Candeias – Sambaiana
Sello:
Discos Mediterraneo, S.A. – LP-0015
Formato:
Vinyl, LP
País:
Fecha:
Género:
Estilo:
Pistas
| B1 | Sambaiana | |
| B2 | Casas De Invierno | |
| B3 | Palmeiras | |
| A1 | El Tren De Tom | |
| A2 | Paolinho | |
| A3 | Zimbao | |
| A4 | Managua |
Créditos
- Bass – Darci Soave
- Drums, Percussion – Carlos Carli
- Guitar, Electric Guitar – Agustin Pereyra Lucena
- Mixed By – Jorge Da Silva*
- Piano, Electric Piano, Guitar, Producer, Mixed By – Guillermo Reuter
- Producer, Mixed By – Jacques Subileau
Notas
Recorded in october / november 1975 in Buenos Aires at studio "Sound Center".
http://weunderground.net/re-issue-candeias-sambaiana-1975/
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 1975. ‘Guayabas’ was the unintended starting signal for Reuter’s career and was coincidentally the initial spark for this reissue.
But perhaps we’d better take one thing at a time and not jump ahead of ourselves. ‘Guayabas’ was the Guillermo Reuter song that first caught the attention of the Notes On A Journey founders Jürgen von Knoblauch and Stefan Leisering. 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. The Frenchman with an Argentinian girlfriend, had connections to European record labels like Disco Mediterraneo in Madrid and Disques Espérance in Paris which specialised in World and African music. ‘Candeias’ would be released on both labels, on the Spanish imprint under the name of ‘Sambaiana’, in France as the original title ‘Candeias’, but for inexplicable reasons, with terrible sound quality.
For the 24-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. Josef Reuter, born in Germany, balanced his work life where he was a dedicated occupation Headmaster with music; not only was he a passionate organist, he was the maestro of his own choir, the ‘Singakademie Buenos Aires’ and a well-known director at Buenos Aires’ world famous “Teatro Colón”. 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. Despite, or as a direct result of this, ‘Samba Da Minha Terra’ by João Gilberto was a revelation for the juvenile Guillermo Reuter and shaped his freethinking approach towards music permanently.
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 (1973 ‘Climas’ and 1975 ‘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 1975, Guillermo Reuter made a clear, wholehearted decision, aware of all its consequences, and chose his own music as his further purpose in life. Music, which he finally – thanks to Jacques Subileau and ‘Guayabas’ for that matter – could record without compromise and thus give free rein to his creativity.
The recordings of ‘Candeias’ took place shortly after Subileau’s invitation, in October and November 1975, in the Buenos Aires based studio ‘Sound Center’. To realise his vision Guillermo Reuter surrounded himself with four superb musicians, who he knew from previous recording sessions: Agustin Pereyra Lucena on guitar, Uruguayan drummer and percussionist Carlos Carli, Brazilian bass player Darci Soave, and the young flute player Rubén Izarrualde. Reuter himself plays the Fender piano on all tunes (despite “Zimbao“ on which he played the upright piano) as well as 12-string guitar. 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.
Starting with ‘El Tren De Tom’, the album’s first track, where the sound of a departing locomotive announces the beginning of a journey. A journey that winds it’s way through the contagiously melodious, cunningly arranged and in every detail, profound world of Guillermo Reuter and his project Candeias. 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. The album’s carefree, casual happiness is never superficial or forced. For instance, ‘Paolinho’, driven by Izarrualde’s flute, is rooted in the folkloristic tradition of Northern Brazil and emphasizes Reuter’s almost academic approach towards his compositions. ‘Managua’ employs the Cuban Guajira rhythm and is probably the song of the album that best expresses the harmonic interaction of the four musicians extraordinaire. Throughout the whole album, Reuter’s training in classical compositions interweaving with his love of Jazz and Brazilian music, in particular, is almost tangible.
In his homeland of Argentina, ‘Candeias’ will never be released. Subileau’s personal connections took the project to Europe, Spain to be precise. Here, with changing line-ups, Reuter played live regularly between 1976 and 1978. His playmates in Candeias (expandable from quartet to septet) include f.e. the Cuban saxophone player Paquito d’Rivera, the US trombone player Bill Smith, the Brazilian percussionist Rubem Dantas and the Spanish flute/saxophone player Jorge Pardo. 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. In 2004 Guillermo Reuter wrote a song, ‘El Gorgojo’ (The Bug), which won the first prize at the international Latin Jazz Contest in La Habana and was praised by the French film music composer Michel Legrand, one of Reuter’s personal idols.
