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
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
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), "
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
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. "
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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