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Eduardo Mateo

Let's focus on an artist in life but did not enjoy the popularity and recognition they deserve, undisputed is regarded today as one of the most influential musicians of the Uruguayan popular music. His originality and artistic courage was accompanied by the marginalization of traditional circuits. His last day was spent wandering the streets of Montevideo, almost anonymous.

A magical musician, bohemian, dude. His genius was manifested in the rough, almost rustic in the recordings that got recorded in life, and that material, the raw material, from his physical disappearance, no less reformulated re shaped and interpreted.

Eduardo Mateo, was born in Montevideo on the 19th of September 1940. His father was a carnival showman and musician and his mother worked cleaning in the house of famous composer Eduardo Fabini. At age 14 his grandmother gave him his first guitar and he began to dabble in music imitating the Brazilian group Os Demonios da Garoa.

His first group itself is called "O side of Orpheus" as a tribute to the film Black Orpheus (1959), was also the name of the bar where they used to play in Carrasco. Matthew then joined the group "The Damned" as a guitarist, a band of covers formed in 1964 that had some impact on Uruguay playing Beatles music. The group went on to record a single for Sondor but changing its name to "The Knights". In 1966 the group disbanded but Walter Eduardo Mateo Cambon remained together and not waste the opportunities of work added new musicians: Luis Sosa, Antonio Lagarde and Ruben Rada, that was the beginning of "El Kinto." A group emblematic of the late 60's on par with Almond in Argentina, were the bases of popular rock Uruguay.

The group's name refers to the double meaning of being a quintet on one side and the other the drum fifth of the game pieces of congas, the preferred form of Rada who along with Matthew were imposed as group leaders. Antonio Lagarde soon left the band and was replaced on bass by Urbano Moraes. The label was first proposed in 1968 to record a single with his two most important songs "I care" and "Principe Azul" (versioned by León Gieco on "from Ushuaia to the Quiaca ). But the recording project was cut short because Rada went on to play in Peru. Some of the recordings were rescued over the years and on CD.

Despite not being able to edit the single they recorded in 1968 in those years the group had acquired a certain prestige in the local circuit, in fact "El Kinto" was invited by the electrical group Zitarrosa for multicultural project "The yellow skylight." Then in the theater "The Shed" carried out the "music" which was the host group that alternated music with poetry, theater, jazz and candombe. But despite the growing success of the group, Matthew began to lose interest and let go overboard recording a new proposal. Arriving late or using many hours of study.

Kinto In 1970 the split and disrupted business. But despite its almost no presence label remained in the collective memory as a cult, as were the first beat to play music from a more expressive away from the commercial, singing in Castilian and merge with the beat Candomble rhythms. But the absence of any record label more than a few sessions as a group accompanying a couple of simple, could have been diluted the mystique that was formed around the group if it were not for a recording that the Kinto made for the television program Discódromo, where they acted repeatedly as needed to have recorded backing tracks. The sound engineer, Carlos Piriz, was the one who took up and released with great impact in various simple and LP recordings.

survived 16 songs recorded by El Kinto. Many of their songs, mostly composed by Rada and Matthew, have been re versioned and remembered throughout the development of the national rock and popular music from Uruguay.

After his foray into the Kinto, Matthew and was considered an outstanding and original music in Uruguay, but had no solo album. Thus it was that coach Carlos Piriz recording, a fan of Matthew, (who in turn was the same that rescued the few recordings of El Kinto), prompted Matthew to record in Buenos Aires in 1971 the album called "Matthew just it was lame. " After paying the musician and his girlfriend Nancy tickets and accommodations, the brand new record label owners of Plant began to see that the attempt to record songs in a week was unrealistic: Matthew times were impossible.

Matthew had recorded

various blue scribbles in a notebook every day differently interpreted, recorded a song as chance and the next day I forgot or erased. So while the study hours were billed. Matthew may be to present at the legendary studio ION only to warn that it was inspired, if it was present. According to musicologist Brazilian Guilherme de Alencar Pinto. Who in turn wrote the biography of Matthew. The intermittent recording process lasted two months. Until one day, said Matthew was typical: "I go to the corner to buy fasos" and returned to Montevideo, near Christmas.

