Sunday, 6 November 2016


                          BLACK  SOCIAL  HISTORY                                                                                                                                                                                                                                                         

Eduardo Mateo

Eduardo Mateo
Eduardo Mateo Mateo disc is only good Lame 1972 Argentina.jpg
Eduardo Mateo in ION Studies of Buenos Aires, 1971.
General data
Real name Angel Eduardo Mateo López
Birth As September 19 as 1940
Origin Flag of Uruguay.svg Uruguay , Montevideo
nationality Uruguaya
Death As maypole 16 as 1990 , 49 years old Uruguay , Montevideo
Flag of Uruguay.svg
Occupation Musician , composer , singer , one guitarist , percussionist
Artistic information
Genders) Rock
Instruments) Voice , guitar , percussion , bass .
Label (s) Trova, Sondor , Key , PLANT , Ayuí / Tacuabé , Orfeo
Related artists Horacio Buscaglia , Diane Denoir , Ruben Rada , Urbano Moraes , Jorge Trasante , Jaime Roos , Fernando Cabrera , Mariana Ingold , Estela Magnone , Hugo Fattoruso , Osvaldo Fattoruso , Alberto Wolf
[ Edit data in Wikidata ]
Angel Eduardo Mateo Lopez ( Montevideo , 19 of September of 1940 - idem , 16 of maypole of 1990 ), musician and composer Uruguayan , was one of the great representatives of popular music in the country. He composed large number of songs, candombes , ballads and bossa novas as a soloist or with other major artists and ensembles including counted Ruben Rada , Horacio Buscaglia , Estela Magnone and El Kinto . It is considered one of the main precursors of the fusion of Candomble , rock and other genres , which would be popularly called " candombe-beat ." 2 3

1 Biography
1.1 Children
1.2 O Bando Orpheus
1.3 The influence of bossa nova
1.4 The Damned
1.5 The time of the Beat Concerts
1.6 The Kinto
1.7 Matthew alone ...
1.7.1 Decade 70
1.7.2 80s
1.8 Death
2 Style
2.1 Composition
2.2 Voice
2.3 Guitar
2.4 Percussion
3 Legacy and influence
4 Discography
4.1 Soloist
4.2 In collaboration
4.3 Anthologies
4.4 Compilations
4.5 Reissues

Eduardo Mateo was born in the hospital Pereira Rossell in Montevideo , the 19 of September of 1940 , and was the first of three children of the marriage of Angel Manuel Mateo Alonzo and Silvia Lopez. His second name, which became known all his life, was a tribute to Silvia musician Eduardo Fabini , whom he admired and which at one time had been used. 4 The taste for music defined the family: his father was carnavalero and his mother a passionate song. Moreover, his uncle 'Tito' Jorge Gimenez, husband of a sister Silvia had a group of Brazilian music and played tambourine , besides being a great percussionist of candombe . Note 1 The presence of "Tito" in the house of Mateo-Lopez was constant. Thus, Eduardo grew up in a musical environment dominated by the candombe and the samba , and learned some techniques of percussion with his uncle. 5 Eduardo attended School No. 98 'Juan Zorrilla de San Martin "; in an interview admitted that "played figurines, I was distracted, copied, not doing homework, it was horrible behavior." 6 He preferred, instead, go out and play candombe on the street, along with his father and his brother Carlos. In this regard, Carlos remembers:

The old man had the notion of the three tambourines. A Matthew, when I was very young, was given a tambourine. When the old man went to the deck or going to the carnival parades, he wore tamborcito him and played. Then the old and bought the three tambourines, and there would have about eight or ten years, and at every party we went out to play, right? Which he could play more was my brother and thrashed around with friends and with the old, and I always accompanied him . As I was short, he grabbed the boy tambourine. And the old man played great, and the peal , which was dominating.
De Alencar Pinto, Guilherme (1995). "A child like Don Eduardo." Crazy reasons. Eduardo Mateo step by Uruguayan music . p. fifteen.
Later, the brothers joined a murga children, whose repertoire consisted of three or four songs of popular music with lyrics written by Angel Mateo, by the member of more age , also named Charles, and by Eduardo himself, who also led the group and sang. 7 at the age of fourteen, Eduardo became part of a group of adult murga accompanying his father. By the time he became interested more seriously by Brazilian music , particularly by Waldir Azevedo - and bought a cavaquinho , with whom he learned to play the song "When mourns the milonga" Luis Mario and Juan de Dios Filiberto. 7

The two brothers went to high school Joaquin Suárez ; but Eduardo abandon the secondary education in the second year and Carlos, in the fourth. Eduardo, later, would define himself as "the worst kind." 8 Abandoning his studies, he worked for a time as a beekeeper . 8

O Bando de Orfeo 
During 1957 , along with Juan Manuel Acosta and Robert Paolillo two neighborhood friends and influenced by the then successful Brazilian group "Os Demônios da Garoa" Matt formed his first group, with which he played a while in a bar. Instrumentally, the group consisted of a surdo a agogô and tambourine . Matthew played the tambourine and possibly a cavaquinho. 9 At that time, in parallel, was attending a neighbor's house, Arnoldo Chuster, who played some guitar and taught him some chords. 9

In 1958 he formed the group "O Bando de Orfeo". This was composed of Arnoldo Chuster ( acoustic guitar ), "Chiquito" Facal ( tambourine , drum and vocals ), Hugo "Cheche" Santos ( Tam-tam , surdo and vocals ), Victor Villarreal ( Afuche and maracas ) and Eduardo Mateo ( cavaquinho ). Matthew also managed the voices and led the group. 10 rehearsed Monday, Wednesday and Friday, and their repertoire consisted mainly of songs from "Os Demônios da Garoa." 10 For two years they played in the street, on birthdays and holidays, and were frequently invited to "tablados" Carnival. By the time they played "We Demônios da Garoa" in Montevideo and invited "O Bando de Orfeo" touched to them. After the recital in which got to touch the two groups together left them several of their instruments gift. 11

In 1960 , during the height of "O Bando de Orfeo" Matthew ennovió with Nancy Charquero, a neighbor two years younger than him. 10 At that time the group had evolved and changed partly its sound and repertoire to a Brazilian music most topical and to the bolero . Eduardo played acoustic guitar while Arnoldo Chuster the electric and low . They were invited to perform a recital on the radio CX14 El Espectador , part of it being recorded on a disc of a single copy as a form of diffusion. Thus, "O Bando de Orfeo" went beyond the neighborhood level and managed to be in San Jose , Canelones , Florida , Rivera and Cerro Largo ; they recorded a single commercial and in 1961 , after a concert at the Columbia Palace Hotel , the group began to be economically profitable. 12

The group would play a fairly stable for a while and not known the exact year of dissolution if it is generally agreed that it was between 1962 and 1964 . Arnoldo left for Argentina and played some time with the Club of the Clan ; Matthew, meanwhile, was already composing and was interested in other styles such as the bossa nova -. That went beyond the intention and possibilities of "O Bando Orpheus' 12

The influence of bossa nova 
During 1960 Eduardo Mateo had begun to improve as a guitarist in assiduous visits to his friend Germán Reyna, he experienced, moreover, had lived close to the Brazilian musical process musician during his stay in São Paulo . Mateo had become a follower of bossa nova and, especially, João Gilberto . 13 The problem was faced as a musician was that the genre is based on guitar, an instrument that hitherto played very crudely and the he handled better instruments like the cavaquinho and pandero had fallen almost obsolete. At the time of dissolution "O Bando Orpheus' guitar practiced regularly. 14

In early 1964 came an unexpected proposal. Matthew was invited to perform as a guitarist of a show dance to develop in southern Brazil . Gonzalo Cortese, based in Curitiba , had assembled a group of musicians from Porto Alegre and Montevideo . Interviewed twenty years later by Carlos Da Silveira, Matthew and recounted that "adventure":

We spent five months touring and drove around one hundred fifty cities between Porto Alegre and Sao Paulo. We were on a bus and we were one day in each city. There I learned a little more ... Besides the Brazilian is an amazing guy and teaches you, you feel very proud that you like your music ... and how to play guitar!
De Alencar Pinto, Guilherme. "Bossa nova." Op. cit . p. 26.
The result of this process was not only good for music but Mateo in economic terms: money sent to Nancy and returned with his first electric guitar . But in the musical aspect of the learning period he lived in Brazil was fundamental. Guilherme de Alencar Pinto, musician and musicologist Brazilian states that, upon his return, Eduardo Mateo "was more than an excellent imitator of" whipped "João Gilberto" and, even more, says the following:

It was, in my opinion, the best guitarist of bossa nova after João himself.
De Alencar Pinto, Guilherme. "Bossa nova." Op. cit . p. 26.
In that period, Eduardo Mateo began to be better known in the music: he played with , and learned de- Ilzo Prestes , a Brazilian guitarist samba and bossa nova , accompanied Maysa Matarazzo live and began frequenting the "Hot Club" of jazz Montevideo, where he played with , among others , Hugo Fattoruso , Ruben Rada , Manolo Guardia and Federico Garcia Vigil . 15

