To this he decided to devote himself tenaciously and relentlessly. This modus operandi led him early on to make his first classical music performances and concerts with more experienced and mature musicians after only a few years of study.
His encounter with jazz music came through listening to Charlie Parker, John Coltrane and Dexter Gordon, his early idols. He tries his hand at early experiences and the study of jazz improvisation.
Meanwhile, he accrues countless experiences in Big Band as first alto saxophone and in jazz bands, combos, pop rock and symphonic rhythm orchestras, performing in concerts, events, festivals, reviews, theaters and television.
He has performed at Grey cat, Vico Jazz Festival, Pomigliano Jazz, Toscana Jazz, Napoli Jazz Winter, Pozzuoli Jazz, Jazz It Fest, Barga Jazz,Lucca Jazz, Argo Jazz Festival, Teatro Augusteo in Naples, Teatro Verdi in Salerno, Benevento Città spettacolo etc. to name a few.
He graduated in Jazz Music from the Conservatory of Naples with honors and then tackled the study of piano and music education, his parallel passion. He began an intense live activity with his own quartet and simultaneously teaching in music schools, which led him to give lessons to dozens of students.
Saxophone, Functional Harmony, Ear Training, Complementary Piano, and Jazz Improvisation Techniques are the subjects he decided to teach.
Considering the study and practice of music a concrete and effective possibility of human improvement, suitable for anyone, professional and non-professional musicians alike, he seizes the opportunity, from here on, to try his hand at alternative studies on music education, studying, for example, the psychology of teaching, a study of functional posturology to prevent neck and back tension in the saxophonist. He began a study of harmonic singing with Trang Hang Quai.
He feels decisive in his teaching,to have students develop the ability to listen to others,while acting on themselves. In a contemporary relationship/action that produces at the same time, a listening on oneself, and on others.
So that musical concepts can form the musician in a band, according to the individual role and preparation. Simulating a mode typical to that which took place in the endless jam sessions of the’50 years in New York.
All without the aid of written scores.
His teaching system involves the use of written scores only after developing skills suitable for improvisation.
He attaches great importance to the development of the ear and rhythmic perception.
In the meantime, he switched to tenor saxophone, tackling more modern improvisational styles such as those of Bob Berg, Bob Mintzer, Michael Brecker, Joe Henderson and Jerry Bergonzi of the latter, studying all didactic concepts; he also attended several workshops with Dave Liebman, Dick Oatts, Bob Mintzer and many others.
He began an in-depth study of Northwest African rhythms and experimented with their application in his compositions. These pieces are dedicated to the desperate journeys of migrants from Africa to Europe.
He assembles a group of musicians called Revolution Ensemble to play these latest compositions.
In this music one can hear the ancient and the modern using African percussionists, with live traditional instruments, along with synthesizers.
Meanwhile, he encountered George Garzone’s Triadic Chromatich Approach and immediately fell in love with it. He received his master’s degree with highest honors in Sax Jazz from the Naples
Conservatory of Music with a research thesis on contemporary improvisational languages, entitled:
The Evolution of John Coltrane’s Freethinking in the Teaching of Dave Liebman and George Garzone.
In his performances and in the recording studio,he also began to use the soprano saxophone and transverse flute.
To further his study of TCA he studies assiduously with George Garzone, whose meeting represents a turning point in his artistic journey: he is now discovering the true meaning of improvisation in jazz music.
He founds the Carditology Jazz Trio, consisting of double bass, saxophone and drums, in which he performs pieces composed specifically for this formation, incorporating the concepts and teachings he has received in recent years.
At the same time he began a teaching project to integrate and develop the directions learned, creating a teaching model that would lead to the overcoming of tonal duality, gradually toward music free from traditional patterns.
He is currently in the recording studio to record his latest compositions.