Jardim Abandonado

2007 / Nonesuch

In their seventh album for Nonesuch, Jardim Abandonado, Sérgio and Odair present a selection of pieces from their performance repertoire of the past ten years. The album was nominated for two Latin Grammy Awards, including Best Classical Album, and won in the category of Best Classical Contemporary Composition for Sérgio Assad's Tahhiyya Li Ossoulina. The album pays tribute to Brazilian master Antônio Carlos Jobim, featuring three of his compositions, along with original works by Sérgio Assad, his daughter Clarice Assad, and transcriptions of pieces by Darius Milhaud and Claude Debussy.

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2012

Viva Brazil – Live EP

A live EP by renowned cellist Yo-Yo Ma, featuring Kathryn Stott (piano), Joseph Gramley (percussion), and the Assad Duo. The recording captures both classical and contemporary Brazilian music, interpreted with virtuosity and sensitivity.

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2010

El Caminante – Odair Assad solo

Odair Assad's second solo album, El Caminante, presents a refined contemporary guitar repertoire. It begins with Sonata del Caminante, composed especially for Odair by Leo Brouwer, and includes works by Egberto Gismonti, Roland Dyens, and Kevin Callahan. Recorded with precision and interpretative depth, the album traverses diverse musical languages while highlighting Odair's technical maturity and expressive artistry.

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2004

Live in Brussels – Sérgio & Odair Assad with Fernando Suárez Paz

Recorded live at the Salle du Conservatoire Royal de Bruxelles, this album captures the Assad Duo's energy alongside Argentine violinist Fernando Suárez Paz, known for his collaboration with Astor Piazzolla's Quinteto Nuevo Tango. Critics hailed the album as one of the finest live guitar performances ever recorded, praising the spontaneity and passion of the execution.

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1988

Alma Brasileira

An album dedicated to Brazilian music, exploring the boundaries between classical and popular genres. It includes works by Heitor Villa-Lobos, Hermeto Pascoal, and original compositions by Sérgio Assad, reflecting the richness and complexity of Brazil's musical tradition. According to Sérgio, it's a type of music that defies categorization — 'some call it jazz, others call it avant-garde, but in Brazil we simply call it popular music.'

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