The Damned 
In parallel, he began to take shape in Uruguay the genesis of his rock vernacular. Towards the middle of the 1960s the groups were changing gender to the extent that the public did too. In this way could an "orchestra covers " endure over time. Groups previously engaged in bossa nova , the Charleston and the tango , passed, for example, to play boleros , material Clan Club, Twists , calypso and versions of "La Bamba". Neither "O Bando de Orfeo" was alien to this phenomenon, gradually changing its style and genre spanning, until its dissolution through no fault of any kind of anachronism. When Arnoldo Chuster returned to Montevideo, he joined the Martin Brothers, another band of covers of the "new type" and, soon after, left him to join a group with Rubén Rada and Gervasio Spano. 16

For his part, Miguel "Caramelo" Mattos , come out of the Martin Brothers, formed the Five Fingers, composed by Walter Cambón ( guitar ), Roberto Schettini ( piano ), Eduardo Da Luz ( vocals ), a drummer nicknamed Migliaccio and Miguel " Caramelo "Mattos ( bass ). His repertoire consisted of rock and roll and twist . 17

During 1964 , the phenomenon of The Beatles arrived in the country and, since that time, dominated the whole music scene. Soon after his return from Brazil , Eduardo Mateo was summoned by Miguel "Caramelo" Mattos to integrate the Damned. The band kept the Five Fingers to Cambón and Mattos the latter now playing electric bass - and among the new members, Eduardo Mateo were second guitar, drums and Carlos Ernesto Castro in Soca on electric piano . 18 The opening song the group was I should have known better than Lennon / McCartney , followed by others also of the Beatles , which were, according to Mattos, "90%" of their repertoire.

This phenomenon -intensificado by the success of The Shakers in Argentina - caused bands that style had an almost guaranteed commercial return. The Damned played every week in various parts of the country and were invited by radios and TV stations. Note 2 Mattos said for example that in a single performance, could win only his part - telling, not paying the band entirely almost four times what his father in a month of work. 19

Eduardo Mateo, although he had no reason to complain playing with the Damned, was completely inclined towards bossa nova ; in fact, The Beatles not convinced until the publication of Revolver in 1966 . 20 Matthew was responsible for part harmonic of the band and delved into the arrangements . 20 According to Mattos, the presence of Matthew was what made "sound different. " 20

In 1965 , after a series of concerts with Los Gatos (grouping of Gastón "Dino" Ciarlo ), called The Cave damn cat , they played a while in Buenos Aires and interested to CBS , which tried to compete with EMI , which had a huge success with The Shakers. Everything was ready for his first single engraven - a cover of The Beatles but, the day scheduled for recording, members arrived late, the session was canceled and returned without the contract being firmado- a point to Uruguay. 21 following this incident, they decided to change its name to The Knights and managed to record with Sondor , this time though still own English songs. Eduardo Mateo, who wrote his songs in Castilian, did not attend the recording. 21 The album was commercially unsuccessful and the group after some excellent years as "band covers " suffered a heavy blow. The event did not worry too Mateo, which was already very little concerned with the group 's work. 21

The time of the Concerts Beat 
The term beat , emerged basically nascent literary and musical phenomena Anglophones of the 60s -denominados " beat generation " and " beat music " respectively and which also spread to other branches of art, 22 was introduced in Uruguay -particularly with the Beatles -. during the second half of the decade, and its mention it was extended especially in music 22 the rock then was called "beat music" by the press. Among young people, the term also assumed an identity and generational issue. The music of The Beatles or, generically, "beat" was the genre most consumed in Montevideo , as demonstrated by an investigation conducted by the Daily Times . 22 However, almost no intellectual looked at something important or positive phenomenon but rather a passing question. 23 This view was common -in general lines on both the political left and the right though obviously for different reasons. While the first expressed opinions that defined the phenomenon as "agent of imperialism" carried out by "bourgeois children" or alienated seeking to spend time making "useless" activities; the second saw, meanwhile, young libertines and even rebels , "misfits" and "hairy" away from traditional values. 24 The terms of gender were often made jokingly mentioned by the press and with sardonic superficiality -in contrast to the seriousness with which were taken the tango , the folklore and the so - called classical music - until at least the appearance of Revolver , which meant a sudden blow to many of the critics of the phenomenon. Not without some difficulties, the publication of this album allowed him to beat gain some cultural space. 25

At this time the emerged Concerts Beat , leading some critics Tomasen first contact with some bands whose career was already considerable. 26 Henry Kiesevich The idea came from young cículo theater with Ernesto Bernardo Bergeret and included in its gestation, Andres Neumann and Diane Denoir . 26 the initial intention was to generate enough excitement to make the pedestal to "erudite" and upward social mobility the beat to the category of art , for which they made a mixture of different musical genres and artistic disciplines among which I highlighted along with the music theater and look histrionic . 26 the cycle was characterized by irreverence from the moment of choosing the venues: the "untainted" Solis Theatre and Odeon Theatre; the opening vignette, used to be the following:

Bergeret entered the stage (which, without background, leaving exposed all the props of the theater) with a guitar case. He stood, the case drew a skull, and with an outstretched arm and skull resting on the palm, proclaimed solemnly: "To beat or not to beat. That is the question " .
De Alencar Pinto, Guilherme. "Concerts Beat." Op. cit . p. 48.
The next act could well be to the birth of a violin from a cello , 27 in a sudden dimming of lights followed by the appearance of a casket and a hand with a violin ready to play Bach , 27 and other numbers that tone that were interspersed with purely musical part.

Diane Denoir, singer 19 years hitherto unknown that since the beginning of the "concerts beat", he won peerage of 'lady beat "casually met Eduardo Mateo at the time he was looking for a guitarist to accompany her . 28 Matthew accepted the proposal and, finally, the band that would accompany Denoir in "concerts beat" settled Eduardo Mateo as a guitarist, Antonio Lagarde on bass and Roberto Galletti on drums. 28 were playing, especially versions of bossa nova and French songs, resulting characteristic linguistic Denoir game in them (could sing, for example, " Girl from Ipanema " in English, "Corcovado" in French and "Berimbau" in its original language). In these recitals they are also played for the first time, songs of Eduardo Mateo: And today I saw you , That sadness and I better go dedicadas to Denoir as well as a French version of 'm without you ( "Je suis sans toi" ), they became part of the repertoire. 28

The success of the Beat concerts grew as artists were adding. They went through these concerts The Knights , with Luis Sosa replaces Carlos Castro in battery-, The Knack's group of covers of The Beatles composed Pippo Spera , Urbano Moraes Quico Ciccone and Gonzalo Vigil, Ruben Rada and Gaston Ciarlo , the latter invited . by Matthew 28 not having yet completed the year 1966 , the journalistic impact of the shows was important: the specialist music press became interested in the participating groups and these to be called by radio and television. 29

Given the increasingly tense social and political situation in Uruguay, members of the Beat concerts organized the 13 of maypole of 1967 , a performance called Protest Beat and in June , a small cycle called 1. er . Beat Song Festival and Protest . The shows were not well regarded by critics. The newspaper The Day - of trend conservative - he devoted an article entitled "A shameful spectacle"; from the left , Manuel Alvarado expressed Lus, with its opinion, the various protagonists of that turbulent era:

It should be noted, and somewhat object, the one-sidedness of protest songs, almost without exception dedicated to war and Vietnam. I looks formidable pacifist line that every sensible human being must share, but often it is an inevitable whiff of direct import, to that as Uruguayan quality of living with an eye on Europe and strangers to the true national reality.
De Alencar Pinto, Guilherme. "Concerts Beat." Op. cit . p. 53.
By the end of 1967 Lagarde and Galletti they were the trio that accompanied Denoir. First Lagarde was replaced by Eduardo Useta and played a while with the formation Mateo-Useta-Galletti. Shortly after Galletti left the band and was replaced by Oscar Burgueño. The resulting trio was called San Vitrio , and even recorded a repertoire that included sambas , boleros and a version of The fool on the hill . 30 This group played parallel to the Kinto until August of 1968 , the month in which Useta and Ruben Rada traveled to Peru to join the group of Mike Dogliotti . 31

Some time before, during the summer of 1968, a new cycle Beat Concert was held in Punta del Este . In this period Astor Piazzolla attended a concert. 30 Note 3 The show enjoyed Piazzolla, who then stood chatting with Matthew and Denoir until five or six o'clock , and in the course of the evening, asked them even touched. 30

