And so it continued until the interval, each of Hermeto’s band’s numbers with a different twist in instrumentation, the group wowing everyone with their mind-blowing speed and virtuosity. Sandwiched between Hermeto’s band, the hauntingly beautiful melodies of his big band pieces (‘De Cuba Lanchando’ and ‘Piramide’) rang out, while wonderful moments of musical spontaneity from Hermeto illuminated the proceedings. There was so much going on it would be hard to pinpoint the greatest moments, but a gloriously inventive percussion solo from Fabio Pascoal involving some squeaky toys and pandeira, and a wonderful piano solo from André Marques in the last number before the break stand out.

It was a bit disappointing that despite being on stage together the two bands didn’t ever join forces, but the interactions were still fun to watch. Hermeto is a naturally informal and engaging person. Whatever the size of the room, he has the ability to include everyone in the performance – audience and players alike. You could be lured into thinking this wizard-like figure lacks musical finesse when he plays the piano with his hat or sings in a croaky voice, but that is all part of his musical strategy. A non-believer in elitist conventions he revels in rebellious behaviour, creating a party-like atmosphere that relaxes as much as it entertains, belying his incredible skills.

The second half began unconventionally with a bass and voice solo from Itiberê Zwarg before leading into ‘Brasil Universo’ from the big band. The hat continued to do the rounds, and Hermeto soon took it into his own hands to direct the big band during the solos. Like a mischievous imp popping up to throw a spanner in the works, his un-anticipated interventions introduced an element of improvisation even in these more scripted moments, throwing the band and its director a little off kilter. However, it didn’t put off the great soloists of the big band (Henry Lowther and Tori Freestone to name but two) who rose to the challenge.

There was a wonderfully surreal moment when Hermeto’s band played what sounded like traditional forró on steroids. Big band guitarist Stuart Hall performed with style on ‘Menina Ilza’ while Hermeto encouraged us all to sing along with the melody. The excellent big band rhythm section of Mark and Michael Mondesir got a chance to shine too. Then another surprise: the big band became a herd of donkeys, clip-clopping their way through ‘O Som do Sol’ with coconut shells before stylishly rattling off a series of swerving riffs.

An announcement in Portuguese from Hermeto (apparently mis-translated by his interpreter): a surprise was in store for Noel Langley! Invited to ‘take the instrument of his choice’ and join Hermeto in a rendition of Autumn Leaves he picked up Hermeto’s teapot and did a short solo before retiring. Hermeto stopped the band and it became clear Langley was meant to perform on the flugelhorn. “Nice solo on the teapot though!” proclaimed Hermeto. From then on the concert descended into organised chaos. Moments of body percussion and step dancing from Aline Morena were contrasted with more donkey clopping from the big band, the concert culminating in a sing-song for all, which continued as the audience left the auditorium and probably well into the night.

Photo © Divulgação