Bina Coquet — born Vinicio Dutra Coquet in Rio de Janeiro in 1973, and raised in São Paulo from before his first birthday — picked up his first guitar at age ten and turned professional twenty years later, in 1994. His first recording, Som da Demo, was a 1995 SESC session credited to "Vinicio Bina Quinteto," working in Brazilian popular styles years before gypsy jazz entered his vocabulary.

The project that first put him on record in a lasting way was a duo with organist Ehud Asherie, billed simply as Bina & Ehud. Asherie — an Israeli-born, New York-raised pianist who studied at Smalls Jazz Club under the late Frank Hewitt and has since been called "a master of swing and stride" by The New Yorker, recording and performing with players like Harry Allen, Peter Bernstein, and Clark Terry — gave the partnership real jazz-scene weight. Together they cut two albums for the São Paulo label Urban Jungle Records, Samba De Gringo (2005) and Samba De Gringo 2 (2007), blending jazz-funk organ trio instincts with samba and MPB repertoire (João Donato, Marcos Valle, Jobim, Luiz Gonzaga) alongside originals credited to both men. Samba De Gringo 2 also brought in the well-known Brazilian singer Céu as a guest vocalist, and a track from the first album, "Hudi's Blue," was later licensed to the German label Agogo Records for a 2011 split 7" single.

Around 2009, Coquet heard a recording by the Brazilian guitarist Garoto that reminded him of Django Reinhardt, and the discovery sent him back to the source. He began serious study of gypsy jazz in 2010, buying his first manouche-style guitar while living in New York around 2010–2011 and developing an early version of the project under the working name "Batuque Manouche." The genre became his main focus for the rest of the decade: he is described in Brazilian and international coverage as the leading gypsy jazz guitarist in the country, and reportedly the first Brazilian musician to take the style to specialized manouche festivals abroad. That work came together on his self-titled 2016 album, Bina Coquet, released on Hot Club Records — the Norwegian label run by guitarist Jon Larsen and dedicated specifically to gypsy jazz — pairing seven originals with five Brazilian standards reworked in Django's two-finger picking idiom.

The years that followed took him onto the international manouche circuit: the Django Amsterdam Gypsy Jazz Festival (2017), Django Northwest Fest (2018), and Django Fest Mill Valley in California (2019), plus dates in Belgium, France, Canada, Paraguay, and Uruguay. Closer to home, he credits the Piracicaba jazz manouche festival and the group Hot Club de Piracicaba — the first Brazilian act to land a track on Jon Larsen's Hot Club Records — with helping build Brazil's still-small gypsy jazz scene. Coquet recorded "Sweet Georgia Brown" with Hot Club de Piracicaba and the American guitarist Richard Smith (a University of Southern California Thornton School of Music faculty member and respected manouche player) for the various-artists compilation Django Festival 11: The Best of Gypsy Jazz Today (2018). He has also worked repeatedly with the Romanian-born, São Paulo-based violinist Florian Cristea — a classically trained player from a family of Roma musicians who joined the São Paulo State Symphony Orchestra and has lived in Brazil for two decades — documented on the studio album Conexão (2021) and the live album Live In USA (2023), the latter drawn partly from their 2019 Django Fest Mill Valley performance.

Most recently, Coquet has pivoted back toward Brazilian roots music without leaving jazz manouche fully behind: the EP Como Uma Onda (2023), the forró-and-Brazilian-rhythms album Psicotrópico (December 2024, recorded with a backing project of the same name alongside Tiago Mecatti), a hand-lathe-cut, one-of-one 7" single called "Forró Psico" (2024, on the Brazilian boutique label Reco-raros), and the 19-track Bina Coquet e Falsos Baianos (released December 2025), which folds gypsy-jazz technique into forró, baião, and other regional Brazilian forms. Spotify's artist page also lists several further 2025–2026 singles and albums (including Sonhando Com Peru, Manhã de Carnaval, Anos 90 Solo, and Até Quando?) that this profile has not independently verified track-by-track against a second source; they are noted here rather than detailed, in keeping with this profile's standard of not asserting more than can be confirmed.

Coquet's signature move is running Django Reinhardt's gypsy jazz vocabulary — the two-finger picking attack, the rhythmic "la pompe" comping, the minor-key harmonic language — through the rhythms of his own country: samba, choro, frevo, baião, and forró all surface inside otherwise orthodox manouche arrangements, a combination reviewers and festival programmers single out as distinctly his own. That fusion took shape gradually rather than all at once: his earlier work with Ehud Asherie sat in a samba-jazz-funk lane closer to the Hammond organ combo tradition, and it was a chance encounter with a Garoto recording around 2009 that pulled him toward Django specifically. Since then his working circle has been telling — a New York stride-and-swing pianist, a classically trained Romanian violinist steeped in Roma folk music, an American manouche specialist teaching at a U.S. conservatory — a cross-section that places him inside the actual international gypsy jazz scene rather than adjacent to it. His most recent records lean further back into home ground, using the same technical vocabulary to reinterpret forró and baião rather than French-style swing standards.