The Kinto 
Main article: The Kinto
The Inglorious acted assiduously before trying his luck in Argentina, in Uruguay legendary venue of the era Black Orpheus. Since late 1966 , after returning to Uruguay and replaced with the name The Knights after the missed opportunity in Argentina and recording Sondor they continued playing in that room. 32 parallel, participated in the "Concerts Beat" with the following training: Walter Cambón and Eduardo Mateo on guitars , Ernesto Soca in piano , Luis Sosa replacing Carlos Castro on drums and Miguel Mattos on bass . Black Orpheus, usually integrated Ruben Rada as a special guest. In 1967 retired Ernesto Soca and, instead, was formally Rada, which meant not only a change of musician, but later-and style instrument, because with this change the piano brooked the congas . 32 Shortly time after this change was the exit of Miguel Mattos and, instead, entered Antonio "Lobo" Lagarde as bassist, who already understood musically with Matthew after the experience as a trio with Galletti in the "Concerts Beat". This training would play a while in the group "Black Orpheus." On the occasion of 1. er . Beat Song Festival and Protest ( June of 1967 ) adopted the name El Kinto Set (referring to the quintet and the percussive instrument name "fifth" integrating the percussion section). Later would become known simply as "El Kinto". 32

At the time, Lagarde went to Europe and, instead, entered Urbano Moraes . They continued playing Black Orpheus basically songs of The Beatles , Charles Aznavour , Gilbert Bécaud , João Gilberto and some own compositions. 33 Urbano Moraes emphasizes creative ability and prolificacy of Matthew and Rada, as well as the important role played in the group. 33 Meanwhile, Nancy Charquero recalls the time of the Kinto as the most prolific stage of Matthew. 33

While the composition of most of the songs was for the duo Mateo-Rada, all members of the Kinto composed. Moreover, it was often collectively compose from individual ideas and not always finished works. These ideas could be transformed into songs in diverse occasions: in group travel by taxi back to the homes of its members, in the half - hour breaks between performances in Black Orpheus - moments in which to round down to the basement ideas, etc. In terms of musical arrangements, also each musician, in addition to specifically handle its instrument, proposing ideas or changes to other members. Matthew, however, generally was responsible for the harmonic arrangements, particularly those of the voices. 34 Freedom was full except aspects, discipline and rigor, also guarded by Matthew, who Urbano remembered as a dominant personality, demanding a total peers and respected commitment and dedication naturally, for his dedication to the group and its musical inventiveness recognized and admired by other memberswas contagious. On the other hand, if at one point someone was not "infected" Matthew's anger could suffice to react, under that same respect for their professionalism which won later in his solo career at times and disappear completely- musical skills. 34 his authority in the group based on your approach and not in some kind of claim to leadership. Luis Sosa remembers:

Eduardo had very clear ideas. He knew exactly how he wanted, what he wanted. And do not be led to you to do the wrong thing. He will say. Yes let you as a musician, do not cut creativity, but if what you creabas not fit within that framework particular topic, I said, and if things did not work out, I cried.
De Alencar Pinto, Guilherme. "The Kinto". Op. cit . p. 66.
Urban says it was Matthew who encouraged him to compose, and this attitude from Matthew to his fellow composers was still not constant. Moreover, when the stimulus was not explicit, Matthew used to generate musically, leading the band towards an enabling environment for development of creativity of his fellow climate. 35 Jaime Roos would emphasize this point when commenting on his impressions of publication of Matthew and Trasante ; about would say then. "Matthew managed, as always with all the musicians who played with him, raising the level of each musician" 36 This stimulus to creativity of others, probably influenced the fact that several emblematic songs of The Kinto they were composed of members who by that time were making their first steps as authors: Urbano Moraes wrote, for example, I come back for you and Musicasión III ; Walter Cambon, white foam sounds , song that later would open the disc Musicasión 4 ½ (recitals cycle record Musicasiones ); and Chichito Cabral, who would join the group a little later, Don Pascual , would open the remaining two albums recorded by The Kinto: Circa 1968 and simple homonym with Neither can I see . Matthew as "side B" 35

In 1967 Eduardo Mateo met Horacio Buscaglia , with whom he would build a friendship of by life - and his partner, singer Veronica Indart . 37 During the late 60s began working together and Matthew moved to his home in the neighborhood montevideano "Malvin". They composed steadily, focusing Matthew generally in the musical aspect and Horacio in points. As a result of this mode they would be born worked, among others, red daisies and the mythical Prince Charming . In 1969 they were prepared to make a record, which titularían horama , but the project was not completed. 38 In this they were three songs: Man , Mumi and red daisies ; the first two would be recorded by Veronica Indart format simple , while the latter would be included in Musicasión 4 ½ . 38

During that period Mateo joined a new project. He was appointed musical director of a simple of Roberta Lee and with the help of Federico Garcia Vigil , held for such work an orchestral arrangement. 39 Later, he was called to participate as instrumentalist of the play Freedom, freedom , premiered at the Theater the Galpón the 13 of June of 1968 under the direction of César Campodónico . He participated in the first part of the work, accompanied by Garcia Vigil as bassist Luis Sosa and battery . 39 The 14 of February of 1969 the play premiered Singing the puppet at the Odeon Theatre; composed for the occasion with Federico music work. 39 Also in 1969 , he participated as a guitarist with Vigil in the work Source sheepish , represented in Theater the Shed; and parallel with him constituted a duo that played the cycle Musicasiones . Meanwhile, he continued performing live with The Kinto. 39

In August of 1968 , Ruben Rada left El Kinto and went to Peru . Instead entered first, John Albano, a percussionist known Cambón, but the change did not work, so they turned to Mario 'Chichito "Cabral , percussionist friend Urbano. 40 On the one hand, this substitution occurred that El Kinto is especially any closer to the Afro - Cuban "Latin rhythms," dominated by "Chichito" - and put out a little of the "Candombe-beat" characteristic of earlier times; Moreover, the "vocal duet" Rada and Matthew crumbled and lost an iconic singer. In this situation, Urban took a leading role in the vocal part with Mateo.

Matthew and Cabral were unintentionally, developing a style of novel percussion would be an important contribution to the Uruguayan popular music: "I play 'set of rhythmic alternatives characterized by severe and heavy blow to the" fall to earth. " Unlike usual in the quaternary bars of rock , for example, in measures of 4/4 of the variant "I play ' is not the blow was accentuated in times second and fourth ( ? · I ) (ie, not did so syncopated ). Later, Matthew frequently use "I play ', with the pace of the two of us ( Matthew only good licks ) one of the simplest and most paradigmatic examples. 41 Note 4About this sound 

In mid- 1968 , El Kinto finally managed to go from being a "band Black Orpheus" and although quite repercusión- to integrate the list of bands circuit beat . Despite the increased recognition they were still some marginal way since, in the environment beat , continued to dominate the copy of English styles by bands with English lyrics without greater creative pretensions. The stylistic variety of the Kinto influida by candombe , different Latin rhythms, samba , bossa nova , rock, etc. and creation in Castilian was not common nor the most popular in the stream beat then. 42 At the end of 1968 the Kinto, without being a mass phenomenon, had some prestige and a stable public. 43

The jump in the band's career came with the cycle of concerts called "Musicasiones" in 1969 . These were similar to the "Concerts Beat 'scheme: various artists and musical genres and even" antagonistic " interspersed with poetry readings and skits in a totally irreverent style. The difference with the first, De Alencar Pinto, consisted of social circumstances and assimilation beat : the rock is now more associated with the idea of counterculture than a question of snobbery . 44 were performed in a total of four series of presentations, all in the Theater the Shed:

I Musicasión : July 21
Musicasión II : 26 and 30 July
Musicasión III : 1 , 2 , 3 and 4 October
Musicasión IV : 5 , 6 , 7 , 8 , 18 , 19 and 22 November
Participants of the "Musicasiones' Horacio Buscaglia (one of the main figures of the cycle), Veronica Indart ," Pepe "Vazquez, Robert Paolillo , who had joined the first group of Mateo and now was in charge of the presentation of the first Musicasión 'Cheche' Santos a former member of O Bando do Orpheus, Ruben Rada , Manolo Guardia , Reinaldo, Caio and Federico Garcia Vigil , among others. 44 the Kinto, in the first two series, were presented with Alfredo Vita on bass, because Urban was not in Uruguay. This was reintegrated in the third and alternated the position for a while, until Vita had an argument with Matthew and definitely left the group. 44

Of the time with El Kinto would be some emblematic songs of Eduardo Mateo; among others: Well well (original version of Matthew, then altered by Rada), Prince Blue (letter Horacio Buscaglia), Joseph , neither can I see , Pippo (music by Pippo Spera ) and Music of the film of the same name . Carlos Piriz, Uruguay sound technician, recorded several songs of El Kinto, making it possible in 1971 and 1972 were published, respectively, Musicasión 4 ½ and Circa 1968 , two records that saved the musical legacy of the whole.

