I spent several years "experimenting myself into music, trying to be focused on whatever was sounding interesting to me, no matter if it was coming from very different countries or cultures, trying as much as possible to approach the playing tecnique of a huge number of intruments.
I always felt that each "musical thought" requires a specific instrument to be used in order to be really touchy and impressive; as if an harp, a flute, a piano, a cello, as well as the most mysterious instrument played in the most hidden corner of the planet would represent the key to unlock a cage full of feelings and emotions.

In 1994 I started a collaboration with the "italian linguistic atlas" as a supervisor of the restoring of the "canzoniere popolare in lingua d'oc".
In 1996 Albino Montisci asked me to be involved in his "dietro l'anima" new cd recording sessions and european tour playing an electric harp and various woodwinds and flutes (tin and low whistles, recorder, queña, bali flute...)
From that moment on I spent most of my time as a session-man in recording sessions as well as during live performances all over Europe.
In February 2000 I became a former member of 24 LIFE, a project founded with the producer/arranger Pino Carella. 24 LIFE is a band in which we experiment new shapes of electronic pop-rock influenced by ethnic music.
During spring 2002 I met Bruno Rose Genero, one of the few very well known and respected european djembee players. His innovative and experimental approach to african rhytmic patterns fashinates me so much that we soon started to perform togheter. In 2006 we realized togheter "Yiri-Kan", Bruno's second solo cd, in which I'm involved as artistic producer and co-composer.
During my collaboration with Bruno I met some of the most important african musicians (Sekuba Bambino Djabaté, Arona Ndjaye Rose, Tafa Sisse...) learning so much from them and improving the rhytmich aspect of my compositions.

This is the period in which I felt growing inside me the consciousness that composing has become the primary task of my "being a musician".

In 2003 I met in London Nunzio Lombardo, dancer and choreographer performing in West End musicals as Cats and West Side Story. We started to write togheter Skybirds (a musical which is a work in progress yet).
I found myself writing music mostly for ballets, theatre plays, movie soundtracks and for everything that involves music and body movements.
In September 2004 the Contemporary Music Festival of Grado commissioned me the symphonic poem "Diladalmare" performed by the Concordia Chamber Orchestra conducted by Giorgio Tortora.
In November 2004 I asked Giulia Staccioli, founder and choreographer of Kataklò Athletic Dance Theatre, to realize "Livingston beyond the Limits" a project trying to describe the human aim to fly. Livingston showed up in October 2005.
In May 2006 the choreographer Katina Genero asked me to compose some music for "Olaré", the new production of Kaidara Dance Company.