Having now Notes On A Journey, more than forty years after its initial release, introducing ‘Candeias’ to a whole new audience is also in the interest of its creator. 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. That’s why for this re-issue the original Spanish pressing has been lovingly restored, preserving the sound quality, letting you listen to it the way it should be heard, in the here and now. With the stunning new quality ‘Candeias’ will find a much bigger following this time round. Come and join the club.
https://listenrecovery.wordpress.com/2011/01/23/agustin-pereyra-lucena-argentina-bossa-nova/
Como guitarrista de Bossa Nova contó con la bendición de Vinicius y tocó con mitos como Carlos Lyra o Nana Caymmi. Pero una carrera de casi 40 años y un flamante disco lo confirman como un refinado creador de música popular sudamericana.
“La transparencia supone experimentar la luminosidad del objeto en sí, de las cosas tal como son”, escribió Susan Sontag y así la cita Agustín Pereyra Lucena en el sobre interno de su noveno disco solista, titulado finalmente 42:53, pero cuyo nombre inicial iba a ser justamente Transparencia. Claro que, a la hora de revisar los registros, la palabra había sido usada como título de un disco. Ahí fue que, para titular el trabajo que marcaba su regreso a las bateas desde el 2000 y el primero compuesto sólo con obras de su autoría, se le apareció la cifra mencionada, ni más ni menos que la duración de la música grabada.
Lo particular es que ese número que puede aparecer en el display del equipo de música o en el monitor de la PC que toquen el disco de Pereyra Lucena, podría ser similar al de los vinilos que marcaron sus inicios como músico. Promediaban los 40 minutos aquellos LPs que en su adolescencia lo ayudaron a aprender a tocar clásicos de Joao Gilberto, Tom Jobim, el Tamba Trío o los afrosambas con que Baden Powell y Vinicius de Moraes agregaron colores a la sofisticada bossa. Es cierto que la primera vez que escuchó O barquinho, Samba de uma nota só y Desafinado fue en las guitarras de dos amigos de sus hermanos mayores, pero las que lo formaron fueron las grabaciones que estudiaba una y otra vez, en la era vinílica.
“Me acuerdo que cuando era chico esperaba que algunos discos llegaran de Brasil, era socio del Centro Cultural del Disco, los reservaba, iba todas las semanas y preguntaba si habían salido, tenía interés por saber lo que estaba haciendo Baden Powell, con quién grababa, quién lo editaba”, cuenta el guitarrista argentino, sorprendido por estos tiempos donde la percepción y el consumo de la música son bien diferentes en algunos aspectos a los tiempos en que, hace exactamente 50 años, nacía la Bossa Nova.
“Hoy arman mp3 con 30 mil temas, pero me parece que al final no escuchás nada, un alumno mío, muy joven, me dijo que a sus amigos puede gustarles una canción, pero no les interesa buscar nada más del artista y ese desinterés es raro, por ahora no lo entiendo”, explica Pereyra Lucena, que hoy celebra en su tema Por eles la existencia de músicos como Joao, Carlos Lyra, Jobim o Baden, de quienes asegura que le dieron música y todo un sentido de la vida. Uno de los que también nombra es Mauricio Einhorn, armoniquista brasileño histórico de los tiempos iniciales de la Bossa y convidado ilustre de 42:53.
La experiencia de grabar con Einhorn incluyó curiosos lazos afectivos transfronterizos: “Mauricio era fanático de nuestro gran armoniquista Hugo Díaz y cuando lo llevé a los estudios Ion, el técnico de grabación, el portugués Da Silva, era quien había grabado ahí mismo casi todos sus discos, fue una emoción muy grande para él”, cuenta el argentino y comenta que los tres temas que grabaron entonces, en el 2001, significaron el corazón del disco, cuyos demos se hicieron con el guitarrista Lucho González, su gran amigo, el pianista Guillermo Romero y la cantante Adriana Ríos, su compañera escénica desde hace casi dos décadas y la principal letrista del disco. Esa grabación se completó siete años después, junto a músicos como Guillermo Vadalá, Daniel Mazza, Leandro Braga, Fabián Miodownik, Jota Morelli, Alejandro Santos, Ana María Hlousek, Helena Uriburu y Sergio Liszewski, quien ofició como productor.
“Trabajó como un director de cine, armando el disco con lo que tocó cada uno y quedó como si lo hubiésemos grabado todos tocando juntos”, comenta el músico y hace una comparación con la forma en que trabajaba al principio de su carrera: “Tocábamos con paneles que nos dividían, se ensayaba un rato antes o se daba un cifrado, se mostraba la forma y se hacían dos o tres tomas, cuando ahora grabás aisladamente, sin el contacto instantáneo, pero las cosas suenan mejor”.