Matthew alone ... 
See also: Matthew only good licks and Matthew and Trasante .
Since the late 1960s had spread the view that Eduardo Mateo was experiencing a change in their ways: there was little left of neat, professional and friendly young and in time of Musicasiones ; however, it was common to find a taciturn, extravagant Matthew and often grumpy. 45 On the other hand, had increased his drug use to a virtually daily basis (first contact was with amphetamines in 1964). 45 entered the consumption of marijuana and hashish their daily lives as many young people during those years and got used to consume amphetamines , or any kind of psychostimulant accessible - . Usually, when not getting these substances resorted to flu or cough syrup. 46 his then girlfriend, Nancy Charquero, associated with the sudden change in some aspects related to the paranoia and inconsistency which would eventually more Acute-, abuse and lack of judgment in drug use. 46 in this regard, Nancy says Matthew usually changed the course of the talks to land totally unrelated to the subject, that at times it was hard to understand what he was told and , for a time, even thought he heard voices. 46

Matthew held the idea that played better after consumption and used to propose to his colleagues to rehearse under the influence of any psychoactive substance. 47 According Cambón, as its proposal had little echo Urbano Moraes even she sipped, slowly went opening and looking for people who share this concept of "substance" as a source of inspiration. 47

After the dissolution of the Kinto ; Cambón, Sosa and Vita formed a short - lived band called First Front . Then, without Vita, they formed the group LEMONADE . Mario 'Chichito "Cabral began as soloist. Meanwhile, Matthew Urbano tried to form a new group named The Walrus , which lasted a single trial. Before the failed attempt, both launched solo careers. 48

The 6 of March of 1970 , at the repeated "infidelities" of Matthew and the belief that a period of separation would do well to both, Nancy went to New York . 49 Eduardo promised, before he left, that turn away from friends who harassed his friends Nancy especially consumers and women and, while she was in New York, he would move to Buenos Aires . The separation left a song: Uh, what macana . 49 Eduardo Mateo traveled to Buenos Aires this year with Reinaldo , who had played the piano in the version of the song of my people included on the album Musicasión 4 ½ - and acted for a time in that city: Matthew played guitar, Reinaldo congas and singing a duet. Ernesto Bergeret, one of the creators of the Beat Concerts, who at the time lived there, coordinated the recording of an album by the duo. However, to the astonishment of Bergeret and Matthew, Reinaldo, from one day to another without warning, he left both the project and the duo. 50 Eduardo Mateo spent the rest of 1970 and the first months of 1971 in Buenos Aires, playing bars a repertoire that mixed standards of bossa nova with own songs. As a result, it became fairly well known in the music of Buenos Aires . 50

On 23 February as as 1971 Nancy and Matthew were reunited in Montevideo and resumed their relationship. Mateo had musically become more intransigent: outside any economic consideration, started playing very little and strictly what he wanted and he wanted time; if he did not want to touch, missing no problem agreed place. 51 Their goal was that he and his music were absolutely authentic at the cost of any commercial failure or problems in personal relationships arising from their unwillingness to compromise or . his obsession express anything that felt 51 Urban remember:

He told me once to put together a trio with Galletti. Great cagada not have armed, pfa! And partly I think I'm one of the culprits that has not been armed. Simply because it was a moment that was very rough, did you see? [...] There was a time that the madman was on the street and people crossing. They did not want to see him or cross word with him. Because you threw a crazy ipality killing you, right? It was on the wave of saying everything he saw and what he felt and if I saw such that you lied or were working careteabas or any wavelet, the mad Tada each sablazo killing you. Product of all the mojos, right ?, that put you well, bravo. Galletti had come from Spain . Also he walked bravo suddenly. Half was difficult to realize that trio. Matthew just had to be stack of years alone, there came the first longplay of it, right ?, Matthew only good licking . Because the madman could not with anyone.
De Alencar Pinto, Guilherme. "Matthew alone good licks." Op. cit . pp. 128-129.
After many years with almost no contact with his family, Matthew relived some time with them. The second daughter of his sister Teresa contracted hepatitis and Eduardo spent several days taking care of her; during those days he composed Lalá . Then he returned to Nancy, to whom he dedicated two new songs of love behind you and girl . The mother of percussionist Alvaro Salas wrote La chola . 52 Eduardo Mateo had proposed the recording of an album to the label of the plant and, although one of the owners, Carlos Píriz, had already given its approval, there were some doubts about . the degree of commitment and attitude would take Matthew 53 was Diane who rushed Denoir events; in 1971 it was recorded in Buenos Aires with seal their first album, which included eight songs of Matthew, and wanted to have him participate as an accompanist and arranger in three of them. Without further ado, he traveled to Montevideo to find him and took him to study. 54 Having successfully completed the recording of Denoir, of the plant decided to take advantage of the stay of Matthew to finally record Mateo single good licks . They paid the ticket to Nancy to accompany him -Arrival in Buenos Aires on October 23 - and estimated a recording time of one week. The initial week would be extended to two months of improvisation, absence of Matthew and almost a "game of cat and mouse" in which he was waiting at the door of the hotel to ensure your trip to the recording studio; Moreover, this process would end even formally, as Matthew returned to Uruguay without notice and the record was finished by Píriz from what had been recorded. 55

While carrying out the work of editing the record which would eventually be published in December 1972 - the extensive relationship with Charquero Matthew, who in recent years had become quite fragile, finished be broken. Nancy attributed to the couple to the "total decline" of Eduardo and the difficulty to engage with him a sensible discussion. 56 Dismayed though willing to definitely and sure he could continue no longer support him, Nancy returned to Buenos Aires to break, this once, unlike usual during previous periods of crisis without leaving any place where you stay track. Matthew traveled to look but I could not find her. 56

After its publication, Matthew only good licks had a significance and extraordinary success; 57 the idea of "Matthew rambling" but accompanied explicitly or implicitly generalized by the idea of "Matthew genius." 57 Some of the criticism came to wrap Eduardo Mateo in a halo of mysticism romantic . 57 in any case, Matthew only good licks was not only a success in itself, but served as an excuse for the press to talk-finally about the importance of Matthew in the Uruguayan music. 57 Meanwhile, various artists like Jaime Roos , Fernando Cabrera , Luis Trochon , Popo Romano , Jorge Bonaldi and Jorge Schellemberg among others , have stressed the importance that the publication of the disc for music and Uruguayan influence left in them. 57

The 27 of June of 1973 , the then Uruguayan President Juan Maria Bordaberry , with the support of the Armed Forces , dissolved the Chamber of Senators and Representatives and created a Council of State with legislative functions and administrative control; thus formally starting a fierce civil-military dictatorship that would last twelve years. Throughout this process both during the previous socio - political upheaval and after the formal dissolution of the cameras Eduardo Mateo maintained an attitude of passive resistance and introspection, 58 although sometimes personally suffer some of the "excesses" of the government de facto . note 5 the date of the coup came at a time when the musician started to deeply interested in Hindu philosophy and the figure of Maharaji . In the words of De Alencar Pinto, "his behavior to the pressing national situation (and any other situation that was raised in life) is identified with the akarma Hindu or the wu-wei Daoist (non-action, or action unlinked desire for their fruits). " 59

Matthew made contact with the ideas of Guru Maharaji (Prem Rawat), through a Hindu "initiator" with the title of Mahatma called Suleshkna Bai. 60 During that time, Matthew composed song for rebirth which then included on the disc Mateo and Trasante - the head shaved, left for a while alcohol and drugs, and hid herself some time at home in order to practice meditation. Seemed to have found tranquility needed since the late 60 60

With the start of the dictatorship, Matthew lost several of his colleagues, former colleagues and potential partners, who left the country: Diane Denoir went into exile in Venezuela during 1974 , before the threat of kidnapping, Horacio Buscaglia lived throughout that year in Buenos Aires, Vera Sienra moved to that city in 1973 and lived there until 1980 , Ruben Rada went to Europe in December 1975 , then to the United States and eventually settled in Argentina , Carlos Canzani left the country that year; Luis Sosa did in 1978 , Jaime Roos went to Europe the same year Rada, Urbano Moraes moved to Argentina in 1974 , and more tade to Spain in 1976 , where he lived and would serve as a musician until 1982 . 61 The theater the shed was closed in 1976 and its members were exiled in Mexico until 1984 . 61 Urban account:

When I left pa 'Spain, I remember that I went to say hello in a trial Trasante. And the madman had a solitude of the bitch that bore him, did you see? He said goodbye to me crying. The madman told me: 'Do not leave me alone, Black, do not leave me alone, crazy, you're the bitch that bore him, "I do not know why. While there were a thousand people in Matthew and fans who had followed him stack, with the wave hit well with people entered the madman left alone.
De Alencar Pinto, Guilherme. "The hammer hitting." Op. cit . p. 146.
In 1975 after playing in a series of recitals whose cycle was called The Ladder , 62 Eduardo Mateo traveled again to Brazil in search of new musical horizons and employment opportunities. His stay lasted five months and was spent mainly between Rio de Janeiro and Sao Paulo . 63 On his return, he found that the family situation had worsened considerably. Pippo Spera introduced him to Gregorio Yizmeyián, owner of the restaurant Pan , and Matthew began playing professionally every night, which would provide economic stability for three years. 64 Meanwhile, rented a room next to his mother, and used his free time to do gymnastics, practice yoga and study music. During those months he went to two professors, Amilcar Rodriguez Inda and Nybia Scaffo; with the first he honed his technique as a guitarist while the second was devoted exclusively to study music theory . Uninterruptedly would study about two years. 64

