He learned the accordion from his father and practiced for hours indoors, as, being born with albinism, he was incapable of working in the countryside with the rest of his family.

These albums and the musicians involved (Edu Lobo, Elis Regina, Cesar Camargo Mariano) established widely influential new directions in post-bossa nova Brazilian jazz.

[3] Pascoal initially caught the international public's attention with an appearance on Miles Davis's 1971 album Live-Evil, which featured him on three pieces, which he also composed.

[3] Known as o Bruxo (the Sorcerer), Pascoal often makes music with unconventional objects such as teapots, children's toys, and animals, as well as keyboards, button accordions, melodica, saxophones, guitars, flutes, voices, various brass and folkloric instruments.

[8][9][10][11] He has since returned to the Jabour neighborhood in Bangu, Rio de Janeiro, where he spends much of his time composing, rehearsing and hosting musicians from all over the world.