The Argentine folklore, its followers, its pioneers have always had a relationship of great affection for jazz. A close relationship.
The apparently closed forms of folklore -a zamba will always be a zamba- have not been an obstacle for some musicians coming from its womb to jump over the fence and enter the forms of jazz. In the idea of improvisation and experimentation, in the colors of jazz harmony.
El Chango Farias Gomez, my teacher Manolo Juarez - thanks to whom I discovered Bill Evans or Keith Jarrett, for example -; Eduardo Lagos, Los Abalos, or Oscar Alem have cleared the way since the early 70s.
The Colegiales trio was born out of my desire to travel and take advantage of those paths already cleared, but also to build alternative ones, and out of my desire --even stronger-- to share experiences with the best bombo leguero player on the planet: Facundo Guevara.
Diana Arias, for her part, is a blessing for all of us who are fortunate enough to enjoy her talent, her people skills and her sensitivity.
Her understanding of rhythm and folklore forms from an intuitive place and her jazz background have made things much easier for Facu and me.