Bossa Nova Sessions

From £420

Step into the vibrant world of Bossa Nova with Mario, a Brazilian-born composer, arranger, singer, and guitarist now based in London. A standout figure in the UK’s Brazilian jazz scene, Mario’s performances are a hypnotic fusion of Bossa Nova, Samba, Latin Jazz, and jazz classics—always delivered with style, rhythm, and a touch of Brazilian soul.

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About

Mario’s musical journey spans continents and cultures, with his albums Where Rio de Janeiro Meets Bahia and Brazilian Landscapes taking center stage in over 20 European countries, as well as Brazil, Canada, Madagascar, Egypt, Kazakhstan, and Azerbaijan. Whether he’s performing in an intimate venue or on a grand stage, Mario consistently draws packed houses and rave reviews. His blend of technical mastery and heartfelt delivery brings warmth and depth to every performance, creating moments audiences remember long after the final note.

Back in London, Mario is a favourite among the city’s elite venues, from luxury members’ clubs and five-star hotels to exclusive private events. Whether he’s performing solo with just a guitar or leading a full band, Mario tailors every set to suit the occasion. His ability to adapt—from weddings and celebrity soirées to international corporate galas—makes him a go-to artist for sophisticated, feel-good entertainment.

Authentic Brazilian Bossa Nova and Jazz fusion
International touring artist with global acclaim
Versatile setups: solo, duo, trio, quartet, or quintet
Ideal for weddings, private parties, and corporate events
Sophisticated, high-energy performances tailored to your event

Audio

LIVE ENTERTAINMENT · Bossa nova Sessions

Mario, 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.

SonglinesMagazine

Setlist

Introducing Bossa Nova Sessions, a stylish live act celebrating the golden age of Brazilian music. Their set blends iconic Bossa Nova and Samba gems like “The Girl from Ipanema,” “Chega de Saudade,” and “Mas, Que Nada!” with Latin jazz favorites such as “Blue Bossa” and “Speak No Evil.” Timeless, groovy, and effortlessly cool.

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500 Miles High – Chick Corea
A Felicidade – Tom Jobim
A Flor e a Rosa – Herivelto Martins
A Flor e o Espinho – Nelson Cavaquinho
A Rã – João Donato
A Vem Morena – Luiz Gonzaga
Agnus Sei – João Bosco
Água de Beber – Tom Jobim
Aqui, Oh – Toninho Horta
Argumento – Paulinho da Viola
Autumn Leaves – Joseph Kosma and Jacques Prévert
Batendo a Porta – João Nogueira
Batida Diferente – Durval Ferreira and Maurício Einhorn
Beiral – Djavan
Berimbau – Baden Powell and Vinicius de Moraes
Blue Bossa – Kenny Dorham
Boa Noite – Djavan
Canto de Ossanha – Baden Powell and Vinicius de Moraes
Casa Forte – Edu Lobo
Chega de Saudade – João Gilberto
Chuvas de Verão – Fernando Lobo
Consolação – Baden Powell and Vinicius de Moraes
Corcovado – João Gilberto
Deixa – Baden Powell and Vinicius de Moraes
Desafinado – João Gilberto
Disfarça e Vem – Marcos Valle
Doralice – Dorival Caymmi
Ela é Carioca – Tom Jobim
É Preciso Perdoar – Alcyvando Luz and Carlos Coquejo
É Proibido Cochilar – Trio Nordestino
Estate – Bruno Martino
Estamos Aí – Durval Ferreira and Mauricio Einhorn
Etc – Caetano Veloso
Faceira – Ary Barroso
Favela – Tom Jobim
Fica Mal com Deus – Geraldo Vandré
Fotografia – Tom Jobim
Get Out of Town – Cole Porter
Girl from Ipanema – Tom Jobim
Imbola Bola – Djavan
Impressions – Coltrane
Incompatibilidade de Gênios – João Bosco
Influência do Jazz – Carlos Lyra
Inútil Paisagem – Tom Jobim
Maçã do Rosto – Djavan
Maracangalha – Dorival Caymmi
Maricotinha – Dorival Caymmi
Mas, Que Nada! – Jorge Ben Jor
Me Deixa em Paz – Alcyvando Luz
Melancia – Rique Pantoja
Mercador de Siri – Dori Caymmi
Modinha – Tom Jobim
Moonlight in Vermont – Karl Suessdorf
Na Cadência do Samba – Ataulfo Alves
Night and Day – Cole Porter
Palhaçada – Miltinho
Para Raio – Djavan
Plantio de Amor – Dominguinhos
Ponto de Fusão – Cláudio Bertrami
Pra Dizer Adeus – Edu Lobo
Preta à Porter de Tafetá – João Bosco
Quizás, Quizás, Quizás – Orlando Farrés
Samba da Minha Terra – Dorival Caymmi
Samba de Uma Nota Só – Tom Jobim
São Salvador – Dorival Caymmi
Saudade Fez um Samba – Carlos Lyra
Se Acaso Você Chegasse – Felisberto Martins and Lupcínio Rodrigues
Shadow of Your Smile – Johnny Mandel and Paul Webster
Só Danço Samba – Tom Jobim
Speak No Evil – Wayne Shorter
Summertime – George Gershwin
Tem Boi na Linha – Djavan
Tin Tin por Tin Tin – Geraldo Jacques and Haroldo Barbosa
Tive Razão – Seu Jorge
Vem Morena – Luiz Gonzaga
Vivo Sonhando – Tom Jobim
Você Vai Ver – Tom Jobim
Voce – Roberto Menescal
Wave – Tom Jobim

Performance times

Solo (acoustic guitar and vocals)

2 X 45 minutes set

Solo (acoustic guitar and vocals)

3 X 45 minutes set

Duo (acoustic guitar and vocals + percussion or saxophone)

2 X 45 minutes set

Duo (acoustic guitar and vocals + percussion or saxophone)

3 X 45 minutes set

Trio (acoustic guitar and vocals + bass + drums)

2 X 45 minutes set

Trio (acoustic guitar and vocals + bass + drums)

3 X 45 minutes set

Quartet (acoustic guitar and vocals + bass + saxophone + drums)

2 X 45 minutes set

Quartet (acoustic guitar and vocals + bass + saxophone + drums)

3 X 45 minutes set

Quintet (acoustic guitar and vocals + bass + saxophone + drums + percussion)

2 X 45 minutes set

Quintet (acoustic guitar and vocals + bass + saxophone + drums + percussion)

3 X 45 minutes set

Requirements

Required by the act

Parking
Electricity
Soft Drinks
Hot Food

Stage Dimensions

PA System shall be provided for events of more than 100 attendees.

Provided by the act

Public Liability Insurance
PAT tested equipment

Additional Provisions

PA for events with 100 attendees or fewer is provided at no additional cost.

Reviews

Mario, 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, 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