Meanwhile, Matthew alternated performances at the Pan performances in other bars and a new cycle organized by Atilio Pérez Duncan da Cunha "Macunaíma", who had also organized with Homer 'Pirucho "Diano the first round of the ladder . The cycle was called Macunaíma and, as in the case of the stairs , tried to somehow continue the style of "Musicasiones" of the late 60 65

Still in 1975 there was an unexpected event that Matthew overlooked: And today I saw had been chosen as the central theme for the film Argentina Sola , of Raul de la Torre , who would film the following year. The song was sung by Sandra Mihanovich , who met through Horacio Molina , his guitar teacher then. 66

However, the highlight of the year for Matthew was the series of trials had with Jorge Trasante , with whom he had worked on a musical level since the publication of Matthew single good licks . Trasante, thirteen younger than Matthew, had already a reputation as percussionist murga and a path stretching from the integration of the group beat "Cold Coffee" until the formation of the band " Aguaragua " with Carlos Canzani . 67 Matthew and Trasante they shared a taste for Indian music and conception of percussion as an essential element in the song. This series of tests always home Trasante aimed arranging new songs of Matthew for the formation of a duo live but gradually drifted into the idea of a new album, released in 1976 under the name Matthew and Trasante under the seal Sondor . From the beginning Matthew took the job very seriously, unlike with Matthew only good licks - and the duo after a year of intensive testing, found no major problems when recording. From the beginning, the label gave them complete flexibility in the use of studio and recording schedules. 68 In the final result highlights the influence of Eastern music - classical Indian music and raga - as well as a new form of singing Mateo, who recently was studying that aspect particularly. 69

Shortly before the publication of the disc, Eduardo Mateo and Jorge Trasante made a spectacular launch in Shakespeare Café Concert . In 1977 Trasante left the country and was held on March 12 of that year, a farewell concert called A farewell to the drummer . They participated in this tribute concert in addition to Eduardo Mateo, Carlos Benavides , Los Eduardos , Pippo Spera , Mariana Garcia Vigil , Romulo Bogalle , Macunaíma , Luis Trochon , Jorge Bonaldi and Jorge Lazaroff . 70

In October of 1977 , during a performance at the Pan American, the entry of a group of friends of Matthew was prohibited and he refused to play, so he was fired. 71 From that time began to unravel the relative economic stability in which he had lived in recent years. He was forced to wander in pension pension unable to pay them and lost their belongings to the demand for compensation by successive owners; on the other hand, which did not lose this way llegando even sold borrowed guitars order to sell then. 71 began to appear at dawn at the home of friends in search of shelter and food, and beg, and being frequently jailed because of the raids police of the dictatorship. 71 the 26 of February of 1978 he was arrested under the charge of "forgery of private documents" after encontrársele recipes for the purchase of psychotropic drugs , and went into a dungeon several weeks. 71 a departure he lived for a time at his friend Eduardo Lockhart and continued to compose. In 1979 he took classes from theater with Alberto Restuccia 72 and in the last years of the decade, played in small clubs and presented a pair of own cycles: Recitals Matthew and Tango Matthew , who was a failure both at critical and economic. 73

80s [ edit ]
See also: Body and Soul (Eduardo Mateo) , The Time Machine presents: Matthew / Bad weather on Alchemia (1st trip.) And The Time Machine / The Fly .
During this economically dire times , begun in the late 70 also began the most serious family problems: her mother became blind due to complications from diabetes and, after a time at the home of Teresa, died in 1980 ; his father died two years later and, in 1983 , his grandmother. 74 Moreover, since the early Eduardo left practically seen with his brothers Carlos and Teresa for several years. 74

In musical terms, in the late 70s and had been composed several songs that later formed the album Body and Soul (some of them composed during his stay at his friend Lockhart). 74 Note 6 These revealed a improvement in the guitar technique of Matthew to a more complex spectrum and evolution and search for new elements in the composition itself all of which is particularly prominent in the songs bowling and big house . 74 Meanwhile, in the plane poetic, it is also an innovation in relation to the use of the word meaningful phonetic note 7 and the formation of the criteria own language in a not necessarily level narrative , including the creation of words and particularly verbs. 75 note 8

In 1981 , Enrique Abal, artistic director of Sondor , proposed the recording of the new album, whose recording began that year but was interrupted, retomándose in 1983 . If the recording of Matthew and Trasante had developed quite normally and professionalism, this one , with an irritable Mateo and devoid of any kind of economic, psychological and familial stability, was composed of tense meetings and, in the words of Abal, "endless" . 76 the 13 of August of 1981 Matthew was admitted to a psychiatric hospital, where he was admitted a week, and then spent time on the farm of his friends Robert and Mary Sampognaro, note 9 away from the recording studio. 77

In 1982 , after squandering the money collected by concept copyright, he went to live in the dressing room of the Teatro de la Candela, under the protection of Horacio Buscaglia , who took the opportunity to organize a concert that would give Edward some income ; the concert was called Mateo in March and was held on the 7th of that month being unexpectedly successful at the level of attendance. 77 The Teatro de la Candela then organize a cycle Mateo, Buscaglia and Pippo Spera called Tresbigotres and a fly . In that year, especially hard for Eduardo regard to police persecution, 78 met Renée Mieres, his partner since then, and went to live in his house, located on the promenade of Montevideo neighborhood "Malvin". 78

During 1983 recording of Body and Soul was retaken, but with the disruption caused by the creation of a new cycle of live Mateo called The story suite Guli-Guli would come to be in Buenos Aires . 79

"Whoever did not know Matthew could see in Guli-Guli a kind of teasing Canto Popular, full of milongas, numbers, sambas, and farmers. The texts contained references to demonstrations, "people" and a joke with the police ... "Renée Mieres
De Alencar Pinto, Guilherme. "Body and Soul." Op. cit . p. 203.
The album finished recorded in 1984 and was published in March of the same year, having a great impact on the music scene note 10 but rather low level of sales. Matthew, meanwhile, was not happy with the result, to the point that, in his later recordings, would use body and soul as an example of sound that is not wanted. 80

And shortly before the publication of this disc Eduardo Mateo had begun to move away from the Eastern philosophies that had been central to him until then (particularly in the second half of the 70s ). 81 Once he justified with Renée his departure of Maharaji alleging that he wanted his followers to 'let their heads in white ", which Matthew terrified him. 81 in the words of De Alencar Pinto, since his philosophical sustenance would be more related to certain" magical vision of scientific evidence " particularly influenced by the work the Morning of the Magicians , by Louis Pauwels and Jacques Bergier . 81

The power acquired by the "sign" in magical thinking translates into Matthew's intuition that the mere mention of a fact is able to provoke. From this approach it is possible to understand the alteration of some of the verses of his songs where death was originally mentioned. At that time the author had altered the lyrics of Yulelé ( "will die" by "dance"), Jacinta ( "dying" by "feeling") and Uh, what macana ( "die thinking of you" with "live thinking of you" ); in turn, subsequently avoided the mention of this issue and negative anyone consider both their songs and in their conversations. 82 His terror at the point of death -at its negation 83 and his fondness for science fiction constitute a combination that would culminate in the construction of the time machine , "concept" of Matthew under which would be recorded his last two albums and that, in turn, dominate in subsequent cycles themed live.

In 1982 , during the long pause occurred in the recording process of body and soul , while on the show Tresbigotres and fly with Horacio Buscaglia and Pippo Spera , a first show content concept was projected time machine , in which he participates Buscaglia, but this was never done. 84 the 14 of July of 1984 was finally premiered this show in Millington Drake (Anglo) Theatre, with the participation of Jaime Roos ( low ), Gustavo Etchenique ( battery ), Alberto Magnone ( piano and synthesizer ), Walter "Nego" Haedo ( percussion ), the trio Crossing -made by Mariana Ingold , Estela Magnone and Flavia Ripa - ( vocals ) and Gaston Contenti ( trumpet and flugelhorn .) 84 the show He conducted in four office for two weekends. In addition to songs Mateo, they touched some of Crossing. Mateo did not want to touch any of his songs previously recorded, not even body and soul , newly released album; the new songs, meanwhile, is framed in the context of his initial idea, leaving aside any left to bossa nova and focusing, poetically, to a style less "humanist" and " metaphysical ," while, as regards the musical aspect, towards a more experimental style, influenced in part by Miles Davis . 85

The show was successful in terms of box office though critical reaction was generally not very good, to the point that several described it as "indecipherable" or "wandering." 86 On the other hand, music in Uruguay was especially sensitized by the process of returning to democracy after more than a decade of civil-military dictatorship . The phenomenon of Uruguayan popular song was at its peak: in November 1983 the Olimareños left a censorship ten years and turned to hear the voice of Daniel Viglietti , Alfredo Zitarrosa , meanwhile, returned to his country on 31 March of 1984 at a crowded reception. 86 in this context, it is not unreasonable that the proposal of Matthew was seen by some as, at least, an anachronism .

