Alejandro was born in Iowa and raised in the midwest. His affinity for music began cultivation in high school by playing in bands and exposure to the music of Thelonious Monk, Count Basie and Joe Pass. He played in the Jazz Workshop at St. Charles high school under the direction of Jeff Childs and Jim Kull and the ECC band with director Mark Bettcher.

In '96 he relocated to Minneapolis, MN with the defunct rock act Oxpecker. After briefly forming the No Filter Quartet and touring with 12Rods he received a scholarship offer to attend Northern Illinois University as part of Fareed Haque's guitar studio

Upon arrival in DeKalb, Chicago became the destination with opportunities to hear the Bobby Broom Trio and Ron Perrillo quickly becoming the norm, along with the Tuesday night jam at the New Apartment Lounge hosted by Von Freeman.

The inspiration set forth from those experiences led him to Chicago in 2000 where he quickly joined several groups and performed at the local venues of note. He has performed at the Green Mill, the Chicago Jazz Festival, Andy's Jazz Club, Pete Miller's Steakhouse and the Jazz Showcase as a leader and a sideman for Taku Akiyama, Marco Polo, Marc Pompe, Juli Wood and the Deep Blue Organ Trio. He has performed with Jodie Christian, Von Freeman, Bobby Broom, Ron Blake, Kobie Watkins, Clark Sommers, Maurice Brown, Ron Perrillo, Eric Schneider, Pat Mallinger, Juli Wood, Dennis Carroll and Shara Maxwell.

In 2012 he released his debut recording "Urban Intervals." The recording features the all-star rhythm section of Bobby Broom Trio bassist Dennis Carroll, the internationally known George Fludas and Jodie Christian.

About his Hofner violin finish Jazzica -

"My Hofner Jazzica spoke to me on the first day. The violin finish was my first choice but Hofner let me compare the gloss finish model. For a moment i could not decide then I remembered what I was looking for, a hot-sounding instrument with a percussive cushion, the fundamental part of the note being round and full of sustain while the attack remained crisp. The violin finish brought the extra dynamic of a soft decay and ominous, kind of like a nylon string guitar. Since then the chords have never sounded so lush and full. The feel has become more refined allowing me to articulate freely and effortlessly. From a technical standpoint, my hands never thought It could feel this good, the limitless textures in between the neck and bridge, the balanced feel across the fretboard. I have been playing it for the last five years with little maintenance and no tuning issues. The only thing I have to do is change the strings and even these last longer. The durability has surprised me. I take this thing everywhere. Simply the best guitar I have ever had, at loud volumes I just pop in the f-hole covers, quietly playing the instrument projects with an even better response. So many people love the look they ask 'who made your guitar,'' where is it from? ' In short, this guitar will always be in my collection."