The album ended up being logically the draft of what could have been: Piriz spent a year hitting parts of topics, cutting other, assembling the scattered pieces conceptually, embroidering a puzzle from the clues left by the musician. And "I'm just fine licks Matthew" was released in 1972 and mark to fire the Uruguayan popular music. Jaime Roos himself confessed to having eaten a morsel the disc and who knows by heart.

In times of progressive rock and much electric instrument, Matthew made an album intimate, with only acoustic guitar, percussion and voice. On this album Matthew plays guitar, percussion and sings. Horacio Molina backing vocals. Matthew's admiration for black music, the bossa nova candombe and was known. In his compositions showed a particular way of interpreting these rhythms.

Regarding Matthew's label at the time of his death have been recorded four individual phonograms: "Matthew just fine licks" (1972) , "Body and Soul" (1984), " Time Machine presents Bad weather on Alchemia" (1987) and " Time Machine - The Fly" (1989), and other four phonograms in collaboration: "Matthew and Trasante" (1978), "Matthew and Cabrera (1987)," Botija of my country "Ruben Rada (1987) and" Summer Theatre Live "with Hugo Fattoruso, Rada, between others (1989).

is said that his case seems similar to that of Tom Zé, and if David Byrne had entered into a record store in Montevideo rather than Rio, 14 years ago, Matthew's would probably be today international cult artist, as is Tom Zé from its rediscovery by the label Luaka Bop.

"Reasons Locas. The passage of Matthew by Uruguayan popular music "is the title of the monumental biography of the Brazilian musicologist Guilherme de Alencar Pinto-wrote about Matthew. There

Eduardo Alencar Pinto argues that Matthew was the principal musician 'cannibal', Uruguayan popular music. A concept introduced by the Brazilian writer Oswald de Andrade, who speaks of the artists who choose to swallow the conqueror to incorporate strength, as opposed to merely resistant nationalism. Matthew was a creative in every sense, even invent words because he was short language to express their thoughts. One such word is "Contumancia" in reference to that which escapes language, to the unspeakable. The contumancia was the element that recordings have to be Matthew's final approval. Inspired in particular that indefinable quality, essential for the dimension in which Matthew lived in Argentina came The Contumancia magazine dedicated to independent music culture. Matthew's songs are a world in themselves. They are like unpolished gemstones. Matthew's music is a continual invitation to open our minds to a new world behind the world we observe daily. Because the Uruguayan singer-songwriter, you girls were the words, notes and guitar. And why reinvent a way of speaking, singing and playing.

His songs were cover versions by many artists rioplatenses. Among them is Pedro Aznar who recorded an album titled "Body and Soul" in 1998 as the title being a subject of Matthew and a Uruguayan artist album released in 1984. Alli

record beyond body and soul, Pedro Aznar version a classic Matthew, a Candomble in ¾ which also has the neologisms to which we are accustomed Mateo: Tunga Le.

Alencar Pinto, in his book Matthew spent his last days wandering through the center of Montevideo, in Pyjamas begging. Most recognized that crossed the sidewalk. Those who do not often receive little speech like this: "Hey, do not you know me?, I'm Eduardo Mateo. Probably more than once heard a song of mine. I'm not begging. I ask you to pay me part of my duties author. Well ... I never paid them.

Matthew died young, he did what he wanted and how I wanted. And so he retired with a low profile perhaps without knowing that his legacy would be an indelible mark in music River Plate popular.

died at age 50 on May 16, 1990, the Uruguayan singer-songwriter was already a myth. Myth continues to grow day by day not only in Uruguay but also in Argentina and Brazil. Matthew now has a square bearing his name in Montevideo. Was described by Fito Paez as a cross between Tanguito and Zitarrosa and also valued by Leon Gieco, Lito Nebbia or Jaime Roos who remember the following:

"The news of the death of Matthew was one of the heaviest blows I had in my life, "recalls Jaime Roos. "I was just recording a song called 'Just like yesterday." A letter that ended when he died Lazaroff. The next day I felt I had a hole in my chest, and it seemed that there was also a hole in the sky of Montevideo. I remember it rained all day and night we had to do a show. It was the worst night of my life on stage. Do not we told the public until the last song, because many of them did not know, and then we played `Friend Cute soul." And after that issue, I heard from people that there was applause ever heard in my life on stage. Applause that resembled a mist, very quiet and smooth, and seemed to never end. "

says

The popular saying that behind every great man is a great woman. In turn the likes of Matthew were not exempt from having their own muses inspiring. While the name "Nancy" is the one that resonates as "The Bride of Matthew" to whom he dedicated some of his subject as the Son of Nancy, there was another woman in the life of Matthew that although he was not involved with from the viewpoint of love, but if he starred in some of his compositions and his artistic life. According to Alencar Pinto describes biography published in 1994, certain gems created by Matthew as "sadness" or "I better go" were inspired by a woman he met Eduardo Mateo was nineteen and pretty green eyes, was a student of architecture and admire the French cinema and music.

The real name of this singer is Diana Reches but before its first concert the father told him putting the fuss did not want to see the family name announced in a musical show which as always Diane dressed in Black, decided almost immediately take the surname of Denoir (black in French) for his career. Under this name was submitted to the musicians who played with Manolo Guard in Lancaster hotel bar, where he was told he could find a guitarist for their concerts. Account book Pinto Diane heard him play when Matthew immediately proposed to accompany him in a concert that had arisen in the Solís.

From there they became friends and every day Matthew went through Diane's house. Diane's figure was associated with Matthew and even more from the release of "Crazy Reasons" the biography of Alencar.

His recordings originally released in 1971, without any commercial impact, rose from the underground of collectors and bootlegs an album released in Argentina by a local independent label. That only record compiled mostly issues composed of Matthew and Urban Moraes lasts half an hour and contains twelve songs with influences from bossa nova and French chanson, which Diane was adept. "I better go" was the first song and really the only admitted having written that Matthew's own Diane. Diane Denoir version of this issue closes the disc. In a recent note they did to Diane that said the following things: "Sometimes, Matthew Jaime Roos told that I was his muse, and he wrote to me songs like" And today I saw 'and' That's sad. " But to me that I never said, "For me, the only song that is mine is 'I better go' because Matt told me that I was. It happened like this: I used to go with my boyfriend to see him play with Matthew Black Orpheus, and danced a bit and then I sang a theme. One night I fought with my boyfriend and I fell out there, and Matthew told me: "Cantate a ', and I said no, I was wondering what's wrong and I said nothing and so we were a while. Do not sing anything, I said nothing, and should have little smile that night. The next day, and every afternoon, about three dropped Matthew at home and say, 'Vo, it's you. " And I sang 'I better go. " So that's me, because it is the story of mine and I made it for me no doubt.

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Flamenco

The Strait of Gibraltar is a natural barrier between two countries: Morocco and Spain, between two continents: Africa and Europe. This narrow 10 km west also divides the East. Few places in the world are so many contrasts in such a small size. However, despite these contrasts, it is clear that the existence of the Strait of Gibraltar was also key to cultural exchange between these two worlds. Spain in turn is a closed territory, uniform, univocal. Within that country living in different regions, peoples and cultures, daughters of miscegenation.

One of the first musical references to thinking about Spain is flamenco, but this music is rather late in the English culture. El Arte Flamenco is an Andalusian art, born in southern Spain, is manifested in three ways: singing, dancing and the guitar.

The first written about flamenco is one of the Letters Marruecas "of Gallows (dating from 1774), in them the writer attributes to the gypsies originated, or at least specifies that it is next to them where their statements more accurate.

But flamenco has also influence of the Moors from North Africa who lived the Muslim Spain. Moroccan music actually keeps many similarities with the harmonies of the English folklore.

Thus, once again rescued the African roots of Western music, we see that Africa has taken root not only in America but also in European musical forms like flamenco mestizo.

worth mentioning that in flamenco, guitar, at first used to accompany the song, this is normally performed without any accompaniment, as has been called a capella except drums with hands or palms touch.

Currently the guitarist not only accompanied but can also be the soloist. In fact Paco de Lucia marks the beginning of a new era of unprecedented splendor, making a stylistic revolution in touch.