Hasta la fama de frialdad del sonido digital se ha evitado, con programas que procesan todo el material y le dan a la guitarra una sonoridad similar a la que se lograba con equipos valvulares, propios de la época en que grabó piezas actuales de colección como su disco debut de 1970, la jam session del ´71 con el percusionista brasilero Naná Vasconcelos o sus álbums del resto de la década como Climas, Ese día va a llegar y Sambaiana, como miembro del grupo Candeias junto al multiinstrumentista Guillermo Reuter y el flautista Rubén Mono Izarrualde. Ellos fueron el núcleo de largas giras europeas y placas como La rana (´80), Puertos de alternativa (´88), Miradas (´98) y Acuerdos (2000).
http://weunderground.net/re-issue-candeias-sambaiana-1975/
Re-Issue: Candeias – ‘Sambaiana’ (1975)
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 1975. ‘Guayabas’ was the unintended starting signal for Reuter’s career and was coincidentally the initial spark for this reissue.
But perhaps we’d better take one thing at a time and not jump ahead of ourselves. ‘Guayabas’ was the Guillermo Reuter song that first caught the attention of the Notes On A Journey founders Jürgen von Knoblauch and Stefan Leisering. 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. The Frenchman with an Argentinian girlfriend, had connections to European record labels like Disco Mediterraneo in Madrid and Disques Espérance in Paris which specialised in World and African music. ‘Candeias’ would be released on both labels, on the Spanish imprint under the name of ‘Sambaiana’, in France as the original title ‘Candeias’, but for inexplicable reasons, with terrible sound quality.
For the 24-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. Josef Reuter, born in Germany, balanced his work life where he was a dedicated occupation Headmaster with music; not only was he a passionate organist, he was the maestro of his own choir, the ‘Singakademie Buenos Aires’ and a well-known director at Buenos Aires’ world famous “Teatro Colón”. 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. Despite, or as a direct result of this, ‘Samba Da Minha Terra’ by João Gilberto was a revelation for the juvenile Guillermo Reuter and shaped his freethinking approach towards music permanently.
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 (1973 ‘Climas’ and 1975 ‘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 1975, Guillermo Reuter made a clear, wholehearted decision, aware of all its consequences, and chose his own music as his further purpose in life. Music, which he finally – thanks to Jacques Subileau and ‘Guayabas’ for that matter – could record without compromise and thus give free rein to his creativity.
The recordings of ‘Candeias’ took place shortly after Subileau’s invitation, in October and November 1975, in the Buenos Aires based studio ‘Sound Center’. To realise his vision Guillermo Reuter surrounded himself with four superb musicians, who he knew from previous recording sessions: Agustin Pereyra Lucena on guitar, Uruguayan drummer and percussionist Carlos Carli, Brazilian bass player Darci Soave, and the young flute player Rubén Izarrualde. Reuter himself plays the Fender piano on all tunes (despite “Zimbao“ on which he played the upright piano) as well as 12-string guitar. 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.
Starting with ‘El Tren De Tom’, the album’s first track, where the sound of a departing locomotive announces the beginning of a journey. A journey that winds it’s way through the contagiously melodious, cunningly arranged and in every detail, profound world of Guillermo Reuter and his project Candeias. 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. The album’s carefree, casual happiness is never superficial or forced. For instance, ‘Paolinho’, driven by Izarrualde’s flute, is rooted in the folkloristic tradition of Northern Brazil and emphasizes Reuter’s almost academic approach towards his compositions. ‘Managua’ employs the Cuban Guajira rhythm and is probably the song of the album that best expresses the harmonic interaction of the four musicians extraordinaire. Throughout the whole album, Reuter’s training in classical compositions interweaving with his love of Jazz and Brazilian music, in particular, is almost tangible.
In his homeland of Argentina, ‘Candeias’ will never be released. Subileau’s personal connections took the project to Europe, Spain to be precise. Here, with changing line-ups, Reuter played live regularly between 1976 and 1978. His playmates in Candeias (expandable from quartet to septet) include f.e. the Cuban saxophone player Paquito d’Rivera, the US trombone player Bill Smith, the Brazilian percussionist Rubem Dantas and the Spanish flute/saxophone player Jorge Pardo. 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. In 2004 Guillermo Reuter wrote a song, ‘El Gorgojo’ (The Bug), which won the first prize at the international Latin Jazz Contest in La Habana and was praised by the French film music composer Michel Legrand, one of Reuter’s personal idols.
