Flutist María Toro has been leading a project spanning several countries and continents for a decade, coupling the cultures that she incorporates into her repertoire in a path of endless musical exploration. Initiating her studies in flute at the age of eight, she obtained a higher degree in her hometown, A Coruña, and made the leap to Madrid, where she combined her jazz studies at the Escuela Creativa with her interests in flamenco. In 2010 she began her international journey by integrating the international flamenco company of Zurich Flamencos on Route. In 2011 she settled in New York, where she recorded her first work, A contraluz, focused on flamenco jazz, with a band that includes, among others, Jean Michel Pilc on piano. She also shares stages with musicians like Richard Bona or Jack Dejohnette.
In 2014 she changed the US for Brazil, where she became part of the effervescent music scene in Rio de Janeiro. Accompanied by musicians like Hermeto Pascoal, she recorded her second job, Araras in 2016. The following year she returned to Madrid, where she maintains a stable band and performs numerous international tours. In 2020 she records Fume, her third and latest album with a unique distinctiveness.
María Toro incorporates the different contexts through which she has passed into her music, with continuous learning that is reflected in her work. In the last decade, she has worked in Switzerland, the United States and Brazil, places where she has resided. In Switzerland she composed her first album (A Contraluz, 2014, reissued by Jazz Activist in 2017), which she took to several European cities and recorded finally In New York. In Brazil she composed and recorded Araras (Jazz Activist, 2018) while presenting her first album. And now, in Spain, she did the same with the new album, Fume (Jazz Activist, 2020) while strolling the repertoires of the previous albums on tours around the world.
With an idea that is born in flamenco and grows in jazz, Toro has spent years preparing the way towards a language of her own. Her permanent physical journey has allowed her to become infected with musicians' premises without abandoning her roots, which provides accents and textures to her solo work. Either with prominent European artists, from the New York jazz scene or with leading figures of Brazilian music, the project has a common denominator: the unmistakable individuality of Maria. Endowed with a melodic personality distinguishable from the very first note, Toro has managed to combine her skills as a composer with a high level of arrangements and production. All of it carries her signature, regardless of her companions, making clear a truth so topical as is overwhelming: music does not know borders. If it is transported through Toro, it becomes universal.