The different styles of singing and flamenco rhythms are called sticks;

The first club that is known is The Toná , and the area where they created the basic songs was precisely where most Gypsies have settled, ie the trilogy of the peoples of Triana, Jerez and Cadiz.

One of the figures of flamenco in Jerez de la Frontera is Diego. Ratchet, guitarist, composer, singer and producer also respected flamenco purists and innovators. Born in 1954 and has one of the most personal voices and current flamenco. While initially devoted only to touch, unable to find anyone suitable to play his songs began to sing.

Eliseo Parra

Eliseo Parra was born in Sardon de Duero (Valladolid), before starting his solo career in the nineties and had several decades of roll with various groups through the rock and jazz. But his spirit of research English folklore was reflected from the 80's with the group "mosaic" and then consolidated this facet of the researcher and musicologist in his solo career.

From the work of Parra highlights the album "Hispanic Tribes" , a journey through the rhythms (made with native English percussion), songs and dances of different "tribes" (culture) that populate the central strip of the Iberian Peninsula (from Extremadura Ibiza).

has spent much of his life investigating the folklore and tradition of all cultures that have shaped the Iberian peninsula and, in particular, all those who over time have been lost and that in many cases and only remain in the hands of a few. Eliseo has recorded and preserved musical manifestations that, unfortunately, no longer exist. A cultural heritage that is lost and only through his work as it can perpetuate and preserve.

His latest work is titled "yesterday morning" A commonly used phrase to put what was in the past, used to label a current job with future prospects.

Eliseo Parra has

un contundente show donde hace uso de los más variados instrumentos: Mandolas, Panderos cuadrados, chekeres, Moxeños y ocarinas.

Parra también es productor y escritor de libros que plasman su trabajo de investigación de campo. Es un valioso musicólogo de la península ibérica y además gran compositor, percusionista y cantante. Retoma y revive grandes artistas y compositores que tuvo el folclore español. Como por ejemplo en la zona de Murcia, que ha albergado y visto en acción al Chato de Puerto Lumbreras, un gitano de pura cepa. Que Eliseo homenajea cantándole algunas Jotas. Entre los bailes tradicionales murcianos encontramos en un lugar destacado: The Clubbing , La Malagueña (or Murcia) and La Jota that although it is typically Aragonese, to spread around the whole acquired characteristics and variations in each region.

These jacks of "Chato" Eliseo not only makes use of square tambourine, lute, violin and hassles. It also sounds the bansuri (a bamboo flute of India) and even a Venezuelan cuatro. What makes his re interpretation of tradition in a unique ethnic fusion.

Miquel Gil, Valencia

born on the banks of the Valencian Mediterranean: Roman, Visigoth, Muslim and Christian finally . Includes the provinces of Alicante, Valencia and Castellon. His is the famous garden, palm trees, orange trees and lemon trees, grapevines and olive trees.

Miquel Gil was born there, a great singer who shows that in the non-flamenco of Spain such as Murcia, Valencia, Castile and Aragon much well before the flamenco folklore to discover. The issue is that the flamenco in the last hundred years has had a devastating development, and instead the fandangos, Malaga and Ronda artists like Eliseo Parra Gil Miquel recover or have become extinct.

Miquel Gil's music emphasizes the impurity of the English folk styles, impurity in the right direction, on disk, 2004 entitled Kata quoted Cortazar thinking about Purity, horrible word. Puree and then ZA. Mediterranean traditional music fused with original compositions and texts of poets.

xeremies, mandolins, lutes, bouzokis, Eastern percussion fused with bass and flamenco guitar giving a multi-ethnic spirit to his music.

Among the different styles that runs Miquel is the fandango, air is a popular dance performed by a couple, living movement. The triple meter, eight-syllable verses and the frequent use of castanets mark a close relationship with Jack. Given the popularity of fandango as a dance exhibition in the late eighteenth and early nineteenth centuries, is not surprised by his presence and rooted in the tradition of Asturias, Castilla (fandangos charros), Catalonia, Basque Country and Portugal.

