Contemporary Jazz, Brazilian, and Latin-rooted music have determined the language of Gabriel Reyes' fine guitar. He studied with some of Chile's most important guitarists from the 90's; Paulo Paranhos, Pedro and Mauricio Rodriguez, and, for a longer period, with Jorge Diaz. Reyes cites Wes Montgomery, John Scofield, Joe Pass and Kurt Rosenwinkel as clear influences on his style. He belongs to a generation of soloist that sprung up in the first half of this decade; Cristóbal Menares, Nicolás Vera, Sebastian Prado and Gabriel Feller, with whom he led a powerful post bop quartet, with two electric guitars. Being a regular performer on the Chilean club circuit, he frequently shares the stage with Bassist Alonso Duran, developing a consistent musical partnership that would eventually become the seed of his biggest project so far: Trébol ( Clover ). Looking for an outlet for his compositional skills, he seeks musicians capable of listening to each other's performances, leading them to build new arrangements from their mutual collaborations. Nicolás Rios is invited to occupy the drummer's seat and regular rehearsals take the project one step closer to its fulfillment. The final addition to the ensemble was keyboard player Sergio Valenzuela, a classically trained pianist with a keen interest in jazz music. Once the quartet is in place and the material deemed suitable for recording, Reyes applies for a Governmental Fund For the Development of The Arts, in order to finance the production of the album. The album has been praised by critics as "a journey through many musical moods and atmospheres, weaving a tapestry of images that really captures the listener's attention." A solid ,yet creative, rhythmical foundation provided by Duran and Rios, and soulful harmonies by Valenzuela, is the perfect background for Reyes' inspired melodies and solos. Daring, refreshing and emotional, Trébol is a strong testimony of Reyes' abilities as a composer and arranger, and a clear indication of this ensemble's potential.