A self-taught musician, Hermeto Pascoal ascended from his humble upcountry origins to an international acknowledgment still unfair to his musical stature. Developing his ears from an early age at his grandfather's blacksmith shop, Pascoal used to pick up pieces of iron and hit them, trying to create music (not to emulate the harmonics of his father's eight-bass button accordion, as has been spread). This led to an unusual approach to music, where the tones themselves give a stronger conducting motif than chord connection, scales, or modes. His understanding of music as a vital force, emanating organically from everything in Earth, is reminiscent of Kepler's music of the spheres and conducted to eccentric performances and recordings with pigs, kettles, and anything at hand. He has also developed the Sound of the Aura concept, in which music is developed out of people's speech, traffic noise, and out of every possible source of sound. That didn't impede him from conquering the admiration of world-class musicians such as Miles Davis, for whom he recorded as instrumentalist and composer. John McLaughlin, Duke Pearson, Gil Evans, Berlin Symphony, Copenhagen Symphony, and many others played and recorded his compositions. He also recorded with Ron Carter, Alphonso Johnson, Tom Jobim, Cal Tjader, and several others. As a sideman, he recorded with Brazilians Aquilo del Nisso, Luiz Avellar, Maria Bethânia, Fagner, Galo Preto, Eduardo Gudin, Joyce, Edu Lobo, Elis Regina (including a live concert recorded at the Montreux Jazz Fest), Walter Santos, Mauro Senise, Robertinho Silva, Sivuca, Marcio Montarroyos, Taiguara, Sebastião Tapajós, and Geraldo Vandré, to name a few. Down Beat's Howard Mandel, wrote about him "as pan-global a leader as Sun Ra and as surefooted an individualist as Rahsaan Roland Kirk."