In April of 1985 , the Uruguayan Workshop of Popular Music ( "TUMP") organized a second cycle in the theater Mask called The Time Machine / 2 . Unlike the previous, it consisted only of Matthew and his guitar, with a TV turned on, without sound, brought to the show random images. The show was successful and turned to perform June 13 in the Montevideo neighborhood of Punta Gorda . 87

Between October 7 and 28 of November of 1985 , as musical number of the first edition of the Municipal Cultural Circuit devised by the Department of Culture of the Municipality of Montevideo , the third cycle was developed Live Time Machine . The cycle included free performances by various neighborhoods of the city and the musical number Mateo was part of a proposal that also included the mime Alejandro Meneguzzi and Contemporary Ballet Folklorico performing a number of native prints . For these occasions, Matthew was accompanied by Urbano Moraes ( low ), Fernando "Lobo" Núñez ( congas ) and members of Crossing ( voices ). 88 This time Matthew agreed to play songs 'old'.

Meanwhile, during 1985 and early 1986 , Eduardo Mateo recorded with Rubén Rada an album in a duet that was titled Botija my country . 89 Meanwhile, on a personal level, the relationship with Renée Mieres ended and Matthew returned to his former life : left homeless and often resorted to borrow money to survive. 89

In 1986 , Eduardo Mateo was invited to participate as an arranger in the first solo album of Mariana Ingold , all depends , to be published by the label Ayuí / Tacuabé . Guilherme de Alencar Pinto participated in the album production and recalls Matthew performance using the "unusual" epithets and "great". Among others, makes the following specific findings:

[...] Mariana played on guitar base (base that Matthew was an immutable understood: the arrangement would be made up of the base). Matthew invented the touching parts on his guitar. I wrote them, and went on to play them on the piano, so he could keep inventing additional parts. [...] The idea of ​​arrangement seemed to sprout in the abstract, of the head. At one point, taking some form of mental image I had in a few seconds was the most unusual positions on the guitar and had an absolutely unusual early chance, but great. [...] [Arrangements] wore harmony, rhythm, and even the emotional climate of music into unexpected sides, [...] distorted as basic parameters at the same time respected and potentiated what intuited as "essence" of the composition.
De Alencar Pinto, Guilherme. "Collaborations". Op. cit . p. 243.
The rest of 1986 and virtually all 1987 Eduardo Mateo was particularly forced, given the economic situation in which he found himself , to prepare cycles recitals. Thus, he decided to build another cycle of time machine in which act as opening act of Jaime Roos and Repique ; this cycle tested for three months with Mariana, Urban, Alvaro Salas in congas , Andrés Bedo on piano and synthesizer and Sergio Faluotico on drums. Mateo had frequent discussions with members and climate of the trials was the most tense. The project, between climate "unpleasant" and the selection of an inadequate repertoire to accompany Repique, note 11 vanished. Matthew then managed to play at the bar "The tempo of the Sun" and only with Urbano Salas; his obsession with economics -inédito it until the moment came to such an extent that, on one occasion, he gained entrance to their peers. 90 Meanwhile, he was invited to compose the soundtrack for a play child and accompanied several young musicians, standing out in this sense the armed cycle alongside Fernando Cabrera . 90

The 25 of November of 1986 both were invited to play separately at the show launch of a book of Gustavo Wojciechowski . The mutual admiration came the idea of forming a duo emerged naturally and instantly. They played two or three months at the Teatro La Candela and then went on to play at the Theatre of Notaries, where would record a live album on November as April as 1987 . The idea for the album was Cabrera, who proposed the project to label Orfeo . In his opinion, "It was a bad day Duo" and the album did not reach the level of the usual concerts. 91

After this cycle, in early 1987 he began to project the recording of the first concept album soloist Matthew under the idea of The Time Machine . Ediciones Tacuabé agreed with Mateo recording and release through the label Ayuí . 92 This, dominated by a constant tension between Matthew and the rest of the musicians, 92 was called the time Machine presents: Matthew / Bad weather on Alchemia (. 1st trip) and recorded in the studios "La Batuta" between October and December of 1987 , month which was published.

During 1988 , Matthew played live soloist way, accompanied by a scheduled battery Hugo Jasa , producer of the previous album. His performances of surprise, became monotonous, as the cassette containing batteries forced him to always play the same songs in the same order. 93 On July 7 he played a duet with Leo Maslíah , in a concert organized by Ediciones Tacuabé as part of a cycle in Centrocine devised by Mauricio Ubal . 93 the conflicting opinions about the professionalism or lack of professionalism of Eduardo Mateo when playing live or recording their albums, both true depending on the time that crossed the musician, is they faced, this time with a tremendously obsessive Mateo in trials. According Maslíah, Eduardo Mateo asked to play each song ten or fifteen times by trial, also being very methodical and disciplined. 94 also Maslíah remembers him "like a clock", playing in trials as in his best performances, and "very . imaginative "when making arrangements for the songs of Leo 94 . Matthew, meanwhile, said Leo Maslíah was" a teacher, an advance that makes a very intricate and complex music " 95 the concert was a success: place was filled and the impact on the press, very positive. 95

From this success, Ediciones Tacuabé organized another show, called seven soloists , which took place on September 9 . Besides Mateo, participated Ruben Olivera , Esteban Klisich , Mariana Ingold , Laura Canoura , Mauricio Ubal and Eduardo Darnauchans . 95 After this show, Eduardo accompany him on some opportunities to Mariana Ingold and Laura Canoura in their performances. 95

On September 17 he played alongside Popo Romano and Diego Ebbeler , at the launch party for the book Like a lord of time , written by the poet and percussionist Hector Bardanca, which consisted of an interview with Matthew, a section with his discography, photographic material and the lyrics of their songs. 96 Under this trio would present several times the rest of 1988, culminating with the recognition of the daily La República Eduardo Mateo as "Best songwriter of the year." 96 a compositional level in several of his latest songs, note 12 which do not integrate their next and last disk, Matthew returned to a simpler style, similar in some ways to the predominantly acoustic and concise style of Matthew single good licks . 96

The 31 of January of 1989 a concert was held in the Summer Theater | Summer Theatre Montevideo. It brought Hugo and Osvaldo Fattoruso , Urbano Moraes , Juan Gadea , Horacio Buscaglia , Roberto Galletti , Eduardo Mateo, Ruben Rada , Mariana Ingold , Arys Silvano, Diego Ebbeler, "Nego" Haedo, "Lobo" Núñez, Manuel Silva and Mariano Barroso . 97 the show was repeated on February 18 in the beach area "Pocitos". The magnitude, promotion, success and journalistic impact of these two events was extraordinary. 97 The impact of successful events such as the Summer Theatre or 1987 with Cabrera not "massified" the figure of Eduardo Mateo , who had never been nor would it be a mass phenomenon and even a singer known by the consumer average- music but according to De Alencar Pinto, considerably reaffirmed the positive opinion and had him his audience. 98 Among his audience was, however, good part of the musicians themselves would be massively recognized and considered as his master (as Ruben Rada and Jaime Roos ).

Matthew devoted itself in 1989, along with Hugo Jasa, to record a new album Time Machine , which include several songs that were left out of The Time Machine presents: Matthew / Bad weather on Alchemia (1 er . trip) for reasons of study time available. Meanwhile he made some collaborations, especially in projects that were involved Jasa and Horacio Buscaglia. It was called, for example, to give a series of "lectures" on a radio program of the latter, called The Ship of Fools , as he had been elected "president" by the public in a vote that had been done as a spoof the national elections . 98 Another of his collaborations of the time was participating in a Yingle the Communist Party of Uruguay . This time he sang a rap composed of Jasa and Carlos Cotelo, in the framework of a campaign devised by Buscaglia. 98 While he continued the process of recording the disc. This was finally released for sale in January 1990 , again by the Ayuí / Tacuabé label, entitled The Time Machine / The Fly .

In July 1989 Matthew started a new relationship with the teacher and dancer Elena Pena. 99 This recalls the month of February of 1990 as a very good period in his mood. Moreover, for the first time in his career he had been manifestly and enthusiastic as his studio work. 100 that month even got to hear regularly Bad weather on Alchemia / Fly . 101

Between March and April Mateo joined a new live project. This time it was with therapists , led by Alberto "Mandrake" Wolf . During that time also it was planning a series of recitals with Cabrera, who "Matthew, therapists and Fernando Cabrera" would be called. 102

While Eduardo was ill for quite some before, it was at this time that he began to feel ill and he tried to hide it with everyone, especially with Elena. 103 had cancer abdominal, and this news just two weeks was known before his death, when it was admitted to the Hospital de Clinicas . During these two weeks was constantly visited and in general all tried to create the best possible environment; Matthew, particularly, adopted the black humor . 103 On May 16 , the day of his death, was the day fixed for the premiere of the show with Cabrera and Therapists. 103 The funeral was held in the morning the next day, with little more twenty people. 103 During the later half after his death, the press gave made a remarkable space, just less than generated on the occasion of the death of Alfredo Zitarrosa , a year earlier, the latter being a much more popular character. 103

The style of Eduardo Mateo thrives on gender diverse: samba , bossa nova , 104 105 candombe , 106 rock (especially in its stylistic variant beat ), 107 traditional music of various origins (particularly India ), 108 and since his time as a student of classical guitar with Amílcar Rodríguez Inda, specific elements of " classical music " of European origin (mainly composed during the " late Baroque " by Bach 109 and Vivaldi 110 ).

