Los Shakers

Sylvia Colombo

No bom documentário uruguaio “Hit – Histórias de Canciones que Hicieron Historia” (2008), que relata como foram compostas, a trajetória e a influência cultural de cinco grandes composições do Río da Prata, o músico Jorge Drexler conta que, quando era garoto, escutava a música “Break it All” e pensava que pertencia aos Beatles. Mais velho, passou a percorrer os álbuns da banda de Liverpool atrás do hit, mas não o encontrava de jeito nenhum. Foi aí que alguém lhe explicou. A faixa não era dos revolucionários ingleses, e sim de uma banda conterrânea sua, do pacato e recatado Uruguai, chamada Los Shakers.

O grupo que mudou a história do rock nesse pequeno mas ultra-simpático país perdeu no fim de semana uma figura importante. Morreu Osvaldo Fattoruso, seu guitarrista, aos 64, vítima de um câncer. Os Shakers, que fundou com seu irmão, Hugo, foram inovadores da música regional nos anos 60/70. Além da faixa citada e das canções cover dos Beatles, realizaram a fusão do candombe [gênero uruguaio], do jazz e da música popular platense com o rock, tocaram ao lado de nomes de relevo da cultura local, como Rubén Rada e Jaime Roos. O começo foi no famoso bar Fun Fun, na Cidade Velha de Montevidéu, depois, passaram a excursionar pela região.

Fattoruso deu continuidade à sua carreira fora da banda, tocando com membros de sua família e explorando especialmente o candombe e o rock. Na Argentina, cultivou contatos e colaborações com Litto Nebia, Fito Paez, Luis Alberto Spinetta, Alejandro Lerner e León Gieco, entre outros.

Conheci Fattoruso brevemente, em Montevidéu, há dois anos, depois de entrevistar num backstage o argentino Paez. Os dois haviam tocado juntos naquela noite e Paez estava me contando sobre a mania de Charly Garcia de saltar na piscina de hotéis da janela do seu apartamento, fosse do andar que fosse (prática meio suicida que o mítico roqueiro argentino manteve por anos). Fattoruso contou ainda um par de histórias de Garcia e fazia paralelos entre os roqueiros dos dois países e as principais diferenças culturais dos vizinhos do Río do Prata. Paez o tratava como a um irmão mais velho. No concerto, já havia derramado elogios e abraçado o baterista várias vezes.

Hoje, os jornais das duas margens amanheceram carregados de mensagens de seus companheiros roqueiros, e músicos em geral, lamentando a notícia. No Brasil, a fama dos Shakers ficou restrita aos fãs de música pop regional, mais uma vergonha provocada por nossa posição, sempre de costas para o que acontece culturalmente nos países-vizinhos.

 

 

 

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