Uakti (band)
| Company type | Musical ensemble |
|---|---|
| Industry | Music |
| Founded | 1978 |
| Founder | Marco Antônio Guimarães |
| Headquarters | Brazil |
| Products | Music albums, live performances |
Uakti (pronounced WAHK-chee) was an instrumental ensemble from Brazil, consisting of Marco Antônio Guimarães, Artur Andrés Ribeiro, Paulo Sérgio Santos, and Décio Ramos. The band was distinguished by their use of bespoke instruments, all handcrafted by the members themselves.
The name
The name of the group is inspired by a legend from the Tucano indigenous people of South America. According to the myth, Uakti was a figure whose body was perforated with holes that produced mesmerizing sounds when wind passed through them. After his passing, palm trees sprouted at his burial site, and the tribe fashioned flutes from these palms that emitted similarly enchanting tones.
History
Marco Antônio Guimarães, the group’s leader, pursued music studies at Universidade Federal da Bahia under the mentorship of Walter Smetak, which sparked his interest in instrument creation. He performed as a cellist with symphony orchestras in São Paulo and Minas Gerais while simultaneously crafting instruments from materials such as PVC, wood, and metal. In 1978, Guimarães founded Uakti by bringing together musicians from the Orquestra Sinfônica de Belo Horizonte to perform on these unique instruments. He took on the role of principal composer and arranger, with creative input from all band members.
Their initial recording appeared on the soundtrack of the 1979 film Cabaré Mineiro, composed by Tavinho Moura. This connection introduced Uakti to the Clube da Esquina movement, leading to their participation in Milton Nascimento’s 1980 album Sentinela. Their first album, Uakti - Oficina Instrumental (1981), capitalized on their growing recognition. Following cellist Cláudio Luz’s departure, guitarist Bento Menezes joined until 1984 when they released Tudo e Todas as Coisas, signaling a move away from conventional instrumentation.
From 1981 through 1987, Uakti established a strong presence within Brazil and embarked on tours abroad, including performances in Spain. They collaborated on Milton Nascimento’s Ânima and contributed to The Manhattan Transfer’s 1987 album Brazil. While performing in the United States, Paul Simon discovered them and invited Uakti to participate in his 1989 release The Rhythm of the Saints. During this era, composer Philip Glass also took notice and signed them to his Point Music label for five albums. Their fifth release, MAPA (1992), paid tribute to Marco Antonio Pena Araújo.
With increasing international acclaim, Uakti expanded their tours to include Japan and Europe. The dance theatre company Grupo Corpo from Minas Gerais commissioned original compositions by Guimarães—such as A lenda, Bach, I Ching, and 21—which were featured across various Uakti records throughout the 1990s.
In 1993, Philip Glass composed Águas da Amazônia for Grupo Corpo and selected Uakti to perform it; Guimarães arranged the piece for their distinctive instruments—marking the first occasion that Glass’s work was adapted by another composer. This recording was released in 1999 through Point Music. Later, Glass invited Uakti to collaborate on his Orion project during the pre-Olympic festivities in Athens in 2004.
In 1994, Uakti participated in Stewart Copeland’s international tour titled "Stewart Copeland and the Rhythmatists," joining forces with an array of global musicians including Les Percussions de Guinée and Vinx.
Beginning in 1998, Uakti shifted their emphasis from original works toward reinterpretations of classical compositions and Brazilian popular music. They contributed to Eliana Caffé's 1998 film Kenoma soundtrack featuring pieces by Heitor Villa-Lobos; recorded an album alongside Minas Gerais choir Tabinha in 2000; released the classical compilation Clássicos in 2002; and explored Brazilian motifs with 2005’s Oiapok XUI, which included variations on Tom Jobim’s Águas de Março.
Throughout their career, Uakti collaborated extensively with prominent artists such as Milton Nascimento, Paul Simon, The Manhattan Transfer, Ney Matogrosso, Maria Bethânia, and Zélia Duncan. They also took part in thematic productions like Dança das Marés, directed by Ivaldo Bertazzo, and Ihú - Todos os Sons, which incorporated indigenous themes adapted by Marlui Miranda. Their composition "Trilobita" was featured during the closing credits of the Rush in Rio DVD.
Instruments
The signature sound of the ensemble is largely shaped by the original instruments designed by Marco Antônio Guimarães. Among the essential instruments are:
Pans
Constructed from PVC tubes of different lengths, these pans are arranged side by side and played using rubber mallets or hands. Each tube length corresponds to a specific pitch, allowing for tuning that supports melodies or harmonies. Two variations exist: the large pan, featuring bent tubing to produce bass tones, and the shorter inclined pan, which handles the primary melodic lines.
Marimbas
Uakti's marimbas belong to the idiophone family, with keys struck by mallets made of rubber or felt, resembling instruments such as xylophones or vibraphones. A distinctive characteristic is that the keys are positioned above two adjustable resonator boxes, enabling intricate chord progressions and melodic sequences. The group uses two main types:
- Marimba d'Angelim – crafted from Angelim wood, a material commonly used in construction, which imparts a raw, earthy sound due to its inconsistent density.
- Glass marimba – features keys made from glass, which deliver a more vibrant resonance compared to wooden keys.
String instruments with bows
Played by Guimarães, these string instruments draw inspiration from the cello and viola da gamba:
- Iarra – resembling a cello, this instrument has two sets of strings that are bowed simultaneously.
- Chori Smetano – originally devised by Walter Smetak, this instrument includes a resonator shaped like a head and produces sounds that evoke both laughter and weeping. Guimarães adapted it to cello size to facilitate playability.
- Torre (Tower) – composed of a large PVC tube with strings stretched along its length; it requires two performers—one rotates the tube while the other uses a double-rod bow to generate chords and harmonic textures. This instrument provides harmonic support and is notable in live performances for its rich overtones and distinctive playing technique.
Drums
Membranophone instruments play a crucial role in Uakti's sonic palette, particularly the trilobyte, which consists of 10 tuned PVC tubes topped with drumheads. Two players face one another holding the instrument and strike it using fingers, sticks, or palms to produce rapid melodic patterns.
Traditional instruments
The ensemble also incorporates conventional instruments such as various drums including atabaques, floor toms, and tablas—the latter being traditional Indian percussion drums. Occasionally, they integrate string instruments like violins or pianos, often employing unconventional playing methods such as using drumsticks.
Flutes are among the most frequently featured traditional instruments, performed by Artur Andrés Ribeiro. These flutes can be played using a Chinese mouthpiece, which includes a membrane that creates a reed-like timbre, enriching their unique sound character.
Discography
- Uakti - Oficina Instrumental (1981)
- Uakti 2 (1982)
- Tudo e Todas as Coisas (1984)
- Mapa (1989)
- I Ching (1993)
- 21 (1996)
- Trilobyte (1997)
- Águas da Amazônia (1999) (composed by Philip Glass)
- Mulungu do Cerrado (2001) (featuring Tabinha)
- Clássicos (2003)
- Uakti (DVD release, 2003)
- Oiapok Xui (2005)
- Blindness - Soundtrack (2008)
- Beatles (2012)
External links
- Official website – Information on the group's background, updates, and images of instruments and members
- Complete discography