Candeias: Sambaiana, LP (Vinyl)
Candeias: Sambaiana, LP (Vinyl)
€19.90
Net price (not subject to VAT §25a UStG)

Candeias
Sambaiana

  • LP (Vinyl)
  • Germany
Klappcover mit bedrucktem Innencover
  • Notes On A Journey
  • (NOAJ003)
  • 7 Tracks
  • EAN 4012957219011
  • heavy item (300g)
  • EX- / EX
  • used
  • surface marks on vinyl

tracks

A1

El Tren De Tom

4:35
A2

Paolinho

3:45
A3

Zimbao

3:32
A4

Managua

7:31
B1

Sambaiana

7:41
B2

Casas De Invierno

5:52
B3

Palmeiras

7:39

Credits

Artwork By
  • Frohe Zukunft Export
Bass
  • Darci Soave
Electric Bass
  • Darci Soave
Drums
  • Carlos Carli
Percussion
  • Carlos Carli
Engineer
  • Jorge "Portugues" Da Silva
Mixed By
  • Jorge "Portugues" Da Silva
  • Jacques Subileau
  • Guillermo Reuter
Flute
  • Rubén Izaurralde
Guitar
  • Agustin Pereyra Lucena
Electric Guitar
  • Agustin Pereyra Lucena
Liner Notes
  • Adrian Hoenicke
Photography
  • Patricio Goicolea
Producer
  • Jacques Subileau
  • Guillermo Reuter
Piano
  • Guillermo Reuter
Electric Piano
  • Guillermo Reuter
Twelve String Guitar
  • Guillermo Reuter
Composed By
  • Guillermo Reuter
Arranged By
  • Guillermo Reuter
Product Manager
  • Oliver Glage
Reissue Producer
  • Oliver Glage
  • Jürgen von Knoblauch
  • Stefan Leisering
Recorded By
  • Estudios "Sound Center"
Remastered By
  • Calyx Mastering

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2×LP (Vinyl)
1968. France, Incorporated. The entire building was being consumed by flames and was slowly collapsing. Nothing would survive. Out of the rubble of the old world jumped the children of Marx and Coca-Cola, ripping the white and blue stripes off the French flag. Yet, the socialist revolution was more mythic than real and music did nothing to mitigate people's behavior. It was time for innovation. While singles from the Stones, Who, Kinks and MC5 provided an incendiary soundtrack for the revolution, it was Black Americans who truly blew the world from its foundations in the 60s. Ornette Coleman, Cecil Taylor, Eric Dolphy, Albert Ayler and Archie Shepp left behind the jazz of their fathers' generation, liberating the notes, trashing the structures, diving headfirst into furious improvisations, inventing a new land without boundaries – neither spiritual nor political. Free jazz endowed the saxophone with the power to destroy the established order. In 1969, the Art Ensemble of Chicago arrived at the Théâtre du Vieux Colombier in Paris and a new fuse was lit. Their multi-instrumentalism made use of a varied multiplicity of "little instruments" (including bicycle bells, wind chimes, steel drums, vibraphone and djembe: they left no stone unturned), which they employed according to their inspirations.