There’s a certain magic in percussion that doesn’t shout for attention yet changes the shape of the music entirely. Rogerio Boccato has that magic. Across Quatro, Vã Revelação, and Bastille Day, his playing is a study in subtle power—textures and pulses that guide the music without crowding it.
On Quatro, recorded in New York in 2019 and released the following year, Boccato’s percussion provides a supple frame for both instrumental explorations and Magos Herrera’s vocals. Whether supporting Chano Domínguez’s flamenco-jazz piano or Antonio Sánchez’s driving drums, he adds layers of rhythm that feel both organic and intentional. His touch is often light, but it’s never casual—every accent lands with purpose, shaping the song’s ebb and flow.
In Vã Revelação, the Brazilian influence in Boccato’s playing comes to the forefront. Working alongside Bruna Black’s vocals and Vitor Gonçalves’s harmonically rich keyboard and accordion work, his percussion leans into samba, bossa nova, and other Afro-Brazilian grooves. Rather than simply keeping time, he paints with rhythm—shakers, brushes, and hand percussion all used to build an atmosphere that feels lived-in and authentic.
Then there’s Bastille Day, a more intimate setting with Magos Herrera, Dan Tepfer, and Hamilton Berry. Here, Boccato plays with space as much as sound. Each stroke, whether a soft cymbal wash or a muted hand-drum hit, serves as a quiet conversation with the other instruments. In this context, his percussion becomes part of the emotional storytelling, underlining the piece’s sense of reflection and quiet strength.
Across these projects, Boccato proves that percussion can be as much about listening as playing. His rhythmic craftsmanship lies in knowing when to move the music forward and when to simply let it breathe—making him an indispensable part of the Green Flash sound.