top of page
Luciano Maia LISBOA 2022 _marcoshermes-30.jpg




Think of an artist who, as a teenager, already showed what he came for. A guy who fell in love with the accordion at the age of 8 and since then has become not only a virtuoso musician, but a composer and researcher of the most accurate of his instrument.  

In an early trajectory of success, LUCIANO MAIA in two decades recorded 16 albums, produced dozens of other of the greatest artists in his region – southern Brazil – and shared the stage and the studio with immortal stars from his country, such as Hermeto Pascoal, Dominguinhos, Yamandu Costa, Renato Borghetti, and many others who have always been his references on the instrument, such as the Frenchman of Italian heritage Richard Galliano.

Behold, LUCIANO, at the age of 40 – born in 1980 – felt that it was time to leave Brazil and reside in Portugal, in order to expand his musical boundaries and get even closer to planetary jazz, since he always placed his instrument as the protagonist. in every repertoire he set out to play. And there are songs and rhythms!  This includes all the most expressive Brazilians – from xote to choro, from samba to “forró” – and foreigners – from tango to funk. Thanks to his personal and jazzy touch, he imprints on everything he touches a sauce that comes from his regional training, but his whole life aiming at the universal.  It is not by chance that they never left his radar artists who have always been transcending musical boundaries, such as Tom Jobim, Egberto Gismonti, Edu Lobo and another accordion ace, Sivuca.

What LUCIANO MAIA increasingly proposes is to promote the accordion as an instrument that is worthy of an orchestra, hence having adopted the name “accordion” to define his current work – a mixture of “accordion”, a popular name that the instrument gained in the Brazil, with “symphonic”, that is, the sound of an orchestra with many musicians. To arrive at this concept, he says that he researched how his instrument was born. Well, the accordion is the adaptation of many other instruments on pallets, since the primitive cheng, and, initially, what was just a children's toy started to be used in concerts, family celebrations and masses, a kind of chest organ, which became popular for its mobility, and, as can be seen, an extremely complex and complete sound machine, capable of literally filling a large hall – even a church. From sacred and familiar environments, he went to stages around the world and adapted to the most diverse cultures. Sometimes as an adjunct to a larger ensemble, but in his case, much more than that, a magical device capable of serving any musical genre in the world. 

Being LUCIANO MAIA, a Brazilian musician, the result of an extremely diverse and rich culture, his “jazz sanfônico” has a very special flavor, capable of bewitching the audience at the first hearing. A goldsmith who values each rhythmic cell of the songs he interprets, looking for the perfect phrasing to lead them. It's hearing to believe.



Journalist, musical researcher, writer and Master in Letters from PUC in Rio de Janeiro.

bottom of page