My first contact with the drums was at age of nine years old when a party thrown in my house a with a group of doctors led by my father decided to try to play as joke thing. My interest in the drums occurred instantly. I could not take my eyes from it and then I felt a great desire to play this instrument.
Some years passed and, influenced by my brother, I started to play guitar, but the passion for the drums had not passed, and when I was 13 I borrowed some drums and started making noise. I had, at the time, some classes with a friend and soon after joined a small music school in the neighborhood. At 16 I entered the CLAM, school founded and directed by the Zimbo Trio, where I had classes with Marcelo Sampaio, Ze Eduardo, Chumbinho, Lelo Izar and the great Rubinho Barsotti, a drummer who had on me one of the most striking influences and whose friendship I cherish and enjoy until nowadays.
It was around 1983 that I set up my first rock band with school friends (Colégio Arquidiocesano de São Paulo). I can say that from that moment on I began to study more seriously and also to get interested more and more on the drums, playing not only rock, but also jazz and Brazilian music, specifically the samba and bossa nova . Finishing high school, I was in doubt in choosing which path to take and I ended up choosing to attend college of dentistry rather than pursue music professionally.
During the time I was in college I did not abandoned music. I continued studying drums and piano at CLAM. In 1986 showed up the opportunity to play and record a disc of Secos & Molhados return.
After completing the drum course at CLAM I had classes with Master Dinho Gonçalves, to whom I owe a lot for the great encouragement, patience and his great teachings. After two years of study with Dinho, I joined in his percussion group "Woyeke", which were part of it two drums set and many percussion instruments. We have done some presentations highlighting the drums contest that the musician and educator Flávio Pimenta organized at the time of SESC Pompéia. Soon after I had classes with Zé Eduardo Nazario, studying with him drum solos, jazz independence and Brazilian music. At that time I was running out the college of Dentistry and the music became increasingly strong for me. In may last year at college I met the great bassist Willie Verdaguer, arranger and largely responsible for the success of the "Secos e Molhados" in its first formation. On that occasion, Willie asked me to join the band for a musical that premiered in 1990 at SESC Pompeia, called "Pulomelu a Criação do Mundo", which was composed of thirty actors and more than eight musicians. That was one of my first big challenges in the music, as the play was very difficult, full of odd time signatures, mixed bars and you could not take your eye of the score. After this show, which was three months in theaters, Willie invited me to join his group called Humauaca which culminated in the recording of a CD, two years later, he had the same name as the group. In parallel to this work, I started playing at night: in bars, parties, weddings, also practicing MPB, Jazz and Samba.
In 1992 it was also called by Willie to accompany bluseiro Tony Osanah and later, in 1993, the singer Walter Franco. In 1992 I received the invitation from Rubinho Barsotti and Percio Sapia to teach at CLAM. I believe that this fact was one of the most important things that happened to me, being in contact with Rubinho, Percio Sapia and the whole CLAM family was a great musical learning and also of life.
At this time also I studied with Zé Eduardo Nazario and in 1995 went to study with the great teacher and friend Liliam Carmona. With her I studied the background of: jazzy reading for Big Band, the method "syncopation" and a lot of technique. Throughout the stage where I was teaching at the CLAM (1991 to 1996), I had the opportunity to play with some good groups, artists and musicians, as Grupo Água Marinha, Banda Farinha Seca, Orquestra Heartbreakers, Nouvelle Cuisine, Eduardo and Silvinha Araújo, Renato Consorte and Christianne Neves, who greatly contributed to my musical evolution, as with all they could develop the instrumental side and also the side of "sideman", follow artists, playing a secondary role, playing what the sound prompts, without much musical freedom. All this put me in touch with various musical styles such as rock, funk, Latin music, jazz, samba, bossa nova, maracatu, baião, as a conclusion, Brazilian rhythms in general.
After a year of study and preparation that I did with my friend and great drummer Christiano Rocha, in January 1996, we went to the Drummers Collective in New York, completing the "Advanced Certificate Program." Returning to Brazil I made an application exam to study at the "Berklee College of Music" in Boston and won a scholarship to attend college in 1997. Back to Brazil in 1998 I continued my professional life here, meeting my childhood's friend Marcinho Eiras, working with him in the evening and also instrumental in projects that culminated in the recording of a CD in which I recorded two tracks. That same year, Silvinha Araújo singer was creating a band to new job and the musical director was Celso Pixinga. As a recommendation of the singer Cida Souza and Dudu Araújo, son of Eduardo Araújo, Pixinga went to see me playing and invited me to join the new Silvinha Araujo's band. In the same year, Pixinga invited me to join his instrumental trio which I participate until nowadays. With this work Pixinga recorded a CD titled "Quase Acústico" when I had the opportunity to record all the tracks with two other great musicians Lea Freire and Lis de Carvalho. Since then I have played with the Pixinga, participating in CDs and DVD recordings, workshops and video lessons.
Alongside the instrumental activity, also I work as a "sideman".
In 1999, I was part of Sula's Miranda band; in July of that year did some shows replacing Marquinhos Costa in Roberta's Miranda band and in mid-2000 I replaced the great drummer and my friend Otávio Moraes on the tour "Quatro Estações", Sandy and Junior, having the pleasure of playing with great musicians like Fred Tangari, Ubaldo Versolato, Edson Guideti, Marcelo Elias and Robinho. In late 2000, I joined Luciana's Mello band, daughter of Jair Rodrigues, who released her first work by the recorder Trama. In 2001, I attended the Edvaldo's Santana band a singer who makes a very interesting job fusion of Brazilian rhythms, funk and rock, recording with him a CD, collectanea of São Paulo artists.
In 2001, I was invited by the businessman Decio Carraro to be part of a gafieira band called "Turma da Gafieira", who played every Wednesday at Bar Avenida, presenting a samba repertoire, choro, baião, xote, maxixe and others Brazilian rhythms. In addition to Wednesdays at Bar Avenue, also played every Thursday, Friday and Saturday at Infinito restaurant in the Hotel Meliá in São Paulo, next to great night musicians as Silvio Gomes on the contrabass conductor Juarez Santana on the piano and keyboard Regina Tatit and Magoo on vocals. Continuing in the instrumental area I play with Celso Pixinga, Christianne Neves and I was invited by Mozart Mello to be part of his instrumental trio. I have also often worked with the bands Havana Brazil, Guga Stroeter & Heartbreakers. That same year, I began to record my first solo album with the music production of Celso Pixinga, with the participation of over 20 musicians, among them Pixinga, Mozart Mello, Daniel Alcantara, Victor Alcantara, Ubaldo Versolato, Christianne Neves, Marcelo Elias, Jarbas Barbosa, Edson Guidette, Fred Tangari Silvio Mazzuca, Lis de Carvalho, Pedro Cunha, Max Robert, Maria Diniz, Christiano Rocha, Sizão Machado, Faíska, Marcio Forte, Claudio Machado and Lea Freire.
In the didactic part, I was invited in 2001 to the coordination of the drum area of the Escola de Música e Tecnologia where I also teach personals and specialization classes nowadays. In early 2002 I also assumed the coordination of the Escola Ritmus de Música as an invitation from Mozart Mello and Celso Pixinga.
I'm glad to be able to work with music in a country where the incentive for the arts in general is very small. I believe that here in Brazil, the most versatile musician is the one who has more chances to survive working with music. In the end, it ends up being good because with each musical style we learn something that incorporates the previous knowledge, a process that is part of the growth towards musical maturity.
I would like to thank you for your interest in knowing a little of my life as a professional musician. I wish strength, study, health, money, and that you reach all your musical dreams. I sincerely thank you!