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Nito Mestre turns 70 – how does the former Sui Generis become more active than ever?

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Today, Wednesday, August 3, Nito Mestre turns 70. He is not going to hold any special celebration and in fact he is going to be in Chile, but the name day is one more piece of information to add to the great celebration that he is putting together for the Saturday November 19 at the Opera Theater. He will cover his entire career and will stop especially at Sui Generis’s debut album to recreate it together with the Neuquén Symphony Orchestra, 50 years after the original recording.

Rock was born as the new music for young people and it is no coincidence that the Beatles have sung When I’m 64 as if it were the age of a very old person, or that The Who said “I’d rather die than grow old.”

Nito Mestre, with the guitar he used at the time of Sui Generis.  Photo: Juan Manuel Foglia.

Nito Mestre, with the guitar he used at the time of Sui Generis. Photo: Juan Manuel Foglia.

In recent years, however, it has been seen how many rockers crossed that border as if nothing had happened, staying current and active: Paul McCartney recently turned 80 and Mick Jagger is 79. Both continue to jump and sing on tours around the world.

Here, in Argentina, Charly García turned 70 in October of last year, and León Gieco in November. Willy Quiroga (of Vox Dei) is 82 and Litto Nebbia is 74. There is a bit of everything, and of course many people in the audience are also the age of their rock idols.

The idea is to enjoy

Nito Master.  Photo: Juan Manuel Foglia.

Nito Master. Photo: Juan Manuel Foglia.

“I feel like a 35-40 year old guy,” says Nito, sitting at a table on the sidewalk where every once in a while someone comes up to ask for a photo or simply say hello and congratulate him for what he does. “They are extras that I have hired for the notes,” he tells him between laughs, between proud and embarrassed by the fame that he undoubtedly has.

“At this point in life -he says- we are going little by little, with caution and short objectives. Between the pandemic and other things, in these two years many acquaintances, friends and colleagues have left. Then you realize that you are turning 70 and you feel young, but at the same time I have the precaution to look to the sides and see that Rodolfo García, Horacio Fontova, Rinaldo Rafanelli, who are even, have left, to the side. That is, the bullets are passing by”.

-You are more active than ever, with many activities, plans and projects.

-The idea is to enjoy more. It was precisely with León Gieco that we talked about that recently, that this age must be taken with a certain joy and for enjoyment. Every minute that passes is a little more precious. You have to know how to say no to what you don’t like, and enjoy what you do. I sing every holy day of my life, to be trained. I even started taking singing classes, coach type, after the pandemic.

-Do you like to celebrate birthdays, or do you prefer to do nothing?

I’m one of those who run away. The only time I did not escape was in 2016, when I was named Outstanding Personality of Culture and I took the opportunity to celebrate in the Deliberative Council. We brought a cake and then we all went to a restaurant.

-What are you going to do now, even on an intimate level?

I am going to spend this birthday in Chile. We were invited by a friend and partner who gives us a hand to make the program rock and road, and I will celebrate it with my friend Eduardo Gatti, who I haven’t seen for three years. A round trip: we close businesses, I celebrate the birthday, I escape from being here and by the way we will record a program there. Divine.

The TV show

Nito Mestre and Juanse in full "Rock and road".  Photo: catch tv

Nito Mestre and Juanse in full “Rock and road”. Photo: catch tv

-About “Rock and Road”, which comes out on Garage TV and YouTube, when did it start and how did the idea come about?

-It started during the famous pandemic. The last show she had done was on March 5, 2020. With my wife, we later put together the project and special America sings Suiand then we did two streaming, one for my birthday and one for the anniversary of Goodbye Sui Generis. And in April of last year the idea of ​​a program based on the Carpool Karaoke by James Corden, but telling stories inside the car instead of singing together.

I accepted because I love driving, I love pulling people’s tongues to tell stories, and I love being the second and not the protagonist. We shot the first one with Juanse, which was really funny because we did it in a Fiat 1500 and we got into a car wash. Now there are 44 programs done, with guests like León, Sandra Mihanovich and Hilda Lizarazu. It is a personal taste.

-I remember that you had begun to put together a biography and the talks were made while driving to Mar del Plata with a friend, right?

-Something like that. It was when the Sui Generis statue was inaugurated in Mar del Plata, and the mayor asked for a talk and I did it with Mariano Yrigoyen, who had played with me and is now a lawyer. We put together “El abecedario del rock”, which was like a traveling book. We did 50 talks everywhere, from Chile and Peru to the entire province of Buenos Aires. I told my life, the good and the bad, the anecdotes with Charly, my time with alcoholism and recovery, all without avoiding any topic and always with my touch of humor.

Are you going to turn it into a book?

-A summary has already been made that hasn’t been published yet, but I don’t know if I feel like sitting down and finishing it now, when I’m still doing a lot of new things. It’s like a book like that would mark the end of something, and I’m not done yet.

milestones in his career

Nito Master.  press photo

Nito Master. press photo

-Without a doubt, Sui was a very popular group, but everyone forgets that you never stopped, because Los Desconocidos also filled stadiums and the start of your solo career was very successful. When did the first pause come?

-I stopped when I finished recording I hide my eyes from the sun, where I had the pleasure of singing with Negra Sosa but it was not well received by the record company and I decided to stop for a bit. It was 1983. I went to Europe and then we did why we sing, with Baglietto, Celeste and Black Sheep. Then I had a difficult time that was alcoholism, which started smoothly and I tried to hide it, but there was a part of the devil that I liked.

