Brazilian Octopus

Brazilian Octopus was a Brazilian samba-psych band that released a 1969 self-titled album on Fermata. The band featured ex-Sambrasa Trio/Quarteto Nôvo pianist-flutist Hermeto Pascoal, who gained international renown as a solo artist and bandleader.

Members: Hermeto Pascoal (flute), Lanny Gordin (guitar), Aparecido Bianchi (piano, organ), Carlos Alberto de Alcântara Pereira (flute, saxophone), Douglas de Oliveira (drums), Joao Carlos Pegoraro (vibraphone), Nilson Carlos Ruiz Matta (bass), Alemão (guitars)

Background

Brazilian Octopus formed in São Paulo in early 1968 when Rhodia events director Lívio Rangan asked pianist Aparecido “Cido” Bianchi to assemble an octet for the textile company’s Momento 68 fashion revue. Rangan gave the musicians yearlong contracts with three months of paid group rehearsals. Bianchi previously played piano with Jongo Trio and Milton Banana Trio.

The early stage lineup comprised bassist Matias Matos, drummer Douglas de Oliveira, vibraphonist João Carlos Pegoraro, and guitarist Olmir “Alemão” Stocker. Trumpeter Waldir Arouca de Barros and saxophonists José Ferreira “Casé” Godinho Filho and Carlos Alberto Alcântara joined Bianchi to complete the octet. Stocker wrote “O Caderninho,” which Erasmo Carlos recorded for a 1967 album. Casé previously played alto saxophone in the orchestra of Sylvio Mazzuca.

Brazilian Octopus played live for Momento 68 under musical director Rogério Duprat. The revue paired the group with singers Gilberto Gil, Caetano Veloso, and Eliana Pittman. Rhodia presented the show in Rio de Janeiro and Lisbon ahead of the August Fenit engagement in São Paulo. The stage octet also recorded Sadao Meets Brazilian Friends with Japanese saxophonist Sadao Watanabe at a July 15, 1968 session in São Paulo. Takt issued the album in Japan under Watanabe’s name.

After the revue, Casé cleared out for Hermeto Pascoal, the pianist-flutist on the 1967 Quarteto Novo album. Bassist Nilson da Matta succeeded Matos, while guitarist Lanny Gordin joined the lineup for the Fermata recording. Gordin and Pascoal played together at Stardust, a São Paulo nightclub run by Gordin’s father. Rangan proposed an album for Brazilian Octopus and asked Stocker to contact songwriters.

Discography:

• Brazilian Octopus (1969)

Sources

• Carlos Calado, “A estranha saga do Brazilian Octopus,” 2000. Interviews with Bianchi, Pascoal, Stocker, and Alcântara cover Rangan’s commission, the contracts, personnel changes, and the album proposal. (CliqueMusic)
• Fernando L. Barros, Casé: Como Toca Esse Rapaz, chapter 21. The biographer identifies the stage octet, describes the Rhodia engagement, and accounts for Casé’s departure. (Casé archive)
• Sadao Watanabe, Sadao Meets Brazilian Friends discography entry. Watanabe’s official site gives the July 15 session date, eight accompanying musicians, and November 1968 Japanese release. (Sadao Watanabe)
• Contemporary Momento 68 billing. The 1968 newspaper listing names Casé, Matos, and trumpeter Valdir among the performers. (Brazilian National Library)
• Érika Francisca dos Santos, study of Momento 68. Research based on contemporary Manchete issues establishes the Rio, Lisbon, and São Paulo sequence. (UNILA)
• Brazilian Octopus, Fermata FB 257. The record catalogue verifies the later LP personnel and its 1969 issue. (IMMuB)