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Toni Mora Toni Mora

Toni Mora was born in Madrid (Spain) where he began his musical studies at the young age of 10 learning classical guitar at the Reina Sofía Conservatory in Madrid. Few years later he begins to study Jazz guitar with a private teacher from his town. In 2004 he receives a scolarship to study in Holland, where he completed a 4 years Bachelor Program in Jazz Guitar Performance and Teaching at the Conservatory of Rotterdam (CODARTS) obtaining a grade of 9.5. He had the chance to participate in Masterclasess with some of the greatest musicians in the Jazz World like Kurt Rosenwinkel, John Scofield, Richard Bona, Mike Stern, Jonathan Kreisberg, Jeff Ballard, etc. During those years he has worked with many different projects and performed with musicians such as Hans Van Osterhout, Miguel Rodriguez, Marc Cuevas, Tomás Merlo, Ander García, Gianni Gagliardi, Paco Perera, Santi Colomer, David Gonzalez, Juan Galiardo, Manuel Perfumo, Arturo Serra, Tito Alcedo , Pepa Niebla, Jimmy Weinstein, Jose Manuel León, David León, Tuur Moens, Sotirys Dnouvas in Clubs and Festivals in Holland, Spain, France, Luxembourg and Slovenia including the North sea Jazz Festival where he played with the Bobby Sanabria's Big Band. Toni Mora has also participated in several albums as a sideman such as the Lovro Ravbar ´s album “Rush Hour”, Kim Joonghyuk “Time Remembered” and Maria Cavaes “My Self” where he also worked as Composer and Arranger

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Quick fingers, a warm sound, strong songs and refreshing creativity - the debut of the young Spaniard Mora on Unit prepares pleasure all along the line. Mora's sound concept is based on his role models like Kurt Rosenwinkel or Jonathan Kreisberg. You could almost think it was the New York influence, but the Spanish-born Spaniard has lived in Brussels since 2014. The eleven own compositions are guitar vehicles and make every guitar fool's heart beat faster. Starting with Mora's flair for courageous solo introductions - many of which can be found here - to his virtuoso solos. The songs are mysterious and complex, like “Get Used to It”: Mora's fast- paced guitar arpeggios are supported by accents of the band before the troupe deftly slows down the tempo for the B-section

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