Immersed in Argentinian music since his childhood, even though it was mostly folklore and Piazzolla, it was likely that he would one day come around to tango, first as a dancer in the early eighties, then as a tango DJ twenty years later.

His strong point is most certainly his uncompromising musical selection. It is based on a strict and meticulous selection of recordings for milongas. To become part of this corpus, the music must be more danceable than existing versions.

He regards each tanda as a voyage and this subtle harmonious approach allows dancers to give their best, without them necessarily knowing why. He often compares a tanda to an exhibition of paintings; even painted by the same artist, four paintings do not necessarily go together and cannot be hung in just any order.

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