Candeias Sambaiana

Wenzel Dashington. On A Clear Candeias Sambaiana. Candeias Argentina. Here, with changing line-ups, Reuter played live regularly between and Managua The European Jazz scene at that time was much too volatile and in turmoil. At this moment inGuillermo Reuter made a clear, wholehearted decision, aware of all its consequences, and chose his own music as his Candeias Sambaiana purpose in life.

Scott Stalham Latino jazz gold, i can't emphasise enough how amazingly beautiful this album is! Favorite track: Managua. Johannes Duckeck. Johannes Duckeck My favorite thing in music as of late Favorite track: Paolinho. Favorite track: Palmeiras.

David Pelser. Ryan Sarno. FreaQ Show. Aaron Myradon. Big Diffy. Jonathan Jones. Marcus J. Chris Medina. Genis Worksong. Peter Curran. Pieter Bonin. Coco Discos. Mike Bentley. Wenzel Dashington. Reese Davidson. Hugo Trottier.

Iain Newton. Wonway Posibul. Olivier Renaud. Michael Schumann. Christopher Webster. Akira Ishii. DJ Meztisoul. Ken Toda. Willy Kubas. On A Clear Day. Alex Alleshater. Purchasable with gift card.

Subscribe now to receive all the new music Notes On A Journey Records releases, including this album and 5 back-catalog items, delivered instantly to you via the Bandcamp app for iOS and Android. Learn more. High Quality reissue. Sold Out. El Tren De Tom Paolinho Zimbao Managua Sambaiana Casas De Invierno Palmeiras Curiously enough the story of this record begins with a song, which isn't even featured on it.

A song named 'Guayabas'. One of Guillermo Reuter's very first free-spirited compositions is one of his two contributions to the fourth album 'Ese Dia Va A Llegar' by friend and musician Agustin Pereyra Lucena, in But perhaps we'd better take one thing at a time and not jump ahead of ourselves.

It led them to discover his album 'Candeias' shortly thereafter, and a love affair was born. It was a similar story for Jacques Subileau, the producer for the recordings of 'Ese Dia Va A Llegar' and therefore 'Guayabas' , who was so enamored by this single composition that he proposed Reuter to cut a whole album, made up exclusively of his songs and compositional stylings. For the year-old musician, it came as a total surprise; the once-in-a-lifetime chance to record an entire album of his own works.

Raised by parents, both of who were musicians and teachers with their own school Instituto Reuter in Buenos Aires , Guillermo Reuter was destined to wander down one road for life - to follow in his father's footsteps, professionally and musically. Furthermore, he was a strict and conservative father who massively disapproved when his son embraced modern music like Brazilian Bossa Nova, which back then, was just starting to take the world by storm. Even though Reuter satisfied his parents' expectations by completing five years of studies in classical musical, his passion for the inauspicious sounds of Brazil never truly disappeared.

On the contrary, after meeting the slightly older, Bossa Nova inspired, up-and-coming guitar player and songwriter Agustin Pereyra Lucena on the university campus, the young musician took the proverbial bull by the horns and made a massive leap of faith. On the one hand, he accepted the offer of several studio recordings 'Climas' and 'Ese Dia Va A Llegar' , and on the other, he declined the request of his parents to inherit and run the private family school.

At this moment in , Guillermo Reuter made a clear, wholehearted decision, aware of all its consequences, and chose his own music as his further purpose in life. For the year-old musician, it came as a total surprise; the once-in-a-lifetime chance to record an entire album of his own works. Furthermore, he was a strict and conservative father who massively disapproved when his son embraced modern music like Brazilian Bossa Nova, which back then, was just starting to take the world by storm.

On the contrary, after meeting the slightly older, Bossa Nova inspired, up-and-coming guitar player and songwriter Agustin Pereyra Lucena on the university campus, the young musician took the proverbial bull by the horns and made a massive leap of faith. At this moment in , Guillermo Reuter made a clear, wholehearted decision, aware of all its consequences, and chose his own music as his further purpose in life. The idea of adding a horn section to some tracks was quickly scrapped, mostly for financial reasons.

