The world of music lost a true wizard this weekend. Hermeto Pascoal, the wild and brilliant Brazilian artist called “The Sorcerer of Sounds” and “The Mad Genius,” died at age 89. Fans and stars around the globe are sad, but his tunes will live on forever. Pascoal made sounds from pigs, teapots, and even his own body. He mixed jazz with Brazilian beats in ways no one else could. His death marks the end of a long, crazy ride full of joy and noise.
Pascoal passed away on Saturday in Rio de Janeiro. His family shared the news on Instagram with love and calm. “With serenity and love, we announce that Hermeto Pascoal has passed on to the spiritual realm, surrounded by family and fellow musicians,” they wrote. No one said why he died, but he was at Samaritano Hospital getting care. He leaves behind six kids, 13 grandkids, and ten great-grandkids. He was married twice—first to Ilza da Silva for 46 years until 2000, and later to Aline Morena until 2016.
Born on June 22, 1936, in a poor spot called Olho d’Água das Flores in Alagoas, northeast Brazil, Pascoal grew up tough. His family farmed, but as an albino, the sun hurt his skin. So he stayed inside and learned music from his dad’s accordion. He taught himself—no lessons needed. By 14, he moved to Recife, a busy port town. There, he played on radio shows and got better at piano, flute, and more.
In the 1960s, Pascoal hit big cities like Rio and Sao Paulo. He teamed up with drummer Airto Moreira, who brought him to the US. That’s where he met jazz king Miles Davis. They worked on Davis’s 1971 album “Live-Evil.” Pascoal wrote three songs for it: “Igrejinha,” “Nem Um Talvez,” and “Selim.” Davis called him “one of the most important musicians on the planet” and “the most impressive musician in the world.” That meeting launched Pascoal’s world tour life, going strong into his 80s.
What made Pascoal special? He saw music everywhere. “I was born music; I haven’t done anything without music,” he said last year in a Brazilian paper. He grabbed beer glasses, dolls, teacups, and even live pigs to make sounds. On his 1977 album “Slaves Mass,” he squeezed a piglet for a squeal at the start of a song. The back cover shows him hugging the little guy. He mixed styles like jazz, samba, bossa nova, MPB, chorinho, and forro. No boxes for him—just pure fun and wild ideas.
Pascoal wrote over 2,000 tunes, many with odd rhythms and chords. He arranged hundreds more for stars like Cannonball Adderley, Gil Evans, and Charlie Haden. In 1996-97, he made “Calendário do Som,” a book with a song for every day of the year—even February 29. That way, everyone gets a birthday jam. He won a Latin Grammy in 2019 for “Hermeto Pascoal e Sua Visão Original do Forró,” Best Portuguese Language Roots Album. Last year, “Pra Você, Ilza” got Best Latin Jazz/Jazz Album. It honored his late wife with songs from her last year.
His records are full of magic. Here are some top ones:
- Hermeto (1970): His first solo album, made in New York with Ron Carter, Airto Moreira, and Flora Purim. Tracks like “Coalhada” and “Guizos” show his fresh sound.
- Slaves Mass (1977): Wild and free, with that pig squeal opener. A fan favorite for its bold mix of sounds.
- Zabumbê-bum-á (1979): Full of fun experiments, like using water kettles and toys.
- Ao Vivo Montreux Jazz (1981): Live energy from Switzerland, ranked high by fans.
- Calendário do Som (1999): The birthday book turned album—pure Pascoal creativity.
- The Legendary Improviser (1982): Group jams that capture his improv genius.
- Pra Você, Ilza (2024): A sweet goodbye to his wife, winning big awards.
He played at spots like Montreux Jazz Festival and London’s Barbican. They called him an “iconic Brazilian composer” with over 10,000 works. Even in 2023, at 87, he rocked The Town festival in Sao Paulo rain, using a rubber chicken and kettle.
News of his death spread fast. Tributes poured in from Brazil and beyond.
Brazil’s President Luiz Inácio Lula da Silva posted on X: “Brazilian music and culture owe a great deal to Hermeto Pascoal. His talent and tireless creativity earned him international acclaim and influenced generations of musicians around the world.”
Singer Caetano Veloso shared on Instagram: “Today we bid farewell to a genius. Hermeto Pascoal is one of the highest points in the history of music in Brazil.” He even forgot an old fight they had.
Jazz trumpeter Wynton Marsalis called him an “exalted master” and “a towering central figure” whose work touches every corner of the globe.
Pianist Jovino Santos Neto, who played with him for 15 years, said: “Hermeto is music.” He now keeps Pascoal’s archive and saw how tunes just flowed from him.
Fans online shared stories too. One wrote: “Hermeto Pascoal is a fucking genius!” on Reddit. Another said his music reaches “far into the stratosphere.”
Pascoal’s look—white hair like a lion, big beard—made him stand out. But it was his heart that won people. He said music is sacred, even scribbles on a toilet bowl. From poor farms to jazz halls, he showed anyone can make art from nothing.
His bio “Quebra Tudo — A Arte Livre de Hermeto Pascoal” by Vitor Nuzzi came out last year. It tells his full story. Now, with him gone, his sounds echo louder. Play “Música da Lagoa”—where he made music in a pond with bubbling water. That’s Pascoal: turning life into song.
The Mad Genius leaves a huge mark. Young players will grab teapots and dream big. Rest easy, Hermeto. Your wizardry lives on.