Celtic Music, G alicia

The Celtic name for certain musical forms in Asturias and Galicia was mainly due to the use of instruments such as bagpipes and the similarity of some dances and melodies with almost identical rate to that of some Scottish and Irish dances.

Beyond the bagpipes, harp and violin, in Asturias and Galicia are used as specified in this region percussion tambourines, the drums, the drums, the pandeiros and cunchas (or seashells .) Special mention should the Zanfoña , a kind of mechanical violin known as bagpipes poor (much used by beggars).

The Zanfoña is widely used in recent years in Galician folklore. Galician and Asturian music but also the called Celtic has its own personality, and differs from other musical forms in Ireland or Scotland. Some of the featured musicians are the most prominent Asturias Llan de Cubel, Hevia, Weaver or Xuacu Amieva.

The other major Celtic region of Spain is Galicia is located in the northwest of the Iberian Peninsula and is composed of four provinces: A Coruña, Lugo, Ourense and Pontevedra, and its capital , is the city of Santiago de Compostela, in the province of La Coruña.

Galician dances are marked elegance, ceremonial and sentimental, and the typical instrument is the bagpipe region, the Asturian smaller. The dance feature in Galicia is the muñeira or Serranilla. Muñeira word means milling.

Balearic Islands

Balearic Islands form an autonomous province The archipelago consists of the same name. It has 4,992 km 2 surface, which makes l a less extensive community of Spain. It is located in the center-west of the western Mediterranean, consists of three islands: Mallorca (3624 km 2 ), Menorca (695 km 2 ) and Ibiza (Eivissa, 570 km 2) and two minor-Formentera and Cabrera, as well as some islets Dragonera Conillera (Hutch) and Espalmador. The capital is the city of Palma de Mallorca. The official languages \u200b\u200bare Castilian and Catalan.

Although long time it was believed that "Baleares" came from the Greek word meaning ballein "launch" has lately changed his mind and seems to rule out the Hellenic origin. The origin of the name "Balearic" is not Greek but Punic ie Semitic. Comes from the plural "ba 'lé yaroh." The final meaning would be something like "Masters of the launch." And these teachers are release slingers of the islands. Thus, Baleares mean "slingers."

traditional dances and songs have a great personality. The most typical manifestations of Folklore is the bolero Balearic Balearic and Jack, and variants called Cope and maitexes. In Menorca, sing fandangos Minorca and Ibiza, are relevant to dances and curta sa sa llarga. There is also, from the 1960, a new popular music gestated in the archipelago. Highlights Maria del Mar Bonet, Music Nostra, UC and those with current sounds Raels and in the native language, collect and recreate traditional musical forms.

The repertoire of popular music of the Islands is based mostly on music with or without letter, and underlying musical dances also called "ball de bot." (Literally: Dance Vault).

In another vein, there are Romanços (Stories), often tell stories of love and heartbreak, infidelity, account settings, etc. and normally not generally used for Ball de bot.

A romance is a narrative song, arose from the dissolution of the great poems of heroic poetry, epic poems, in stories brief, or as imitations of them by poets and minstrels. The popular Romance is spread throughout the territory from Castilla, even to the Canary and Balearic Islands.

BARCELONA

Bombo Muchachito hell is a group going to give that talk. Representatives of a new mestizo sound, generated in Barcelona. The character in question, vocalist and songwriter of this project is the boy, Jairo. Among the suburban rumba, pop, English, Flamenkito, and even a patina of hip hop, Muchachito placed thirteen songs written by him grouped in the debut album "Let it go" and published this year and released by the label of Ojos de Brujo.

Muchachito long play in a band called Trimelón, which after 8 years Muchachito broke away and began to write new things alone until two years ago established the band that recorded this debut album "Let it go "Collaboration with in the production of Tomas Arroyo Dusminguet and Marc Parrot of Chaval de la Peca.

Despite working with Ojos de Brujo, Muchachito maintains a musical and aesthetic independence beyond the ideological coincidences.

The artwork is very original artwork with urban touches, catering, bars and night and flamenco.Reggae tango, rumba and rock sounds from Barcelona with the mixture of Muchachito Bombo ... A great allegory peace, coexistence and tolerance.