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Bergamo Jazz, in all its years of history, has rarely visited Brazilian music, with the exceptions of Giberto Gil and Hermeto Pascoal. Maria Pia De Vito, for whom Brazil is one of many musical loves, intends to remedy this by inviting important exponents of a music scene as vast as it is varied, which has more than one point of contact with jazz.

We begin with Joao Bosco, one of the undisputed masters of Brazilian Popular Music, a very fine author and performer, both as a singer and as a guitarist, of considerable thickness. Originally from the state of Minas Gerais, where he was born in 1946, from a Lebanese father, Joao Bosco made the first musical steps towards the end of the sixties: among his educational influences there are African and Caribbean rhythms, jazz, rock’n roll and, certainly not least, bossa-nova. The encounters with the poet Aldir Blanc, with Antnio Carlos Jobim and with Elis Regina, of which he becomes the reference author, will be decisive for his artistic affirmation. It will be Elis Regina who will give Joao Bosco his first fame as a composer, interpreting his “O Bebado and Equilibrist”. The first album in his name, Disco de Bolso, therefore dates back to 1972, followed by an infinite number of others. Among his most famous songs are, in addition to O Bebado and Equilibrista, Pale Mache, Corsario, O Mestre Sala Gos Mares, Kid Cavaquinho, Latin Lover, Jade and Incompatibilidade de Gènios.

In 2017 Joao Bosco received the Latin Recording Academy’s Lifetime Achievement Award.