Imagine bringing together musicians from such diverse backgrounds as the wizard of a thousand instruments Hermeto Pascoal, the post-tropicalist guitar hero Lanny Gordin, the bossanovista Cido Bianchi (former pianist Jongo Trio and Milton Banana Trio), the guitarist Olmir German Stocker (author of The Notebook, hit of the young generation guard) and jazz player Nilson da Matta (bass player who now lives in the USA). This unusual encounter happened, more precisely in 1968. It marks a little known chapter in the history of our instrumental music titled Brazilian Octopus, and resulted in an eponymous album to hear 30s that today is disputed by collectors. "Undoubtedly, the strangest group that emerged in Brazilian music", comments Marcelo Dolabela, in his ABZ dictionary of Brazilian Rock (South Star, 1987).
"At that time, we did not think of money, we just wanted to play. It was a wonderful experience," recalls Cido Bianchi, who is also a conductor and arranger. The Brazilian Octopus was formed in São Paulo in early 1968 on the initiative of Lívio Rangan, the all-powerful event director of Rhodia - a textile company that produced bold show-lives to promote its products. "Lívio was very fond of me. He even said that I was going to become a new Sérgio Mendes," says the São Paulo musician, who was entrusted by Rangan to coordinate the group.
By the way, the Brazilian Octopus was born with an unusual regalia in the music market of the time: a one-year labor contract, which included three months of paid tests. From the first lineup, besides Bianchi (piano and organ), Lanny (guitar) and German (guitar and guitar), also participated Douglas de Oliveira (drums), João Carlos Pegoraro (vibraphone), Carlos Alberto Alcântara (tenor sax and flute) , Cazé (high sax) and Matthias (double bass). At the time, these same musicians recorded an album with the Japanese saxophonist Sadao Watanabe, which was not released in Brazil.
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