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Mateo, Eduardo & Jorge Trasante - Mateo Y Trasante (CD)




Lion Productions





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If Eduardo Mateo was a genius, and that fact no one who has heard his music doubts, then ‘Mateo y Trasante’ is his masterpiece. Eduardo Mateo, Jorge Trasante and this wonderful album, marginalized during the course of a dictatorship, resisted the dictators, and those who came afterwards. There were some who said that Mateo and Trasante were both crazy, that Mateo could not sing. Mateo and Trasante resisted the vile and ruthless criticism of those skeptics: those who resisted the quality and depth of this record. Mateo and Trasante resisted, immovable, as are those who know that history will have its day of judgment. To paraphrase someone who knew music and much more, for the truth and Mateo, I sign my name here.

—Daniel Figares, 2006

As many of you who have followed along with us while we chart a course through the rich musical heritage of Uruguay know full well, a military dictatorship took control of the country in the early 1970’s, causing most well-known musicians to emigrate. The nation’s most influential musician, enfant terrible iconoclast Eduardo Mateo, had no chance to do so. And yet it was during this dark period that Mateo reached his zenith as a composer and arranger—in case of this album, with a lot of help from world famous Afro-folk percussionist Jorge Trasante. On Mateo y Trasante (1976), Mateo’s second post-El Kinto album, he goes further than ever before in his sonic explorations of different percussion variations and guitar techniques, evolving a more complex musical style. Even Mateo’s voice underwent a relevant mutation for the album, which many people thought the result of a deep mental illness. (Trasante explains that Mateo was deeply influenced by Arabic music, and used the new modulations he discovered to get into different characters with his voice.) Many of Mateo’s old fans and fellow musicians could not really connect with his new musical personality and this work went unnoticed. According to Mateo biographer Guilherme de Alencar Pinto, only around 343 copies of the album were sold; yet this record is now considered a legitimate work of art, and indisputable evidence of Mateo’s genius. This Lion Productions edition comes with a 32-page booklet which contains abundant information on the making of the album, as told by Jorge Trasante, lyrics in English and in the original Spanish, historical background on the Uruguayan scene, a score of incredible photos, and a brief overview of the legendary Sondor label. Our sincere thanks to Enrique Abal Oliú for allowing us to use his amazing photos, and to Daniel Figares for allowing us to translate text from his book Mateo y Trasante: Treinta Años, 1976-2006, which is the source for all of Jorge Trasante’s musings on this epochal album included in this reissue. Printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy.

Track Listing: 1. Dulce brillo (4:15); 2. Canto a los soles (2:22); 3. Amigo lindo del alma (4:55); 4. Y hoy te vi (2:45); 5. Palomas (2:20); 6. Un canto para Mamá (4:03); 7. El blues para el bien mio (3:08); 8. Canción para renacer (3:55); 9. Voz de diamantes (2:00); 10. Canción para el Tamborero (2:25)

Catalogue number: LION 634
UPC: 778578063429