He grew up in a scene of strong vitality and that energy is what sounds like his new project, a ten piece orchestra to build a repertoire of standard and original music arranged by pianist and singer Romina Fuchs.

“I’m excited give the standards a new life although they are already rich, but my idea is to add instrumentation and arrangement, said the pianist who will perform with his ensemble this Thursday, at 8:30 pm, at Thelonious.

And he continued: “In some songs the chords make the background behind the wind, but I like the challenge and that at other times they converge to form different climates; I pay attention to those crossing the weight of each section, because the strings sound lighter and We need to find balance“.

“Those instrumental combinations are what I discover in every composition and that’s the essence of the orchestra, exceeded expectations in orchestral terms.

How did you lead the orchestra?

Getting to perform an orchestra is a process that began in the mid -2000sinitially as a vocalist, then as a singer and pianist and now, a lead you try which elegantly combines the wind with a set of strings and the rhythm section.

In fact, even though his first step on the local scene was by singing, he was always studying piano; from the age of 6, in Comodoro Rivadaviahe conducted various workshops, such as the one he fondly remembers from Yamaha with a double keyboard with pedalboard.

“In 18 years I traveled to Buenos Aires to study Graphic Design at UBA, a career I ended a few hours later, but I didn’t stop studying music, first with private tutors until I entered, in 2002, the piano career at the Musicians ’Union”, recalls Fuchs .

In Sadem himself he began to play in various groups and ensembles. “For example, I took a class with guitarist Pablo Bobrowicky who directed jazz ensembles and for me it was a revealing experience, since I entered instrument style. Later I studied piano with Pablo Raposo and Santiago Giacobbe, “he added.

-But you started singing jazz?

-Yes, but the voice came later; already living in Buenos Aires, because from the musical point of view I have always been interested in the piano. I started to discover the voice in jazz and I got involved in vocal technique, along with style.

I studied with Eugene Rabine, who had a refreshing technique, and I participated in his classes that shed a lot of light on the technique. Until that moment I attended classical jazz singing school and Rabine brought me many aspects that were not taken into account.

“Anyway,” Fuchs warned. I never stopped playing the piano, I participated in various projects such as with folklore singer Laura Ros, who we played at Cosquín. I am making a path and that includes exploring other genres ”.

-How’s that jumping from singing to piano to jazz?

-I showed myself at first as a jazz singer, but the piano was coming. In 2010, I made a tribute to Ella Fitzgerald, where we took as a repertoire an album of the singer with the Count Basie orchestra and arrangements by Quincy Jones. At that moment my interest in the adjustments awoke. This is the birth, I would say the pregnancy of the current project.

A tribute to Nat King Cole

That process, which began as a singer, went through another stage being the pianist of his trio, where he made a memorable tribute to Nat King Cole, as a singer and pianist, and then jumped. to perform his orchestra. “From the beginning, I just kept singing with Pablo Raposo on the piano the music of Anita O’Daylike Anita & Oscar (by Oscar Peterson) ”, and laughed.

Regarding her orchestra, Fuchs said Ella’s album with Basie had a huge impact on her so she decided to transcribe all the arrangements for one octet.

“It was a way of studying them in detail and valuable information that I gathered from that work. That octet project was able to record it in 2011 as Romina Fuchs and Band, with trumpeter Fats Fernández as guest, Among others; there I sang and made some arrangements based on those compositions ”, said the artist.