Musician. Composer. Guitarist. One of the best MPB and Jazz guitarists plays classical and electric guitar. Born in the neighborhood of Bangu, west of Rio de Janeiro, he was raised in Italy by his father, the “immense” guitarist IRIO de PAULA, a musician residing in the country since the 70s. Robertinho De Paula has played in several European countries (Germany – France – Greece – Spain – Netherlands) and Argentina He has played in several festivals “Festival de Jazz de Castelbuono”, “Ariano Irpino Jazz”, “Seravezza Jazz”, “Teggiano Jazz”, “Padova Jazz Festival Centro Porsche” “Jazz Pantelleria Festival” “GuitarMaster” (Germany), Ecojazz Festival “(Italy), “Peperoncino Jazz Festival” (Italy) “Jazz in Sud de France” (France) “Roma Jazz Festival” (Italy) “San Marino Jazz” (Republic de San Marino) “San Martin Jazz Festival” (Italy) “Beat Onto Jazz Festival” Italy “Etno Jazz Festival” Italy the others… In 2004 he released his first solo CD entitled “Bate Papo”, along with his father Irio De Paula being voted one of the best albums of 2004 in Italy, touring several cities in Italy: Verona, Torino, Ná poles, Palermo, Acona Cevignano di Friuli, Borgo Valsugana, San Donà di Piave, Vilminore di Scalve, Bolzano and Venice. He released solo albums in Europe, especially “Cores” (RDP Quartet – Italy) “Vera Cruz – Vertere and RDP String Quartet” (Italy); “The Seed of Love, jazz guitar, Brazilian style – RDP” (Italy) “Chameleon Jazz – RDP Jazz Quartet” (Italy) “ITBRIT – RDP” (Italy) “Live In Berlin – RDP ” (Italy); “Bebo Best and Our Soul Sings – Special Guest RDP “Atras Da Porta” Nadia Cancila – RDP (Italy) “Roda De Bossa” Nossa Alma Sings with RDP (Italy) “Natural” RDP (Brazil) ) “Bate Papo” Irio De Paula and Robertinho De Paula (Italy).
Robertinho De Paula has played with musicians such as: Larry Coryell – Martin Taylor – Paul Wertico (Pat Metheny Group)- Dave King – Ivan Lins – Fabrizio Bosso – Massimo Manzi – Vito Di Modugno – Seu jorge – Soweto Kinsh Robertinho Silva
2025 | MAY (solo) and SEPTEMBER (power 4tet ft. LAURENCE COTTLE!)
Stanley Jordan | Jazz
Stanley Jordan | Jazz Discovermusic2018-The10Bestguitarists
Stanley Jordan | Jazz WickhamFestival
Stanley Jordan | Jazz
Stanley Jordan | Jazz
Stanley Jordan | Jazz
Stanley Jordan | Jazz -wickham-festival
Stanley Jordan | Jazz
Stanley Jordan | Jazz
Stanley Jordan | Jazz
Stanley Jordan | Jazz
Line up:
Stanley Jordan | Piano, guitar and voice
Miles Davis, Quincy Jones, Dizzy Gillespie, Benny Carter, Kenny Rogers, Phil Collins Laurence Cottle | Bass
Black Sabbath, Eric Clapton, Seal, Mike Oldfield, Tom Jones Gabor Dornyei | Drums
Tony Lakatos, Gary Willis, Trilok Gurtu, Charlie Mariano, Till Brönner Kornel Horvath | Percussions
Al Di Meola, Mike Stern, Scott Henderson, Victor Bailey, Trilok Gurtu
Stanley Jordan is a true chameleon, characterised by his openness, imagination and versatility. The guitarist, known for his special, eight-fingered ‘tapping’ technique, began his career in 1985, and since then his daring adaptations of classical works, his discoveries of pop hits and his ultramodern improvisations that push the boundaries of jazz have fascinated his audiences time and again. One of his partners in the concert will be Chilean bass guitarist Christian Galvez, who has been featured in the bands of Billy Cobham, Stanley Clarke and Dennis Chambers, and is also a member of the Masters of Bass group along with Gary Willis, Dominique di Piazza and Hadrien Feraud. Because of the virtuoso musician’s gracefulness and melodic playing, many think that he actually plays on a guitar equipped with bass strings.
The group is completed by two Hungarian percussionists from the tHUNder Duo, who play 21st century chamber music using influences from North and South American, African and European music cultures. Gábor Dörnyei is one of the most sought-after drummers in Europe, whether as a soloist, session musician or as a teacher. His 2017 film DRUMEO elevated him among such excellent players as Peter Erskine, Bernard Purdie and Billy Cobham. Kossuth prize-winner Kornél Horváth is well-known to Hungarian audiences, but also enjoys great popularity abroad: in 2016, readers of the British magazine Rhythm voted him ‘Percussionist of the year’. We can confidently call him one of the most original Hungarian performing artists, who has a unique stick technique, and whose playing excitingly combines Hungarian musical roots with influences from jazz, Indian, Arab, African and Latin American music.
His last project “Stanley Jordan plays Jimi Hendrix“, is his tribute to Jimi for the 50th aniversary of his death, which occurs in this 2020. A 50th aniversary is a very important celebration and if you want to celebrate the legend of Jimi, there’s no better opportunity and there will be no better one for many years.
It’s something unique. Stanley, considered one of the 10 best living jazz guitarists, playing with an incredible two hands tapping technique, plays the music of one of the best guitarists ever.
Every Stanley’s concert is sold out. He’s also available in solo and in various formations as well.
FULL VIDEO OF STANLEY JORDAN LIVE @ MUPA BUDAPEST
SOME REVIEW
Stanley Jordan in the 12th position in the uDiscover Music “The 50 Best Jazz Guitarists Of All Time“: https://www.udiscovermusic.com/stories/best-jazz-guitarists/
“The hour-and-a-half set was a virtuosic tour de force, as Jordan’s sets so often are. But it also was a musically exploratory, emotionally dense and rhythmically energizing roller-coaster ride through a group of tunes ranging from Ravel’s “Bolero” to Lennon & McCartney’s “Eleanor Rigby.”” Don Heckman, Los Angeles Times
“His piano-like approach to the guitar produces melodies, chords and bass lines simultaneously; his musicality is exemplary; his creativity, a constant. There’re few guitarists like Stanley Jordan; few have pushed the instrument’s boundaries in the same way.” Alejandro R. Chang, Cubaness
“Su estilo es sorprendente. Nada que ver con Ingwie Malmsteen, John McLaughlin o algunos de los otros monstruos de la guitarra que en el mundo han sido y son. Y su producción lo demuestra. Sin afeites ni riff deslumbrantes. Sin uso de efectos electrónicos, todo su trabajo se sostuvo en una digitación limpia, en la técnica conocida tapping — trabajo sobre el mástil a «puros trastes» — , sobre arpegios, pizzicato, «rasgueo» y bajo en síncopa.” Jorge Sariol, Alma Mater
