulls all the other elements together, and the syncopated hits on the B section prepare the way fora solid samba pocket Rebuligo (Liproar) - Recorded by HP &G on sé .\o Zacer Quem Néo Quer (Som da Gente. 1987). This cboro in G minor has al the usual challenges: winding melody line inspired on European forms, plaved over 2/4 choro groove and interesting re-harmonizations. The solo section can be expanded to the players’ preference, and as an option the last A can be done in double time, as we did on our recording of it. Voa, Iza (Fly liza) Even though Henmeto wrote this bluesy evo in the late 70, he renamed it recent after the passing of his wife za He imagined her lying up in the sk, propelled br this powerful groove, san option, it can be played with 2 swing feel A Grande Turné (The Great Tour) - This samba was another one ofthe Graypo's favorite jam themes. From 1982 on, we toured Europe several times. and in many different ways: by bus train, van and airplane. These were always intense experiences for al of us as @ group. living together on the road and performing daily for diverse sludiences around the world. No two concerts were ever alike, as Hetmeto challenged himself and al of us with nev ideas and ways to play his music. Santo Antonio (Saint Anthony) - Recorded by HP&G on Zabumbé-bum-d (WEA Brazil, 1979) This lively baido \was composed as part of a tribute to Hermeto's parents. So Jorge being for his father and Santo antonio for his mother. It depicts a scene in his hometown. where the people would go around the sees, asking for donations to prepare the church-sponsored festival in honor of Saint Anthony, the patron saints of weddings, on June 13, Even though we did not improvise on the original recording, tis tune has @ great form and chord changes that offer a lot of room for creativity. 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AL C004 Ark Gaal) Gull eb Guney — Abmer/é Qwis/By C0 vue7/A, Cmcr/Qe AAVRAAAAAAKRAAAAAAAARAHHRARHKAAHRAEERKEEKEK TTR THAT ATATDG |POOP HOOHHOOHCOOOOOECOOOOOOCHOADAIAHVIISSSSD Bright Baito « =100 Voa, Ilza tr ge 0.5. #02 s0Lts, FeaM: AA 88, take Cook APTee HEAD COT right 2001 by UnvesaEton, Ins Rais Reserved cersABOUT THE EDITOR Jono Samos Neto wasborn in Riode Janeiro, Brazil. He worked asa pianist. Fatst and producer with Hermeto Pascoal from 1977 to 1092, and moved tothe Cited States in 1998 t0 pursue his career asa musician, composer and educator. He hasheen actively involved ina ‘wide varery of azz classical and world music projects since then, For more information about Jovino’s work. vist his we site a ze joven. net cero BAAD ADDADADDMAAAHAAMAMAMAKAKAAHRHRHAKRHAKKEKTKAKEKEKEE