About me
I come from a non-musical family, but music found me early. When I was twelve, my father used to buy me CDs along with his daily newspaper. Those discs—mostly blues—became my secret world. I would go to school with headphones on, listening intently, using sound as a shelter from real life. Long before I understood harmony or technique, listening was already a form of survival. Music wasn’t a goal yet; it was a place to escape, to breathe, and to feel understood.
I began playing guitar during high school, and that curiosity slowly turned into commitment. What started instinctively grew into a lifelong dedication to study. From my early training in music theory and jazz guitar in Italy to advanced academic studies in jazz trombone and arranging in the Netherlands, my path has been shaped by deep listening and mentorship. Over the years, I studied privately and in masterclasses with artists such as J. Hoogendijk, Kenny Werner, Hal Crook, Erica von Kleist Partyka, Ravi Coltrane, Darcy James Argue, Mike Abene, Conrad Herwig, Steve Henderson, Ben Wendel, Peter Bernstein, Billy Hart Moses, and many others who profoundly influenced my musical thinking.
My academic journey includes a Bachelor of Music in Jazz Guitar in Milan, a Bachelor of Music in Jazz Trombone at the Royal Conservatoire in The Hague, an artistic research residency at the University of New Orleans, and a Master of Music in Jazz Trombone and Arranging at Codarts University of the Arts in Rotterdam. Along the way, studying music never stopped being more than education—it remained a way to make sense of the world. Listening, learning, and playing became not just a profession, but something that quite literally saved me, and continues to do so every day.
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I did not grow up in a musical family. Music arrived quietly, almost by accident. When I was twelve, my father used to bring home CDs together with his newspaper. They were mostly blues records. I didn’t know what the blues were, but I knew how they felt. Every morning I walked to school with headphones on, letting those sounds carry me somewhere else. Listening became a shelter, a private room where the noise of real life could not reach me. Before I ever touched an instrument, music had already taught me how to survive.
I began playing guitar in high school, following that same instinct to listen deeply, to disappear inside sound. What started as an escape slowly turned into a calling. Study followed necessity. Music theory, harmony, rhythm—these were not abstractions, but tools to understand the language that had already saved me. From my early studies in Italy to conservatories and universities across Europe and the United States, my path unfolded through listening, curiosity, and the generosity of mentors. I studied privately and in masterclasses with musicians who shaped my way of hearing, thinking, and trusting the music.
Over time, the guitar led me toward the trombone, and performance toward composition and arranging. Academic milestones—a Bachelor’s degree in Jazz Guitar in Milan, a Bachelor’s degree in Jazz Trombone in The Hague, an artistic research residency in New Orleans, and a Master’s degree in Jazz Trombone and Arranging in Rotterdam—marked the journey, but never defined its meaning. What mattered was always the same: listening as an act of care, music as a place to return to.
Even now, study remains a form of refuge. To listen closely is still how I make sense of the world, how I stay alive inside it. Music did not simply become my profession—it became the space where I learned how to be.
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