Mario Bakuna Quartet - The Music of Antônio Carlos Jobim:

In 2027, the world celebrates the centenary of Antônio Carlos Jobim - the visionary composer who helped create Bossa Nova and introduced the sound of Brazil to audiences around the world. To mark this historic milestone, internationally acclaimed Brazilian guitarist, vocalist, and composer Mario Bakuna and his band present Jobim 100, a vibrant celebration of the music that transformed Brazilian culture and established Bossa Nova as one of the most influential movements in modern music.
From The Girl from Ipanema and Desafinado to Corcovado and Águas de Março, Jobim’s music became the defining voice of Bossa Nova and one of the most enduring expressions of Brazilian culture. Uniting the rhythmic pulse of samba, the harmonic sophistication of jazz, and a uniquely Brazilian lyricism, his songs transformed the landscape of popular music and continue to captivate audiences around the world. From the beaches of Rio de Janeiro to the world’s greatest concert halls, their beauty, elegance, and emotional depth continue to resonate across generations.
Drawing on more than two decades dedicated to Brazilian music, Mario Bakuna brings a deeply personal perspective to this repertoire. Together with his band, he revisits the timeless sound of Bossa Nova through expressive arrangements, inventive improvisation, and the rich rhythmic language of Brazil, revealing the freshness, sophistication, and vitality that continue to make Jobim's music resonate with audiences worldwide.

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 Antonio Carlos Jobim, Dorival Caymmi, Paulo Moura, and João Donato.Since moving to Europe to deepen his artistic research and expand his horizons, Mario Bakuna has become a prominent figure in the UK’s Brazilian jazz scene and 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 Filó 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, bringing its rhythm, warmth, and sophistication to audiences around the globe.

Press quotes

“Mario Bakuna, a sparkling guitarist, plays with palpable feeling - his virtuosic fluency on the fretboard is controlled and flourishes are perfectly placed. His voice has a texture like heavy cloth”. (Songlines Magazine)

“Mario Bakuna, a man who exudes music. (…) ‘vocals’ doesn’t begin to do him justice: his expressive range and the precision with which he was able to deploy it was truly the band’s fifth instrument.  (…) And he did this while playing guitar with precision and finesse. (…) 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.” (The Whitman Review, Wakefield Jazz)