With the utmost respect for cyclical trends in the realm of art and the wide array of world music offerings within jazz channels, this project aims, humbly, to move along a more universal line of work. I believe it is possible to uphold a legitimate line of inquiry without falling into stereotypes regarding the artist's origin, which, at times, in my humble opinion, can wrap the product in somewhat reductionist expectations. Convinced that any serious line of work must be based on a profound study of traditional elements and draw from references, I believe that what is natural and honest, in my case at least, is to show referential interest, firstly, in the music with which I have naturally felt rooted, being a child of an era that was already tremendously globalized. Next, I am convinced that references are universal by definition and that eclecticism is an absolutely respectable and probably indispensable path. Reviewing the history of music, we can observe how the universalization, blending, and interweaving of different artistic references, traditions, and folklores have, since time immemorial, fostered the development of what we now understand as tradition. Art was never a static element, and has always been grounded in movement and constant revisionism. In any case, the extensive artistic legacy that we are fortunate to have today, coming from every corner of the world, constitutes the most solid source of inspiration on which to base the constant search and construction of an artistic line of work. That being said, The Beat Guardians is perhaps my most neoclassical project, where the “distortion of a model” is based on the most specific and recognizable references without resorting to direct quotations. This is a simple, non-eccentric project, its transmission channel is clear and designed for a universal audience that has been shaping up for many years. We believe in the plurality of channels within jazz, in the need to diversify the offerings, and we trust in the warm reception of a project grounded in the defense of its powerful live performances.
Marcos Collado