“Brazilian singer-songwriter and pianist Abelita Mateus is part of the front-facing evolution of Brazilian music as it projects into the twenty-first century.” (C. Michael Bailey)
Living in the NYC area since 2012, Mateus has taken a remarkable path. She released her debut album Vivenda in 2017 (co-produced by and featuring guitarist Romero Lubambo), which reached the 24th position on the Jazz Week Charts.
In 2018 her second album Mixed Feelings was in the ballot for consideration to the Grammy in three categories; Best Latin Jazz Album, Best Engineered Album- Non-Classical, and Best Instrumental Composition. Mixed Feelings received great reviews in the EUA and in Europe.
Mateus is currently the pianist for the Dizzy Gillespie Afro-Cuban Experience, directed by Dizzy Gillespie alumni John Lee. She has performed with such notables as Paquito D’Rivera, John Lee, The Dizzy Gillespie Big Band, Antonio Hart, Eric Alexander, Larry Coryell, Claudio Roditi, Raul de Souza, Hermeto Pascoal, Dave Stryker, Romero Lubambo, and Portinho.
Mateus plays at international venues such as the Blue Note New York, The Kennedy Center in Washington D.C., The Hollywood Bowl in Los Angeles, Yoshi’s Jazz Club in San Francisco, Ronnie Scott’s in London, and Bird’s Basement in Melbourne, Australia. In December 2017, Mateus was invited to perform alongside Helen Sung, Marcia Ball and Joanne Brackeen for NPR’S A Jazz Piano Christmas at the Kennedy Center.
In October 2018 Abelita released her second album Mixed Feelings at Dizzy’s Club Coca-Cola and received great reviews.
"Abelita Mateus has so many of the qualities that are important for any successful musician. Her piano artistry is remarkable, and she is a talented composer and vocalist. Abelita's intelligence and heart are also expressed through her music. She is part of the next generation of great Brazilian musicians. With all this talent, Abelita is someone to really keep your eyes on!
Romero Lubambo
"Abelita Mateus has, in abundance, those indispensables of the musicians’ craft:
sensitivity, creativity, and a prodigious technique. Most of all, she sparkles with refreshment - and for a jazz musician to sound refreshing in 2017 is no ordinary thing!"
John Lee
" On her second album, and her first self-produced effort, Abelita Mateus shows off an impressive ability to synthesize the sounds of her Brazilian home with jazz, the music that inspired her move to the States".
​Downbeat Magazine December 2018
"Playing with Abelita is a bliss. We had a great time bringing into life her beautiful composition "Saudades do Brasil," as well as re-interpreting Gilberto Gil's famous "Amor até O Fim." Abelita's musicality is both delicate and thundering, and I consider "Vivenda" an album to be not only special but also important for this new generation of Brazilian Jazz"
Portinho
"Abelita Mateus is a young Brazilian musician who did the right thing: she came to the United States to attend music school, graduated, then decided to make the US her new home; her career is already blooming, and she is a talent that all of us should keep an eye on. Congratulations Abelita!"
Claudio Roditi
"Mateus is a first-rate vocalist and it is a shame she only sings on two offerings. She is gorgeously seductive on Djavan’s “A Ilha” and her elegant interpretation of Jobim’s “Bonita” once more showcases her special bond with Lubambo".
Elliott Simon- New York City Jazz Record
"Abelita Mateus’ rich cultural and musical background gives her playing a rare uncontrived soulfulness that is complete with artistic and emotional authenticity".
Lorens Chuno
"The untranslatable saudades is at the heart of the ineffably beautiful and beckoning heart of this music by the pianist and vocalist Abelita Mateus. Miss Mateus is the epitome of Paulista-cool and this is especially reflected in the four contributions that she brings to this remarkable date".
Raul da Gama
"Throughout this charming date, Mateus demonstrates — through her writing, arranging, vocalizing and piano skills — that she is a certified talent on the rise".
Mark Holston
"Mateus is part of the front-facing evolution of Brazilian music as it projects into the twenty-first century.
C. Michael Bailey".
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