I started learning piano when I was ten years old with Cristian de Gainza, son of the renowned teacher Violeta de Gainza. At around fourteen, enthused by my studies with Edberto Gismonti and Oscar Peterson, I was called to form my first jazz ensemble: “La Fusa”.

Playing together with musicians like Dani Espeche, Andrés Hayes, Javier Martínez and Jano Ceitún at such a young age drove me to keep studying with the best professors I could find:

I learned jazz piano and modern language with Adrián Iaies, and I deepened my classical studies with Susana Kasakoff. Later I discovered Ernesto Jodos, and studied with him for two and a half years.

When I finished high school I combined private classes with composition courses at Quilmes University, combo and harmony classes in B.I.N. (Berklee International Network), playing in bars and local cultural centers with their own groups and as a sideman.
I decided to explore other cities. I joined the  Conservatorium van Amsterdam, where I studied for a year with the introspective Kriss Goessens.

Later I moved to Barcelona, which was an interesting breeding ground for developing my own musical projects: Soulmates Quintet, my own trio and quartet.

At the same time, I finished my studies at the Escuela Superior de Música de Cataluña, majoying in Promotion and Management, where I took courses on composing for audiovisual media with Arnau Bataller, Joaquim Rabaseda, Lluís Vergés and Lluís Vidal. I studied the music of Charlie Mingus, Coltrane, Monk, Miles, Shorter and Horace Silver in their respective combos.

I started producing music for audiovisual media, which furthered my interest in the major names in composition for the big and small screen: Morricone, Herrman, Bernstein, Yared, Barry, Newman, Glass, Sakamoto, Elfman, and more.

I split my time up teaching piano, language and incidental music. I continue playing and recording with my permanent trio and I try to combine it with musical productions for short films, theater pieces, advertising and I hope, one day, for the big screen.

When my schedule and budget allow it, I try to visit inspiring professors and musicians like Bruce Barth in New York or Ernesto Jodos in Buenos Aires. Few things are as stimulating to me as a class with inspiring and talented people.

I’m passionate about teaching, and I try to reflect my professional experience as a performing musician and as a composer in the studio in practice content for students for diverse backgrounds.

In my teaching career I learned from sound engineers, from students who wanted to learn to play the piano from zero, and from other advanced instrumentalists, and they all inspired me somehow to be a better teacher, a better musician, and a better person.

I consider it a vital part of our work as musicians to collaborate in educating the new generations. New generations of artists, musicians, producers, and future music lovers. Like Herbie Hancock said in his conferences far and wide across the planet, I am a firm believer in collaboration as an essential tool for our development as individuals in society.