Eduardo Hopper Gratidao Infinita

If one had to embody Eduardo Hopper with a single word, that word would be “virtuoso”- a term the master musicians he worked with often used in reference to him. His unusual harmonic approaches in compositions and in musical interpretations beguile the ear and instil curiosity in the listener. This talent is only matched by Hopper’s technical skills as an instrumentalist, illustrated especially by his mastery of the acoustic and electric guitars.

As a Brazilian music researcher, he travels through diverse and rich universes of sound. Inspired by the instrumentalists Baden Powell, Hélio Delmiro, Lula Galvão and Guinga on one hand, and Pat Metheny, Wes Montgomery, Bill Evans and Sonny Rollins on the other ; Hopper’s perfectionism becomes a tool, which allows him to work relentlessly until he is sure that every resource at his disposal has been used to express his vision.

Besides being a superb guitar player, he also plays the cavaquinho, the bass, the drums and the piano. He teaches music and is renown as a prolific creator of soundtracks for television programs, as well as music for commercials, etc. Throughout the 21 years of his career, he performed alongside many great names in Brazilian music, such as Francis Hime, Johnny Alf, Zimbo Trio, Dominguinhos, André Mehmari and Mônica Salmaso, among many others.

Born in 1983 in Santo André, a big industrial city, Eduardo Hopper began studying music at the precocious age of 4 years old by learning the guitar. He grew up surrounded by a festive and musical family environment. His determination and dedication also came from his parents, who were farm labourers and left the countryside in order to seek a better life. His first musical references were his father and siblings who played and rehearsed with relatives and friends at family gatherings.

Although he played in gospel music groups, he only began attending music school at the age of 13. Three years later, he was invited to replace his own teacher, thus starting his teaching career. In the meantime, he began composing which allowed him to gain entry to some of Brazil’s most prestigious music schools. Firstly, to Fundação das Artes in São Caetano do Sul, where under his teacher, Renato Santoro’s, guidance, he deepened his knowledge of guitar in popular Brazilian music. At the age of 19, he joined the Conservatório de Tatuí, the Institution supported by Hermeto Pascoal, where he further mastered the guitar with Fernando Correa, who was specialised in teaching Jazz and popular music.

At this point he was already touring professionally accompanying different bands and artists. At the Universidade Livre de Música de São Paulo, while he was guided by master Olmir Stocker, he was invited to join the orchestra Jovem Tom Jobim, at the time conducted by the maestro Roberto Sion. In this orchestra he had the opportunity to play with major names of the Brazilian pop music and contributed to the orchestra’s first album Álbum de Estréia.