An Evening of Stan Getz / JoĆ£o Gilberto performed By Mario Bakuna Band
Mario Bakuna Band invites the audience to celebrate two of the most important artists of all time: the American saxophonist Stan Getz and Brazilian guitarist JoĆ£o Gilberto in a tribute to the iconic album Getz/Gilberto.Getz/Gilberto was recorded in 1963 and is considered the album that popularised bossa nova worldwide and is one of the best-selling jazz records of all time, selling over one million copies. It was widely acclaimed by music critics, received the Grammy Award for Best Jazz Instrumental Album, and also became the first non-American album to win Album of the Year, in 1965....
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An Evening of Stan Getz / JoĆ£o Gilberto performed By Mario Bakuna Band
Mario Bakuna Band invites the audience to celebrate two of the most important artists of all time: the American saxophonist Stan Getz and Brazilian guitarist JoĆ£o Gilberto in a tribute to the iconic album Getz/Gilberto.Getz/Gilberto was recorded in 1963 and is considered the album that popularised bossa nova worldwide and is one of the best-selling jazz records of all time, selling over one million copies. It was widely acclaimed by music critics, received the Grammy Award for Best Jazz Instrumental Album, and also became the first non-American album to win Album of the Year, in 1965.
In an evening full of harmonic richness, Mario Bakuna Band will transport the audience on an incredible journey through one of our most treasured musical pieces.
Mario Bakuna is a Brazilian composer, arranger, vocalist, and guitarist, bringing over 25 years of musical artistry to audiences worldwide, currently based in London, UK. Well known for his deep exploration of traditional Brazilian rhythms, samba, jazz, and bossa nova, Mario captures the spirit of Brazilian swing, blending it with refined jazz colours in both his original compositions and fresh arrangements of works by iconic artists such as Tom Jobim, Dorival Caymmi, Paulo Moura, and JoĆ£o Donato.
Since moving to Europe to deepen his artistic research and expand his horizons, Mario has become a prominent figure in the UKās Brazilian jazz scene ā a key reference for the fusion of Brazilian music and contemporary jazz. His captivating performances have taken him far beyond London, with tours across more than 20 European countries, as well as Brazil, Canada, Madagascar, Egypt, Kazakhstan, Azerbaijan, Kaliningrad, and Taiwan. Over the years, he has built a distinctive international career, enchanting audiences in both intimate jazz clubs and on grand festival stages around the world. From performing for 3,000 people in Azerbaijan and 7,000 in Kaliningrad to achieving a record audience of 150,000 people at the Taichung Jazz Festival in Taiwan, Mario has reached milestones that reflect the universal appeal and emotional depth of his performances.
Driven by a passion for musical exploration, Mario has collaborated with artists including Jean Toussaint, Alain Jean-Marie, Liam Noble, Edmundo Carneiro, Guinga, Cacau Queiroz, Ricardo dos Santos, Daniel Jobim, Nelson Ayres, Robertinho Silva, and FilĆ³ Machado.
His acclaimed albums Where Rio de Janeiro Meets Bahia and Brazilian Landscapes showcase his ability to fuse traditional roots with a contemporary musical sensibility. With sold-out concerts, glowing reviews, and growing international recognition, Mario Bakuna continues to celebrate and expand the language of Brazilian jazz ā bringing its rhythm, warmth, and sophistication to audiences around the globe.
āMario Bakuna, a sparkling guitarist, plays with palpable feeling ā his virtuosic fluency on the fretboard is controlled and flourishes are perfectly placed. His voice has a texture like heavy clothā ā Songlines MagazineāMario Bakuna, a man who exudes music. (ā¦) āvocalsā doesnāt begin to do him justice: his expressive range and the precision with which he was able to deploy it was truly the bandās fifth instrument. (ā¦) And he did this while playing guitar with precision and finesse. (ā¦) his solos were a further source of amazement, his technique somewhere between finger-picking style and classical. His solo introduction to a Baden Powell number made a hash of any attempt at a definition.ā ā The Whitman Review, Wakefield Jazz
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