Having now Notes On A Journey, more than forty years after its initial release, introducing ‘Candeias’ to a whole new audience is also in the interest of its creator. 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. That’s why for this re-issue the original Spanish pressing has been lovingly restored, preserving the sound quality, letting you listen to it the way it should be heard, in the here and now. With the stunning new quality ‘Candeias’ will find a much bigger following this time round. Come and join the club.
https://listenrecovery.wordpress.com/2011/01/23/agustin-pereyra-lucena-argentina-bossa-nova/
AGUSTIN PEREYRA LUCENA, Argentina (Bossa Nova)
Como guitarrista de Bossa Nova contó con la bendición de Vinicius y tocó con mitos como Carlos Lyra o Nana Caymmi. Pero una carrera de casi 40 años y un flamante disco lo confirman como un refinado creador de música popular sudamericana.
“La transparencia supone experimentar la luminosidad del objeto en sí, de las cosas tal como son”, escribió Susan Sontag y así la cita Agustín Pereyra Lucena en el sobre interno de su noveno disco solista, titulado finalmente 42:53, pero cuyo nombre inicial iba a ser justamente Transparencia. Claro que, a la hora de revisar los registros, la palabra había sido usada como título de un disco. Ahí fue que, para titular el trabajo que marcaba su regreso a las bateas desde el 2000 y el primero compuesto sólo con obras de su autoría, se le apareció la cifra mencionada, ni más ni menos que la duración de la música grabada.
Lo particular es que ese número que puede aparecer en el display del equipo de música o en el monitor de la PC que toquen el disco de Pereyra Lucena, podría ser similar al de los vinilos que marcaron sus inicios como músico. Promediaban los 40 minutos aquellos LPs que en su adolescencia lo ayudaron a aprender a tocar clásicos de Joao Gilberto, Tom Jobim, el Tamba Trío o los afrosambas con que Baden Powell y Vinicius de Moraes agregaron colores a la sofisticada bossa. Es cierto que la primera vez que escuchó O barquinho, Samba de uma nota só y Desafinado fue en las guitarras de dos amigos de sus hermanos mayores, pero las que lo formaron fueron las grabaciones que estudiaba una y otra vez, en la era vinílica.
“Me acuerdo que cuando era chico esperaba que algunos discos llegaran de Brasil, era socio del Centro Cultural del Disco, los reservaba, iba todas las semanas y preguntaba si habían salido, tenía interés por saber lo que estaba haciendo Baden Powell, con quién grababa, quién lo editaba”, cuenta el guitarrista argentino, sorprendido por estos tiempos donde la percepción y el consumo de la música son bien diferentes en algunos aspectos a los tiempos en que, hace exactamente 50 años, nacía la Bossa Nova.
“Hoy arman mp3 con 30 mil temas, pero me parece que al final no escuchás nada, un alumno mío, muy joven, me dijo que a sus amigos puede gustarles una canción, pero no les interesa buscar nada más del artista y ese desinterés es raro, por ahora no lo entiendo”, explica Pereyra Lucena, que hoy celebra en su tema Por eles la existencia de músicos como Joao, Carlos Lyra, Jobim o Baden, de quienes asegura que le dieron música y todo un sentido de la vida. Uno de los que también nombra es Mauricio Einhorn, armoniquista brasileño histórico de los tiempos iniciales de la Bossa y convidado ilustre de 42:53.
La experiencia de grabar con Einhorn incluyó curiosos lazos afectivos transfronterizos: “Mauricio era fanático de nuestro gran armoniquista Hugo Díaz y cuando lo llevé a los estudios Ion, el técnico de grabación, el portugués Da Silva, era quien había grabado ahí mismo casi todos sus discos, fue una emoción muy grande para él”, cuenta el argentino y comenta que los tres temas que grabaron entonces, en el 2001, significaron el corazón del disco, cuyos demos se hicieron con el guitarrista Lucho González, su gran amigo, el pianista Guillermo Romero y la cantante Adriana Ríos, su compañera escénica desde hace casi dos décadas y la principal letrista del disco. Esa grabación se completó siete años después, junto a músicos como Guillermo Vadalá, Daniel Mazza, Leandro Braga, Fabián Miodownik, Jota Morelli, Alejandro Santos, Ana María Hlousek, Helena Uriburu y Sergio Liszewski, quien ofició como productor.
“Trabajó como un director de cine, armando el disco con lo que tocó cada uno y quedó como si lo hubiésemos grabado todos tocando juntos”, comenta el músico y hace una comparación con la forma en que trabajaba al principio de su carrera: “Tocábamos con paneles que nos dividían, se ensayaba un rato antes o se daba un cifrado, se mostraba la forma y se hacían dos o tres tomas, cuando ahora grabás aisladamente, sin el contacto instantáneo, pero las cosas suenan mejor”.
