Initially, as I had discovered bansuri in India, I started studying hindustani music and the first album of Whisper from the Orient adopted the material coming from the classical ragas approaching it in a more personal way and softening some of the improvisation codes. But it was essential for me to keep the intention of this music asfar as possible through its intimate and deeply internalizing nature.

Over the years, I have used the bansuri in various contexts of world music, sometimes going far away from Indian borders. All cultures have flutes, but playing it different ways arises technical problems as the variety of finger control represents an obstacle to the spontaneity required by improvisation. So I decided to play only bansuri especially as it allows a considerable flexibility and I have decided to approach other musical cultures with the bansuri. This is how, with succeeding encounters, the second album of Whisper from the Orient is born and broadened its horizons for a trip from the Maghreb to China.

This is truly a special feature of our times : throughout the world, musicians seek to express both the uniqueness of their own culture and their need to open up to diversity. Whisper from the Orient gathers those I had the chance to meet and strives to express the right balance between these two trends.