Recorded in only a few brisk spring days which is November on the southern hemisphere , you can feel the sheer enjoyment of the musicians in this masterpiece of timeless, universal music through its unbridled playfulness. All of which is overseen by their heraldic spirit animal, the Toucan, which is the bird we first see on the album cover. The name Candeias, which means candles in Portuguese, was chosen democratically by all four participating musicians.

Here, with changing line-ups, Reuter played live regularly between and His playmates in Candeias expandable from quartet to septet include f. Further recordings never happened, though. The European Jazz scene at that time was much too volatile and in turmoil.

Talents like Reuter were mostly getting booked as session musicians and were swamped by endless touring, leaving them little time to pursue their own projects.

Plays Arirang and other assorted classics aka. Trying Times by Joyce Elaine Yuille. Cogito Ergo Jam by Natural Lateral. Explore music. Sambaiana by Candeias.

Scott Stalham. Scott Stalham Latino jazz gold, i can't emphasise enough how amazingly beautiful this album is! Favorite track: Managua. Johannes Duckeck. Johannes Duckeck My favorite thing in music as of late Favorite track: Paolinho. Favorite track: Palmeiras.

David Pelser. Ryan Sarno. FreaQ Show. Aaron Myradon. Big Diffy. Jonathan Jones. Marcus J. Chris Medina. Genis Worksong. Peter Curran. Pieter Bonin. Coco Discos. Mike Bentley. Wenzel Dashington. Reese Davidson. Hugo Trottier. Iain Newton. Wonway Posibul. Olivier Renaud.

Michael Schumann. Christopher Webster. Akira Ishii. DJ Meztisoul. Ken Toda. Willy Kubas. On A Clear Day. Alex Alleshater. Purchasable with gift card. Subscribe now to receive all the new music Notes On A Journey Records releases, including this album and 5 back-catalog items, delivered instantly to you via the Bandcamp app for iOS and Android. Learn more. High Quality reissue.

Sold Out. El Tren De Tom Paolinho Zimbao Managua Sambaiana Casas De Invierno Palmeiras Curiously enough the story of this record begins with a song, which isn't even featured on it. A song named 'Guayabas'. One of Guillermo Reuter's very first free-spirited compositions is one of his two contributions to the fourth album 'Ese Dia Va A Llegar' by friend and musician Agustin Pereyra Lucena, in But perhaps we'd better take one thing at a time and not jump ahead of ourselves.

It led them to discover his album 'Candeias' shortly thereafter, and a love affair was born. It was a similar story for Jacques Subileau, the producer for the recordings of 'Ese Dia Va A Llegar' and therefore 'Guayabas' , who was so enamored by this single composition that he proposed Reuter to cut a whole album, made up exclusively of his songs and compositional stylings.

For the year-old musician, it came as a total surprise; the once-in-a-lifetime chance to record an entire album of his own works. Here, with changing line-ups, Reuter played live regularly between and His playmates in Candeias expandable from quartet to septet include f.

Further recordings never happened, though. The European Jazz scene at that time was much too volatile and in turmoil. Talents like Reuter were mostly getting booked as session musicians and were swamped by endless touring, leaving them little time to pursue their own projects.

After his father had died towards the end of the 80s, Guillermo Reuter returned to Argentina and only infrequently returned to Europe for occasional live gigs. Back in his hometown, he made a living writing compositions for commercials and from intermittent gigs in local jazz clubs.

He operated a music store for some years, worked as a composition teacher and acted as a program manager for various music and live venues in Buenos Aires. During this time he never stopped writing own songs. His fascination for South American folklore and its rhythms, from Brazil via Uruguay to Argentina, continued to increase, even until this day.

For Guillermo Reuter, this album was and is a lifework, which has never lost momentum and significance. It is a record, which simply stands the test of time by bringing pure joy over its full, entertaining length, and is going under the skin at the same time.

Home About Releases Shop Contact.