Music has woven through my life since childhood, echoing in the rhythms I drummed with friends on the streets of Salvador da Bahia, my hometown in Brazil. It was here that the pulse of Brazilian life imprinted itself on my soul. Later, the saxophone and flute entered my world, gifts of discovery through jazz and the rich traditions of Brazilian music, such as Samba, Forró, Choro, among many others. These sounds became my companions, guiding me toward a deeper understanding of rhythm, melody, and expression.

 

In my hometown, I had the opportunity to study with the great tenor saxophonist Vandy Harris (AACM Chicago), to whom I am deeply grateful for all the wisdom, love, and inspiration. I’ve also had the chance to play with (and learn from) many great drummers, such as Dom Lula Nascimento (Victor Assis Brasil), Bahian legend Ivan Huol, and my first percussion mentor, composer and saxophonist Mestre Bira Reis. While studying composition under Prof. Wellington Gomes, PhD, at the Federal University of Bahia, a scholarship allowed me to study jazz in Germany. I felt called to remain there, immersing myself in formal training under many jazz mentors and in classical flute under Kirill Mikhailov. Each of them helped shape my voice as a musician. During my studies, I had the opportunity to perform in ensembles and workshops with greats such as Marc Copland, Frank Möbus, and others. Over time, the clarinet family became a new language I learned to speak, adding depth to my musical expression and adapting to the diverse demands of my craft.

 

Relocating to Berlin marked the next chapter, where I found myself drawn to collaborations with local artists and performing as a reed player in theater musicals across Germany. I had the joy of composing the music for the theater production Ein Spiel Namens Mut, directed by Nigerian director and actor Michael Ojake. The piece premiered at the prestigious Recklinghausen Festival for Theater. Alongside my performances, I became deeply invested in music education, teaching saxophone, flute, clarinet, and jazz theory, as well as leading Brazilian percussion workshops. These workshops allowed me to share the knowledge I had gained from master percussionists from Brazil and Haiti, blending cultures through rhythm.

 

Teaching has also been a vital part of my journey, beginning with an artistic and pedagogical residency at the renowned Klosterschule Roßleben. Since 2013, I have called the Staatliche Musikschule Spandau in Berlin my professional home, guiding woodwind ensembles and conducting percussion workshops for students of all ages. One of my most rewarding experiences was arranging a piece for the school’s 75th anniversary—a work crafted for a large ensemble that brought together teachers and students. This unique formation included a string section, woodwind and brass sections, classical and Brazilian percussion, Turkish baglamas, acoustic guitars, children’s and adult choirs, and a rock band, merging diverse musical voices into a single celebration.

 

Since 2018, I have focused more on my own artistic pursuits, composing and arranging for ensembles spanning chamber music, jazz big bands, and large mixed groups. Yet, collaboration remains essential to me, and I continue to work with artists from all backgrounds, promoting intercultural projects that honor my roots while exploring new horizons.

 

Political Engagement

I focus on raising awareness about critical topics such as combating bias within the community, unfair pay for jazz musicians, and promoting more equitable practices among concert promoters. I am a member of the Deutsche Jazzunion, IG Jazz Berlin, and the Ver.di Syndicate.