My first interest in music came from the Catholic Church. The sound of the liturgical organs and choirs caught my attention. In my childhood, I and my brother joined a children's choir - music became part of my routine. My brother was interested in learning keyboards, and his teacher was the organist who accompanied the choir in which we sang.

 

​I first sat in front of the instrument with pure curiosity. I read some of the stuff that my brother studied in his keyboard lessons, trying to learn by myself. My insistence and the time spent in our small keyboards were greater than my brother's. Sometime later, I learned to play a traditional Christmas song by ear.

 

Since then, I developed my skills, getting some more hints from the teacher that my brother had abandoned. I gradually obtained some progress in keyboards with a great dose of observation. The experience as a listener also improved - I listened to all kinds of popular music on the radio and became interested in erudite music. I watched some concerts by the Symphonic Orchestra of Campinas (São Paulo) and listen to the classical works by Beethoven, Mozart, Choppin, Strauss, Tchaikovsky, Vivaldi, Haydn, Hendel, Verdi, etc. ​

 

I was superficially introduced to the Beatles music and other contemporaries at school, but nothing related to rock captured my attention until I turned 16. For a brief period (about 1 year and a half), I formally studied piano. The absence of a piano at home, my immaturity, and unattractive didactics made me give up on moving forward with music. In high school, I had an unusual contact with Led Zeppelin music, through their second album ("Led Zeppelin II", 1969). It shook my life. Consciously, I decided to look for everything that reminded me of that sound and how powerful it was. "Are You Experienced" by Jimi Hendrix Experience, and a Deep Purple compilation were two other remarkable albums in my formation as a rocker. ​

 

I had a friend who was a real rocker. We tried to finish some compositions, but nothing concrete happened. Just before I started college, I had my first serious experience with a band, in a teenage pop-rock group. It was a complete disaster - I was dissatisfied with the result, and I had broken a borrowed keyboards. When I went to college, I looked to join a band as a way to make new friends. I left my hometown (Campinas, SP) to study in another town (Lorena, SP). I found some guys who knew and appreciated all that stuff I was discovering and who needed a keyboardist. My bandmate at that time, Nenê Foroni, was impressed that I already knew Lynyrd Skynyrd when we first met (lol). Throughout my graduation in Chemical Engineering at the University of São Paulo (2002 - 2007), I played with the band Bloody Mary. We played classic rock, tributes from classic and non-conventional bands from the 1960s, 1970s, and 1980s mainly. To play with those guys - Nenê Foroni, Zemy Bretas, Luiz Augusto Boldrin, Diego Pereira, among others - was groundbreaking for me. They helped me to understand what actually is to be a band member, and how to evolve the audience with good music and good stage performance.

 

My first experience as a composer in a band was with Massahara, a heavy rock band from São Paulo, SP. I got involved with them when they were stopping to be a group dedicated to the tributes of heavy rock icons of the early 70s. I collaborated in the arrangements of their own songs and contributed with new compositions, that would become part of the only album the group recorded during its career. The recording of Massahara's album was my first experience in a professional recording studio, and also my first contact with vintage keyboards like Hammond organ, Fender Rhodes electric piano, and monophonic synthesizers. The album was recorded in 2010 and released in 2011. This occasion was especially remarkable for me - after that, I would like to record everything that would come to my mind. The possibilities of obtaining a musical plenitude (in performance, sound, overall concept) in a studio matched my perfectionism. Even though I liked (and I still appreciate, obviously) to be on a stage, I understood that the studio was my habitat. From there, in the following years, there were many great opportunities to be in the studio and to record with partners from different places.

 

I moved to Rio de Janeiro in 2009, and in the following years, I formed (more or less simultaneously) two progressive rock bands, that currently obtained a good reputation among fans of the style - Caravela Escarlate and Arcpelago. The visibility achieved by these bands generated invitations to join in relevant musical projects, such as to be part of the latest lineup of the legendary seventies psychedelic rock act Módulo 1000, to play on important occasions with Sérgio Hinds (former guitarist from renowned band O Terço), as well as join the band of lead guitarist Luiz Zamith. In 2018, my band Caravela Escarlate signed a contract with the Norwegian label Karisma Records to produce three albums, including worldwide distribution of our second album. We received many positive reviews in specialized media around the world. This was my introduction to the international prog/rock scene. At the end of 2019, I began a prolific partnership with the Italian guitarist and composer C. Hill, which led to the formation of a multinational collaborative project, Blue Rumble, whose single debut took place in 2020, the year I started working massively as a session man for bands, composers, and producers around the world.