GEORGE SAUMA JR. - GEORGE SAUMA JR.
GEORGE SAUMA JR. - GEORGE SAUMA JR. (Back)
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GEORGE SAUMA JR.

GEORGE SAUMA JR.

Favorite Records
Release date: 26/03/21
genre: Brasil
Format: LP
€23.99
tracklist
1. Céu Azul
2. Você O Tempo Todo Para Mim
3. Vou Mostrar Que Sei Viver
4. Tudo Terminou
5. Possível Utopia
6. Presente Ausente
7. Ideal De Carnaval
8. Não Vai Dar
9. Dançar Ou Se Render
10. Por Você Sou Capaz de Morrer
GEORGE SAUMA JR. - GEORGE SAUMA JR.

description

Repress from album by Brazilian singer and composer George Sauma Jr., originally produced by Junior Mendes and arranged by Arthur Verocai in 1985.

Back in the days, George Sauma Jr. was a young artist from Rio de Janeiro, learning on his side how to play chords and compose songs since he was 10. Still at the university, he’s influenced by Brazilian artists like Cassiano or Tim Maia, deeply fascinated by the arrangements and the “levada” (the groove) of all these new Brazilian songs. Simple and romantic music that resonated to his soul and creativity.

Around 1985, the story took an unexpected turn. George tells: “Dna Deyse Lucidy, the mother of Junior Mendes was a candidate for deputy and went to my father’s company to advertise. When I saw her, I shouted, “I’m a big fan of your son!” ” Of course, she could not praise more the work of her son. On her advises, George went to his studio on Rua Siqueria Campos at Copacabana. Junior loved the project and sent him to Arthur Verocai to improve the arrangements. Without money, the decision was taken to record everything at Junior Mendes’ studio on an 8-channel mixer. It was a small set-up but the emotions were there! George surely had other plans for some of his songs but without the budget, they ended up doing everything the best they could. And they did very fine with a top-notch team of musicians: Paulo Black on Drums, Arthur Verocai on Guitar, Ricardo Do Canto on Bass and Helvius Vilela on Keyboards.

Leaving the studio with the tapes, George tried to knock doors of international labels, but none did even dare to give him an answer. With less than 1000 copies pressed back in the days and without any distributor or label behind him, he went with proud to record stores, but received nothing than a strong reality check regarding the difficulties for a young Brazilian artist to achieve something on the saturated market of the 80s. Even for free, record stores didn’t want it. In the end, he ended up giving copies to

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