Bossa nova which obsess Matthew to mid-60s, after his stint as musician samba - has an unmistakable presence in some of his songs, particularly during his first time as a solo artist: such is the case of Jacinta ( Matthew alone good licks ). 111 at other times, without being the song genre, it offers elements especially at the level harmonic .. (eg who saw you , That sadness , new flowers and I'm without you ). 112

Candomble, one of its main rhythmic influences-and whose fusion with rock would be one of the precursores 113 forms the basis of several songs (p. Eg., Carlitos , Blithe Spirit , The old mama , name goods , The black finger , Candombe Ana , Uh, what macana and Kin tin tan ). In other cases, like what happened in the case of bossa nova , the presence of candombe is seen, not as genre of the song, but on specific elements (p. Eg., Some guitar parts in Mary , A singing for breast and Four trips ). 114

The presence of rock in its stylistic variant released by The Beatles is present in all the songs composed by Matthew El Kinto later to 1967 . In his solo career, the structure of the two of us is a good example of song beat (more if you consider the lennoniano clisé fifth Augmented 's fifth sixth of the Mayor with Matthew accompanying the first verse). 115

Hindu influence frequent very in music Mateo is evident, first, in the raga improvised the composer adopted at the end of many of the songs of Matthew only good licks and Matthew and Trasante . Song for rebirth was composed in the period when Matthew was attending the ashram of Maharaji ( circa 1974 ); 116 Voice diamond was dedicated personally to Maharaji, 116 body and soul , in his interlude and first part uses the e modal character "hypnotic" - the Indian music ( raga ), with a low permanently re and variations on guitar, tuned it in D major open (from sixth to first string: re-la-re-fa # the -re ). note 13

The song of my people of Matthew only good licks also responds to this constant search of not just traditional Hindu music that characterized Mateo. Its melody is a copy of a song folk Haitian called Zamis loin loin . 117

In Sweet sheen of Matthew and Trasante , Jorge Trasante Hindu sees conjugated with African influence. According to him:

It can be seen that in the sung passages there is a three course set, then there is a break where everything goes, achieving an impressive climate, which has the magic that we can bring back. On the other hand there is a very great in that rhythmic insistence of keeping the three times Africanism. We maintain that groove , but then one thing is much more than India, much crazier ... free. When there was music singing recovered a huge weight. It is very difficult to describe this music
Figares, Daniel. "Issue by issue". Matthew and Trasante. Thirty years. Conversations with Jorge Trasante . p. 55.
Circa 1978 - and released the album recorded with Trasante Eduardo Mateo presented in the show Tango Matthew , the song The bowling . This topic of the most experimental of Mateo born; according Lamolla, Peraza and De Alencar Pinto; the approach of the composer in the years before the "erudite guitar" and its resulting fascinated by Johann Sebastian Bach and Leo Brouwer . 109 Matthew himself, interviewed in 1983 , acknowledged that he had written a song called during the said period Cantata for cheer ants , inspired by Antonio Vivaldi , and something else influenced by Gaspar Sanz . 118

Among other resources used, Matthew frequently made use of polyrhythm between percussion, vocals and guitar; 119 coexistence modal 120 and dissonance harmonica. On this last point, Jorge Trasante highlights this in overlapping guitars And today I saw and Voice of diamonds . 121

With regard to the letters and poetic aspect, Mateo style evolved from the flat shape, direct, often naive but entendible and focused on the message of his time in the Kinto and during his first solo album, to a mode phonetics which included the invention of words or use outside the usual context, dark moments in meaning and perhaps the aspect llamativo- a function usually related to the Kabbalistic aspect of the word as a sign and its use as a form of power needed to frame a procedure under certain characteristic caution in the different varieties of "magical thinking" . 122 These features -particularly the phonetics of words as an extension of the music, creating words and magical sense given to pry into them - they are Matthew and Trasante , would be developed in body and soul and for the time machine , would become excessive, and transcending the artistic sphere to occupy a central place in the author 's own life. In the mid 80s Mateo he had altered all the words in his songs mentioned death and seriously concerned about those that had the theme of loneliness (p. Eg. José ). 123 Jorge Trasante also emphasizes the frequent use of "twists popular jargon" and colloquialisms (p. eg. "Yikes, what hope," "uh, what macana" "I do not know who I will be, che", "Cachito mine ..."), and interjections unused, in your opinion, frequently in the poetry of the Uruguayan popular music. 124

Eduardo Mateo starts working a "style voice" in the mid 70s . Until Matthew and Trasante the composer sang naturally, without impost. During the preparation of this record Mateo, which was at its strongest stage of contact with the Hindus philosophies began to pay more attention to the possibilities of experimentation with it (experimentation that had characterized their relationship with the various instruments ). Interviewed about it on several occasions by Jaime Roos , Marcos Gabay and Elbio Rodriguez, Matthew recognized the change and said it was studied and responded to their need to "seek new paths." 69 On the other hand, attributed the influence of Bob Dylan , ray Charles , John Lennon and, in particular, Indian music which, he said, "uses quarter tones" (referring to the scales not temperadas Asian, which provide the ability to play with microtonalismo without the musician you are limited to "halftone" western least tonal range). 69

Jorge Trasante, interviewed by Daniel Figares, confirmed this fact. According to him, the kind of music they both heard during that time was decisive for Matthew began to use our voice, to use as a "character" according to the song and find more free and rich hues. He found turn a vocal identity (because until then was not properly considered as singer ) in a process that is generated naturally. 125 In this regard, Trasante it exemplified particularly the way it was sung the blues for good mine and said Canto to suns as an example of a song that includes both naturally- the modalities of the Kinto and Matthew only good licks with predominant in Matthew and Trasante . 126

Hand in hand with the emphatic and dramatic aspect voice pointing Trasante, microtonal experimentation would, from that moment, an important part in vocal exploration of Matthew (p. Eg. Cute Beloved Friend , bowling , Name goods , Among signs , crazy spin and several of the songs on the Time Machine / the fly ). 109

The samba and bossa nova were genres that, to some extent, determined the guitar style of Eduardo Mateo (they were, in fact, the first genres that Matthew included in his first stint as guitarist and whose influence would bring distinctive elements of the Damned and the Kinto). During the "Concerts beat" with Diane Denoir, develop this style. Note 14 also recalled that, referring to the mark bossanovística Matthew after his trip to Brazil in 1964 , De Alencar Pinto rate the musician as the best guitarist of bossa nova after João Gilberto . 127

Later, his essentially rhythmic formation and its proximity to the drums of Candomble , would make him a rhythm guitarist of the genre with a unique style:

In Candomble, for example, your pancada, or how to play the guitar -he rhythmically placed voice and melody depending on the rhythm - is all an unmistakable, unlike anything, and immediately recognizable seal.
Jorge Trasante in Figares, Daniel. "The song of Matthew." Op. cit . p. 38.
Said "style" when playing the guitar would be one of the essential characteristics of Matthew. In this regard, it recalls Píriz sessions for Matthew only good licks that:

In this album they were visiting some musicians of jazz from here in Buenos Aires . Among them was Pocho Lapouble, Jorge Lopez Ruiz ... He had said something about Matthew. Dead with these rhythmic figures landless and that sort of thing, who stayed, for example, "that can not be written, that can not be touched" ... Impresionadísimos. And then came every day to listen a bit.
De Alencar Pinto, Guilherme. "Matthew alone good licks." Op. cit . p. 134.
In relation to remembered for Píriz, note that the "rhythms invented" Matthew often in an instrumental context polirrítmico call the attention of several musicians and musicologists, with the guitar cute Beloved Friend one of the most striking examples in this regard. 120 Particularly noteworthy as cases of rhythmic invention guitarist also are his "strumming triple time " executed that sadness and as Dona Martinique , the author also adopt other songs in the form of rhythmic variations. 128

Another aspect that distinguishes Matthew guitar style is, like in other areas, exploring Hindu sounds. Often the arrangements were constructed that mimicked the guitar to sitar (almost always in an improvised context.. Eg the final parts of La Chola , Nene , Sweet brightness and interludes Why ). 129

One of the main contributions of Matthew to popular music is the "play", which dates from the time of the Kinto and was used by the composer also in his solo career. The "I play", developed with Mario 'Chiche' Cabral , is a series of rhythmic possibilities not syncopated , binary subdivision features for serious blow "on earth." 2 130

Another important or not 'I play' Mateo percussion , with aspect - is the tuning of their instruments. As in other areas, Mateo played with the pitch of the percussion, usually in search of Asian sounds. Tuning characteristic of this type can be heard in Palomas ( Matthew and Trasante ), where the fife drum was very tuned so acute that sounded like a table . 131

Legacy and influence 
Eduardo Mateo is generally regarded as the precursor , or in any case one of the precursores the candombe-beat , 2 3 mixture of rhythms and own forms of candombe with pop and psychedelic rock especially inspired by the last stage of The Beatles - bossa nova , samba and other genres of great rhythmic richness.