Hasta la fama de frialdad del sonido digital se ha evitado, con programas que procesan todo el material y le dan a la guitarra una sonoridad similar a la que se lograba con equipos valvulares, propios de la época en que grabó piezas actuales de colección como su disco debut de 1970, la jam session del ´71 con el percusionista brasilero Naná Vasconcelos o sus álbums del resto de la década como Climas, Ese día va a llegar y Sambaiana, como miembro del grupo Candeias junto al multiinstrumentista Guillermo Reuter y el flautista Rubén Mono Izarrualde. Ellos fueron el núcleo de largas giras europeas y placas como La rana (´80), Puertos de alternativa (´88), Miradas (´98) y Acuerdos (2000).
En el pasaje de los ´60 a los ´70, cuando ya habían compartido escenarios en Mar del Plata y en Punta del Este, en la era del mítico local La Fusa, fue Vinicius quien le escribió un texto que lo apadrinó desde la contratapa del disco debut. “Creo que nunca vi, con excepción de los guitarristas brasileños Baden Powell y Toquinho, nadie más ligado a su instrumento que Agustín Pereyra Lucena, daría la impresión de que, si le retirasen la guitarra, se desvanecería en música”, le escribió sin salir de la bañera en la que se instalaba por horas, según cuenta hoy otro Pereyra Lucena.
“En ese momento era verdad lo que decía, porque yo no componía, pero ahora si me sacan la guitarra llamo a alguien que toque y le dicto acordes, como hacia él con Toquinho, cuando se metía mucho en las composiciones, tenía mucha idea musical y compuso Valsa de Eurídice, uno de los temas más lindos para guitarra”, dice el músico. Y agrega que lo que más recuerda del poeta es su humor y una descontractura que volvía absurda la actitud de todos los que se le acercaban como buscando de él una revelación de Buda.
“Le decían maestro y él les ofrecía un whisky”, describe con sonrisa cariñosa y revela que había en él carioca cierta visión melancólica que no siempre se percibe en sus creaciones de la Bossa Nova. “El que tiene que amar tiene que llorar, decía y sus amores eran infinitos mientras duraban, pero duraban poco, si se casó ocho veces”, comenta con gracia el compositor argentino y remarca algunas particularidades que vuelven única a la saudade brasileña que todos conocimos a partir de la Bossa: “Siento que ellos todo lo empiezan desde lo vital, pueden transmitir un drama, pero siempre hay algo que te deja bien, cierto humor, una relación especial con la vida, tienen una nostalgia que mira al mar”.
El agua, elemento estimulante de la estética de Pereyra Lucena, además de encontrarla en el mar brasilero o ciertas playas bonaerenses donde fue haciendo su historia, la encuentra también en nuestro litoral, que – como a lo largo de su carrera lo hicieron los desiertos patagónicos o la llanura pampeana en temas como Rutas (desiertas), Desolación o Planicie, que incluso regrabó para 42:53 – estimula hoy su sensibilidad artística. “Los músicos litoraleños componen una música muy llevadera, muy emocional, que tiene esperanza y eso lo quiero para mi música”, explica el guitarrista y comenta que lo que más lo identifica actualmente es una musicalidad que salga sin esquemas de género.
“La música de Brasil me abrió la puerta de armonías que después fui aplicando en todo lo que siento hacer, pero nunca me fijo si estoy componiendo un samba, una chacarera o un frevo”, dice, firme en su convicción de optar antes por el desarrollo de la composición que por el desenvolvimiento técnico de virtudes como instrumentista. Por eso ha incluido ahora más canciones, algo poco habitual en sus anteriores discos. Y hasta se permitió experimentar con la guitarrabajo, una particular intervención de Sebastián Arias para bajar una octava las cuerdas 5ta y 6ta de una guitarra Del Vecchio. Con ella grabó el único tema que no había compuesto ni probado muchas veces en vivo antes de grabarlos. En este caso, tocó “lo que salió del alma, sin intenciones pretensiosas” y así le puso su nombre, Transparente, como mejor siente al arte.
“Las obras tienen que ser sinceras, que lo que esté sea lo que se muestra, porque cuando sale de lo profundo, uno está en lo que hace”, explica Agustín Pereyra Lucena, quien puso en la tapa de su CD un dibujo suyo titulado Fiesta, hecho de trazos vertiginosos e impreso con un delicado proceso de resalte cromático. El detalle, es un buen índice de la música que grabó. Y seguramente de la que vendrá.
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