Brazilian composer Hermeto Pascoal, known as ‘The Sorcerer’, dies aged 89

SAO PAULO: Brazilian musician Hermeto Pascoal, who played - and even boxed - with Miles Davis and was known as “The Sorcerer” for coaxing tunes from everything from a live piglet to water-filled kettles, died on Saturday aged 89.

According to a message shared on his social media pages, Pascoal “passed surrounded by family and fellow musicians.”

Pascoal became an instantly recognizable figure for jazz fans around the world with his mane of white hair and thick beard.

Critics lauded his creativity as a composer and his virtuoso playing of the keyboards, guitar and saxophones.

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Born on June 22, 1936, in Alagoas state in Brazil’s poor northeast, he was spared work in the fields as an albino child and instead spent hours learning how to play his father’s accordion and listening to birdsong.

His family moved to the port city of Recife when Pascoal was 14, where he developed as a musician before setting off for faraway Rio de Janeiro and Sao Paulo.

He recorded with musicians who became some of Brazil’s greatest performers, including singer Elis Regina. Percussionist Airto Moreira took Pascoal on tour to the United States where he met Davis, already a jazz superstar.

Before inviting him to play on his “Live Evil” album in 1970, Davis asked Pascoal to join him in his personal boxing ring and, in the Brazilian’s telling of the encounter, got hit hard in the face.

“That’s when he started calling me the Mad Albino,” Pascoal recounted in an interview. Davis is also reported to have called the Brazilian “the most impressive musician in the world” and recorded three songs written by Pascoal on “Live Evil.”

On his own 1977 album “Slaves Mass,” Pascoal squeezed a piglet to make it squeal for the opening of a track, and a photo of him cuddling the animal appeared on its back cover.

Other bizarre instruments he experimented with included children’s toys and cow horns.

Pascoal objected to the classification of his work as “jazz,” and his compositions owe as much to Brazilian musical genres such as the fast-flowing chorinho and samba.

“When people hear my music they find it very hard to pinpoint and to pigeonhole it,” he told Jazzwise magazine in 2022. “When they think I am doing one thing I am already doing something else… It’s very liquid.”

Pascoal wrote, recorded and led groups of musicians well into his 80s. In a show in London in 2022, he encouraged a group of young performers to push the boundaries of their playing before launching into his own furious solos.