The musician , musicologist , teacher and journalist Uruguayan Coriún Aharonián poses a sort of "indirect impact" on popular music:

The fascinating case of Matthew, is that Matthew, without having that resonance [of Viglietti , the Olimareños , Zitarrosa , the Sabalero and Numa Moraes ] comes to have a big influence on musicians. And I think that's the point, or the axis of the historical valuation of Matthew. That is, not all figures, figures that matter historically as creators, are figures that matter for what they do themselves. There are figures that matter by what others do or do so they cause others. And Matthew think belongs more to the latter category than the first.
De Alencar Pinto, Guilherme. "Death does not exist." Op. cit . p. 286.
Whether Eduardo Mateo enters or not in the "first category" of Aharonián, it is undeniable that, certainly it does in the second: there are many very popular- musicians some of them recognize the influence of Matthew in their works or styles. Either way words - and more or less efusivas, good amount of them designated as a musician (at least) very important in the history of Uruguayan popular music: Daniel Viglietti , belonging to another aspect than would be generated with Matthew, stands in it the "blending of cultural aspects"; 132 Federico Garcia Vigil , meanwhile, considers "an absolutely necessary individual music"; 132 Luis Trochon sees it as "one of the great creators and interpreters "of Uruguay; 132 Jorge Galemire , refers to both the musician and the person, stating that" if there is a consistent type, this is Matthew. " 132

Others are more enthusiastic still, Hugo Fontana it simply considered a "genius" and "Chiche" Cabral defines it as "avant - garde"; 132 Ruben Rada , going beyond, calls him "the creator of the idea of what today day is the national music Uruguayan "; 132 Jaime Roos does in similar terms; 132 Alberto Magnone , in this sense, makes a comparison between the importance of Matthew in popular music Uruguayan and that of Charlie Parker in jazz ; 132 Osvaldo Fattoruso He considers that Matthew opened "a vein for us all suck"; 132 Popo Romano reaffirms partly reflection Aharonian, highlighting the influence of Matthew in the musicians' music they are doing now is in a very high percentage, standing on the shoulders of Matthew "; 132 Veronica Indart is categorical, for her" everything is reduced to before and after Eduardo Mateo "; 132 equally definitively, Fernando Cabrera believes that" Mateo, along with Eduardo Fabini , Hector Tosar and Hugo Fattoruso are perhaps the four greatest musicians who has given this land "; 132 Daniel Magnone , meanwhile, considers" the most important musician of Uruguay "; 132 Mauricio Ubal , in a poetic tone, it stands as" the translator more fine and sensitive of all the beauty, sensuality, inner strength of our mestizo music ";; 132 Jorge Bonaldi states that" all [the musicians] we owe something to him "while" Macunaíma "and Estela Magnone agree that without Mateo popular music would have been different. 132

Now, obviously you can not generalize from a criterion specific views. First, many other musicians, or directly they not know who was Eduardo Mateo, or have an idea of "character" and not his music. Some, who do know their history, have sought to prevent the construction of the myth. The Aharonián itself, for example, does not include Matthew among the "figures that matter for what they do in themselves" and when referring to the multicultural contribution (related to the "miscegenation" and the revaluation of black music) makes taking as its starting point the band Totem and not Matthew o Kinto. 133 Luis Trochon , meanwhile, denies claims such as "the greatest creator" or others in that tone. 134 However, the recognition they have expressed, even in a foundational sense, some of the most popular musicians coterráneos Eduardo Mateo, could not be dismissed.

The work of Matthew had a considerable spread but only in a "restricted circle." 135 Far from achieving popularity, Matthew even managed to live financially comfortable and in many cases, it was found even without home or work close to misery. 136 this relationship between the impact of Matthew in many popular musicians and lack of own popularity is one of the greatest paradoxes of Eduardo Mateo as "social phenomenon". 136

With regard to the specific musical influence that Matthew had in the Uruguayan popular music, De Alencar Pinto says his main contributions were his way of playing the guitar in the candombe , its influence as a singer in musicians like Alberto Wolf and Jorge Nasser - which also recognize this influence-, 136 its contribution of innovative guitar rhythms in measures of 6/8 , its "tocos" and polyrhythms, appearance 'modal' of Indian music, "alliterative games almost concretists " and even his "untidiness" premeditated. 136 also the author points out that this influence is more evident in musicians born between 1942 and 1965 p. eg., Ruben Rada ( 1943 ), Alberto Magnone ( 1946 ), Osvaldo Fattoruso ( 1948 ), Estela Magnone ( 1948 ), Jorge Bonaldi ( 1949 ), Jorge Lazaroff ( 1950 ), Jaime Roos ( 1953 ), Fernando Cabrera ( 1956 ) , Luis Trochon ( 1956 ), Jorginho Gularte ( 1956 ), Mariana Ingold ( 1958 ), Jorge Schellemberg ( 1962 ), Alberto Wolf ( 1962 ) and Jorge Drexler ( 1964 ), among others. 137

Matthew only good licks ( From Plant KL 8317. 1972 )
Body and Soul ( Sondor 84332 and 44332, published on cassette and vinyl , respectively. 1984 )
The Time Machine presents: Matthew / Bad weather on Alchemia (1st trip.) ( Ayuí / Tacuabé a / e69k. 1987 )
The Time Machine / The Fly ( Orfeo 91032-4 and 91032-1, released on cassette and vinyl , respectively. 1989 )
The Time Machine / 3rd. Trip Part 1: Ida (1971-1984) (. Ayuí / Tacuabé ae133cd 1995 )
The Time Machine / 3rd. Trip Part 2: Back (1983-1988) (Ayuí / Tacuabé ae134cd. 1995 )
The Tartamudo ( 2000 )
In collaboration 
Single (with The Knights. Sondor 50,096. 1966 )
Single (with El Kinto . Key 81092. 1971 )
Circa 1968 (with El Kinto. Compiled in 1972 )
Matthew and Trasante (with Jorge Trasante . Sondor 84047 and 44047, published on cassette and vinyl , respectively. 1976 )
Mateo & Cabrera (recorded live with Fernando Cabrera . Orfeo SCO Sulp 90859 and 90859, published on cassette and vinyl , respectively. 1987 )
Botija my country (with Ruben Rada . Sondor 84439 and 44439, published on cassette and vinyl , respectively. 1987 )
Summer Theatre Live (recorded live in concert composed Hugo and Osvaldo Fattoruso , Urbano Moraes , Juan Gadea and Roberto Galletti. 1989 )
Diane Inéditas Denoir / Eduardo Mateo (live recordings and television, with Diane Denoir, duet, quartet with Roberto Galletti and Antonio Lagarde, or the Kinto. Productions Vade Retro Records. 1998 )
Musicasión 4 ½ (with El Kinto. Compiled in 1971 )
Sound for next year (involved with the songs Niña and La Chola . 1972 )
First Fruits (involved with the song Sweet shine . 1976 )
Asphalt songs (participates with the song Big House . 1982 )
Chilean Rancho Peña (involved with the songs Blues for mine well and Name property of Matthew. 1983 )
7 soloists (involved with the songs Yes, no and Song to be reborn with Mariana Ingold . Ayuí / Tacuabé a / e72k. 1988 )
The live Barraca (involved with the songs Yulelé [3rd version] and Palomas . 1990 )
Mojos vol. 1 (Sondor 4645-4. 1990)
Mojos vol. 2 (Sondor 4646-4. 1990)
Matthew Classic Vol. 1 (Sondor. 1994 )
Matthew Classic Vol. 2 (Sondor. 1995 )
Matthew only good licks (Key 72-35049. 1976 )
Matthew only good licks (Sondor 84,635. 1990 )
The Kinto Classic 138 (reissued under the supervision of Jaime Roos ). Matthew participated in all the recordings of the Kinto . Sondor 1998 )
Bad weather on Alquemia (reissue of the album "The Time Machine presents: Matthew / bad weather on Alchemia (1. er . Trip)". Ayuí / pd 2003. Tacuabé and PS 1999 )
Mateo & Cabrera (Ayuí / Tacuabé ae231cd. 2000 )
Matthew only good licks 139 (limited edition, remastered and with new internal art. Club Disco , Buenos Aires, Argentina. 2006 )
Body and Soul (remastered edition and with new internal art. Disco Club, Buenos Aires, Argentina. 2008 )
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