Nito Mestre in the early '80s.  Photo.  Hair magazine archive.

Nito Mestre in the early ’80s. Photo. Hair magazine archive.

-To all this, you were barely 30-35 years old, something like that. You were very young.

-Yes. We were all very kids in the ’80s. I think my collapse was between 27 and 37 years old. Alcoholism had a great influence on production as well, because it was difficult for me to have a work plan. I felt that the possibility of dying was close, so it was difficult for me to look ahead and have projects, as I have now. The little steps were very short, until I made the album pure colorswhich was a new beginning, in 1998.

Sui Generis on the field of Boca, December 2000.

Sui Generis on the field of Boca, December 2000.

-When was everything ordered? After the Sui Generis meeting in 2000 and the trips to Miami?

-Yes. I had the idea of ​​having fun in a different way and doing things that I hadn’t done before, like traveling to other countries, trying myself personally and seeing what was happening playing abroad, almost starting from scratch. I was even looking for new producers in each country and working together was throwing us into the pool. That’s how I started making contacts and getting to know small and big places, playing with other musicians from other countries. I loved all that adventure.

-With which today you have a flag planted in Miami, Peru, Chile and many other countries.

-Now I’m going to Colombia at the beginning of September. I also did many tours to Bolivia, Uruguay, Paraguay, Costa Rica, Ecuador and Mexico. There was even a trip to Brazil and I went to Spain twice, in 2011 and 2019, where Silvina Garré and keyboardist Mario Parmisano came as guests.

-You also started doing concerts with symphonic orchestras from different cities.

-The first time was 2007 with San Juan, thanks to some musicians from there who introduced me to the director of the orchestra. We did a first recital with arrangements for 6-7 instruments and then with the full orchestra. They got excited because they said that rock musicians didn’t get excited, and I had nothing to do with it, because my old man played classical violin and listened to orchestras. That’s why when I listen to an orchestra, it takes me back to my childhood. Instead of being risky, I let myself go and it’s like being inside a record.

-Another treat was the album you recorded in Nashville in 2009.

-As it is. I met guitarist Eduardo Cautino in Miami through an advertisement in a newspaper, and we went to record there because he knew of a studio. It was a dream place in a cabin, there were impressive session players and the console had been used to record historical songs such as Sitting on the dock of the bay.

be a classic

Nito Master.  Photo: Juan Manuel Foglia.

Nito Master. Photo: Juan Manuel Foglia.

-After so many years, it seems that suddenly you became a classic. People of all ages go to your shows!

-There is a whole public that appeared as if from under the stones. Kids come and greet me as if I were San Martín. And I love it! It makes a lot of difference that during the pandemic there was a lot of time to check the internet and watch YouTube, watch movies and read books. I think there was a crossover between what parents and children saw. The experiences of the parents with the children were gathered.

Do you consider yourself a classic?

-I consider myself a classic in the sense that it is the place where I wanted to be when I was a kid. Because when you are 18-19 years old you want to be famous so that it goes well for you and girls see you, but then you begin to realize over time what is the real reason why you are here on Earth, which is make people happy. Doing this does not go through the ego but to make people happy. Give happiness and move energy, which is the beginning of life.

-You think about enjoying yourself, and not about fame.

-And I would not like to be better known, because it would prevent me from going out on the street. The character didn’t eat me up, I don’t have to make anything up and I don’t have to lie at all. I’m like this, all the time. The key is to want to be happy, something that does not go through the material or fame, but for enjoyment. Music is a vehicle that I have found to be fantastic for bonding, because there is no crack and everyone can be together.

-Do you keep composing and making new songs?

-Yes. Now I am recording now with two producers: Sebastián Schon and Marcelo Predacino. Sebastián is the partner of Cachorro López and we put together a song together and another with Franco Masciarelli. We already did two songs and they will come out in November, when we do the Opera. And Marcelo works with Abel Pintos. Single songs will come out and then a record or an EP will be put together. I like how it works to be with another person in the studio.

If a year or two ago you asked me what I was going to do with my life, the only thing that was solid was the Rock and Road program, and now I’m with a new band, a new manager and a lot of projects. I am having fun.

The Opera Theater and the anniversary of “Vida”

Nito Master.  Photo: Juan Manuel Foglia.

Nito Master. Photo: Juan Manuel Foglia.

According to Nito, the recital on November 19 at the Opera Theater will be a celebration and treat yourself. “It’s like planting a flag and showing everything I did and what I do, in case anyone didn’t notice. Because I’m low profile, but I’m not stupid either. Then I’m going to play all the songs of Life with a symphony orchestra and then go through the best songs of my career, with the band and guests”.

-It is always said that “Vida” came out in 1972 and that at the end of the year it will be 50 years, but the dates do not coincide: you played at BA Rock in December and the single “Canción para mi muerte” had just come out. The disc must be from 1973, then.

-With Charly we signed a contract at the end of July or beginning of August. There we became professionals, because before we were amateurs. And we recorded it in September ’72, that’s why I consider that my professional career began there. In the case of the single with song for my death, came out around the time of the BA Rock show in December, so the record must be from February ’73. I remember that the first song we recorded was Dude come home soonwith Paco Prati on drums, who is going to play at the Opera.

-Many will wonder if Charly will go to the Opera.

-I’m not going to invite anyone, but everyone is invited. Whoever wants to be, let him know and come. As many as they want can come.


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Reference from clarin www.clarin.com

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