Fabio started to play flute when he was young. During the conservatory years he began to experiment with improvisation, at first in a jazz context than in a musical landscape without borders; for him improvisation is the best tool that allows you to get in touch with the moment, with the situation, listening deeply what is happening outside and inside you while you’re creating music.
He looks for a picture of the flute with no cliche exploring the sound textures, extending the possibilities with live electronics, synthesizer and pedal effects, with a focus on different kind of delays, harmonizers and reverbs.
Being attracted by different musical approaches and ideas, he studied North-Indian, Japanese and Persian music, also through the practicing of bansuri (the Indian bamboo flute), dizi, hulusi (two different kinds of Chinese bamboo flutes), duduk (Armenian oboe made of apricot wood), fujara (a big overtone flute from Slovak), khaen (a mouth organ from Laos and Thailand) and some other wind instruments.
Since 2007 he has started to collaborate with Markus Stockhausen, playing with him in several festivals in Italy and Germany. Stockhausen produced also his first album “Vìreo” recorded by Walter Quintus and released by the the German label Aktivraum and features in his second an album, “The Shore” released by A Simple Lunch, recorded in collaboration with the percussion player Marco Zanotti. With Zanotti and the oud (and plucked string instruments) player Peppe Frana he’s working on electroacoustic improvised music, with influences from psychedelic and jazz-rock.
He works, also, with the Norwegian guitarist Geir Sundstøl, a pedal steel specialist, developing a drifting, multiform and changing soundscape.
Furthermore he collaborated with Kudsi Erguner, Fabrizio Ottaviucci, Enzo Pietropaoli, Cristiano De Andrè and Vinicio Capossela.
In 2013 he creates the group Ground to Sea Sound Collective working on site specific concerts and multimedia performances.
In his work he often introduces field recording, in a harmonic way, meaning that different kind of recorded sounds can originate chords or rhythmical patterns he can play with.
He’s interested in creating concerts made with specific sound of the place to find a relation with the land, to build a bridge made of sound linking his landscape with an other one and creating a sincere dialogue, a true exchange of emotions, informations, knowledge, through music is possible and it’s one of the most powerful way to do it.
To do this he records specific sounds of the place, preferring the hidden, the less obvious ones, with several microphones, like standard, stereo, contact microphones or hydrophones to catch sound under the water surface.