Ten Strings, One Voice: Hamilton de Holanda’s Modern Vision for the Bandolim

Brazilian bandolim virtuoso Hamilton de Holanda joins Backstage Bay Area to discuss the evolution of his 10-string instrument, the deep familial roots of his sound, and his upcoming trio performance at SFJAZZ. Full show details and ticket information are available at the end of this feature.

Listen to the full conversation on Backstage Bay Area below.

Hamilton de Holanda: The Architecture of Modern Choro

Hamilton de Holanda speaks about music with the same intimacy others reserve for family: a language of memory, continuity, and deep responsibility. As the preeminent virtuoso of the 10-string bandolim, the Grammy-winning composer has spent three decades redefining the instrument's role, expanding it from the nostalgic melodies of choro into a vessel for global improvisation. Ahead of his upcoming debut at the SFJAZZ Center, de Holanda views the performance as an essential chapter in a lifelong conversation between tradition and the present tense.

A Foundation in Tradition and Family

For de Holanda, music was a constant in the home long before it became a profession. He was raised in a household where instruments were as common as furniture. "My family is musical," he explains. "My father was a guitarist, and my brother was a seven-string guitarist. My grandfather, my son, and my nephew, too. So I have this beautiful tradition in my family.”

This immersion allowed him to internalize melody as a primary language. "I remember that my first instrument before the mandolin was like a toy, an instrument toy with just one scale, a G major scale," he recalls. His formal introduction to the mandolin came as a Christmas gift from his grandfather in 1981, when he was five years old. "I learned to play melody before I could read and write," de Holanda says. "So, I remember my life always with the melody."

The Architecture of the Trio

While de Holanda has earned acclaim in solo and orchestral settings—including, as he characterizes it, a "dream come true" collaboration with Wynton Marsalis and the Jazz at Lincoln Center Orchestra—the trio format remains his most potent setting for real-time exploration. The ensemble features drummer Thiago Rabello and keyboardist Salomão Soares, who often handles bass lines on the Moog simultaneously.

"I think it is perfect for the formation of a musician because, whenever we play, we don't have any conflict areas in the band," de Holanda states. "We can play because we have drums, a keyboard, and a mandolin... so we can play whatever we want." This structural flexibility allows the group to shift its sonic scale instantaneously. "Our era of music is always free," he observes. "We can play together and feel like a big group, or at the same time, like a small group.”

Hamilton de Holanda Trio

Composing Through History and Isolation

De Holanda’s repertoire often bridges the deep grooves of Afro-Brazilian heritage and modern improvisation. Many of his current pieces were composed during the 2020 pandemic, when he wrote a staggering 306 songs. Among them is "Afro Choro," a work that highlights the shared lineage between Brazilian and African traditions.

"With ‘Afro Choro,’ I remember that influence from African rhythms," de Holanda recalls. "I was trying to find a beautiful melody with a good rhythm and beautiful chords that represented the show, but in a way that's more Afro, if possible." He views choro and jazz as "cousins" that share a foundation of freedom and African roots. "In that record, the people can hear the difference and something we have in common between jazz and choro music," he explains.

Modernity Without Deadlines

De Holanda’s creative philosophy rejects novelty for its own sake, focusing instead on the present moment. "If it's modern, by tomorrow it will no longer be modern," he notes. "So the most important thing is to be in the present moment, so that I can make the connection between modernity and tradition."

This balance is evident in the track "01 Byte 10 Cordas," a title that nods to both technology and his custom 10-string instrument. The piece was inspired by his stepson, whom he describes as "a genius in computers and technology," and also draws on the 1966 landmark album Os Afro-sambas. "I’m always searching for melodies that come from that period," he says. "If you listen to Os Afro-sambas and then listen to ‘01 byte 10 Cordas,’ you can hear that feeling I'm talking about."

The SFJAZZ Setting

As he prepares for the Miner Auditorium, de Holanda is focused on how the trio’s sound will interact with the venue’s renowned acoustics. "When I arrive there, I will be thinking about how I can adapt my sound," he shares. "We try to find the most beautiful sound possible in each place."

Audiences can expect a set drawn from his Latin Grammy-winning album Hamilton de Holanda Trio – Live in NYC, alongside brand-new compositions written during his current tour. The performance will showcase the trio’s singular, high-energy propulsion. Regarding drummer Rabello, de Holanda notes, "He is a rhythm machine with lots of swing." His own instrument will bridge the gap as well: "My mandolin is both acoustic and electric," he says. "It makes beautiful sounds... and I can play loudly or softly.”

TICKET INFO

Hamilton de Holanda brings his trio’s expansive, rhythm-driven sound to San Francisco for an evening that highlights choro’s living connection to jazz and Afro-Brazilian traditions. Expect music from his award-winning live album, alongside brand-new compositions shaped by the room and the night.

Show details: Hamilton de Holanda Trio, Friday, January 16, 2026, SFJAZZ Center Miner Auditorium. Showtime 7:30 p.m. Tickets: SFJAZZ.org