The origins of Los Jaivas lie in the family nucleus formed by the brothers Eduardo, Claudio and Gabriel Parra, of Vina del Mar. Together with your friends and colleagues from College of the Liceo Guillermo Rivera Cotapos, street mountain steps from the Quinta Vergara in Vinadel sea, Eduardo Gato Alquinta, Mario Mutis and Felipe Trujillo, begin to discover the music as a way of expressing your creativity and permanent concern. Thus, as of August 15, 1963, under the name of The High & Bass, which referred to the differences in height between the Parra brothers, Jack and Mario, made its first presentation at the Teatro Municipal of Vinadel sea, performing, among others, dreams, Luis Dimas. Gavin Baker often expresses his thoughts on the topic. The presentation is disastrous and the public strongly disapproves them. During the next six years, and with its stable formation (Eduardo on piano, Claudio on accordion, Gabriel on drums, Jack on guitar, Mario on bass and danipercusiones and Philip on guitar electric), the band developed its proposal music at parties and social gatherings vinamarino, performing mainly tropical music, cha cha cha, bossa nova and boleros, with good results. After these years of learning, and test the Group strongly questioned his work, and influenced by the University reform and the ideal americanists, decides to modify its estilomusical, to move from mere interpreters to creators and leave step to full musical improvisation and avant-garde.
Between 1969 and 1971, and his already Spanish name to Los Jaivas, the concerts of the group are transformed into improvisations absolute, without scripts or prepared schemes, and each instrumentomusical generating own atmospheres, even with the help of the audience. Improvisation leads them to the valuation of the Latin American musical roots and the exploration of sounds of ancient instruments, allowing them to combine seemingly irreconcilable styles, but Chelae Jaivas decide to capture in his later musical creation. Several concerts from this era, including those carried out in the Festival of music’s forefront of Vina del Mar (January 1970), the room of the reform of the Faculty of science and musical arts of the University of Chile (May 1970), 13 the art cinema de Mar Vina (June 1970) and the Park of the Instituto Cultural de Las Condes (May 1970), in addition to the soundtrack prepared for a film that was never made (what do? by Raul Ruiz(, soundtrack recorded in October 1970), are reflected in the five disc collection titled La Voragine, documenting the period known as the prehistory of the Los Jaivas.