I was born in Seville almost by accident, although it is a city I carry within me. From it, I retain a way of singing, of ornamenting, of letting a melody pause for a moment before moving forward again. That imprint appears naturally in my music, without prior intention, as something that has always been there.

In 1978 my family moved to Madrid. I was four years old. The city welcomed me and became the place where I grew up, learned, and began to understand music as a way of life. I studied at the conservatory, but my true education also took place at home. My father, a composer, would leave the door of his studio slightly open at the end of the day, and I would take the opportunity to immerse myself in his vinyl collection. Those listening sessions were my first profound training: classical music, timbre, long forms, time understood as architecture.

There was one album that marked a turning point: Intermodulation by Jim Hall and Bill Evans. I discovered there a different way of making music, based on mutual listening, space, and dialogue. I listened to it so many times that I ended up memorizing the solos as if they were songs without lyrics. Since then, improvisation has become for me a form of thought.

My career moves between composition and jazz. I hold a Higher Degree in Piano from the Real Conservatorio Superior de Música de Madrid, completed two Barcelona Jazz Master’s programs at ESMUC — in composition and performance — and earned a Master’s degree in Classical Performance from the International University of Valencia. I combine my artistic activity with teaching as a Professor of Improvisation and Accompaniment at the Conservatorio Superior de Música de Castilla y León.

On stage, my work focuses primarily on the jazz trio format. A space for musical conversation where improvisation is not exhibition, but shared exploration; a place where music happens in real time and each concert is unrepeatable.