BIOGRAPHY
I play double-bass but I mostly prefer composing. I mean, I think that my compositions are more interesting than my playing! My "bio" now. I am Italian, born in Roma (1956). In the first '70s I began to play with some friends, including Massimo Urbani, Roberto Gatto, Ettore Fioravanti. Then I have studied the double-bass and the basic principles of harmony under the direction of Bruno Tommaso. In the autumn '75 I began to play with the Folk Magic Band (17 musicians including Nicola Stilo, Giancarlo Maurino, Sandro Satta among others) that gave me the opportunity to cut, for the first time in my life, a record and a song that I composed, and also to perform in a Jazz Festival (Pescara Jazz Festival, July 1976). Until 1980 I have been sideman and made arrangements for Italian artists (Francesco De Gregori, Mimmo Locasciulli, Sergio Caputo). I also played with jazz combos, including swing. From 1978 to 1981 I have been the bassist of the Roman New Orleans Jazz Band and I played in a trio with Francesco Forti and Michele Ascolese. At the beginning of the '80s I have began an intensive study of antique and folk musics and of the harmony as well. Then I came back to jazz and began to play with the trio of Mario Donatone. In the '90s I have been the bassist of the jazz Big Band of the Scuola Popolare di Musica di Testaccio (Rome) and I developed my compositions within combos formed with musicians of the Big Band. 
I currently live in Paris where I play with the trio of the young Italian pianist, Alberto Pibiri, I participate to the activities of the Association PavéJazz (www.myspace.com/pavejazz) and, in Autumn 2005, I have founded the group Sextet Machine. Since Autumn 2006 I have restarted studying composition and arrangement techniques with Christophe Dal Sasso.

INFLUENCES
Charles Mingus, Frank Zappa, Gil Evans, Herbie Hancock, Bill Evans, Miles Davis, Wayne Shorter, Duke Ellington, Jazz Messengers, Bob Mintzer, Steely Dan, Antonio Carlos Jobim, Toninho Horta, Milton Nascimento, Egberto Gismonti, Chico Buarque, Caetano Veloso. All these artists (and many many others) have a more or less strong influence on my compositions. Charles Mingus, Scott La Faro, Ron Carter, Paul Chambers, Ray Brown, Dave Holland, Niels Pedersen, Charlie Haden, Buster Williams, Miroslav Vitous, John Patitucci, Marco Panascia (and many others) are my favorite double-bass players.


MY ALBUM: SOUTHERN AVENUE PROJECT
Southern Avenue Project, published on February 2008 by Cristal Records/Abeille Musique is my first album as composer, arranger and leader. You can listen to some excerpts here.
The Southern Avenue is an imaginary road linking Paris to Rome in my mind because all my compositions have been composed over the last few years during my travels between these two towns. The characteristics of the album are the sound of the wind instruments, to which the vibraphone is added in some tunes, the structure of the compositions that departed from the usual 32 bars and the equilibrium between what was written out and what was to be improvised. The music of this album reflects my own taste, which is deeply rooted in the music of the late Sixties and early Seventies, and also my subsequent experience.
The album has been recorded in June 2007 in the Riff Raff Jazf studio (Trevignano near Rome). The musicians who have participated to this adventure are: Andrea Romani (flute), Julien Alour (trumpet), Fidel Fourneyron (trombone), Giovanni Ceccarelli (piano), Julien Jolly (drums), with Nicola Stilo (flute) and Maurizio Urbani (soprano saxophone) as guest soloists on the title-track.
This album has been premiered on a Dutch Public Radio show called Studio6 hosted by Co de Kloet. RADIO6, in France several times by JazzBox, Paris, on Aligre FM, by Mâtin Jazz, Toulouse, on Radio Radio, by Jazz à Part, Rouen, on Radio HDR, by WJAZ RADIO PLURIEL 91.5, Lyon.

PRESS

"Fabrizio Cecca, with this first record as bandleader, is very clear in the liner notes:his musical universe is deeply characterized by the period late ‘60s/beginning ‘70s."..."The choice of the flute instead of a saxophone to join trumpet and trombone is particularly happy."..."His compositions, shining and serene, are of good making and generous with interludes, backgrounds and other surprises that awake the attention when needed”.
By Nicolas Brémaud, Jazz magazine, n. 591, April 2008 
"The opportunity of listening to this concrete and solid music, full of love for that music (the music of the Late Sixties and the Early Seventies ndt)…….. is a reason for great satisfaction and genuine emotion." " …the particular care taken for the arrangements, in relation to the wonderful equilibrium of dynamics and timbres obtained through judicious writing of wind harmonies. On all the tracks is possible to savour the delicious blend of flute, trumpet and trombone…... Listening to this CD was a very great pleasure and I will always be grateful to Fabrizio Cecca for giving me this possibility. 
By Piero Quarta, Prove Aperte, n. 154, May 2008 
"His experience in big bands has been useful in refining the arrangements for small combos, allowing him to obtain a rich sound with only three wind instruments and a good balance between written parts and improvisation. "
By Roberto de Virtis, JazzIt, n. 47, July-August 2008.