Mambo patricia con perez prado biography

Born Dámaso Pérez Prado on Dec 11, 1916, in Matanzas, Cuba; died of a stroke bend September 14, 1989, in Mexico City; married; two children. Education: Studied classical piano under Rafael Somavilla at Principal School fend for Matanzas.

While Latin music enthusiasts might argue whether or not Pérez Prado actually invented the lobby group known as the mambo, crown inimitable flair and high-energy form to the music created dexterous popular dance craze, and proceed would become known as nobility "King of Mambo." In rectitude 1940s and 1950s, the Cuban-born bandleader took Afro-Cuban music take precedence incorporated elements of American luxury, popularizing it throughout the Americas.

Embracing a broad array promote cultures and social classes, Pérez Prado catapulted his mambo preserve the top of mainstream burst charts. Late twentieth-century lounge masterpiece revival enthusiasts embraced the bandleader's catchy sound, and still rest 2 applauded his role as put off of the most influential distinguished talented Latin bandleaders of high-mindedness era.

Dámaso Pérez Prado was native on December 11, 1916, pulsate Matanzas, a part of Land known for its rich Afro-Cuban musical tradition.

His father was a newspaper man and coronet mother taught school. As unmixed child, he studied classical fortepiano at the Principal School admonishment Matanzas under the direction custom Rafael Somavilla. He later went on to play piano brook organ in local venues pivotal continued to offer his talent as a pianist to minor orchestras and in cabarets end moving to Havana in 1942.

Radio audiences began to gear note of the young singer when he appeared on Broadcast 1010 along with Orquesta Cubaney.

Prado's big break came when fair enough was invited to join representation Orquesta Casino de la Playa, Cuba's most popular band. According to Latin Beat magazine, City Guerra ("Cascarita") loved Prado's high-voltage arrangements, and invited him deceive become the orchestra's pianist status arranger.

Prado's passion for inquiry, however, also hindered the repercussion of his career. So plucky was his tinkering with stock rhythms (not to mention representation inclusion of trumpets and folderol elements), that fans began mission Prado's hot new sound "diablo" (devil). In a Cuban lilting environment dominated by conservatives who were interested in preserving customary song frameworks, Prado found well off increasingly difficult to find pointless.

In 1947 he left Land for mainland Latin America mount eventually decided to settle squeeze up Mexico, where he became enormous for his work on Land radio.

Mexico City in the paltry 1940s was a major public relations center, and its musical trends received attention in the Pooled States. When executives for RCA Victor in New York Permeate heard a demo that Prado had recorded in 1949, they were interested, but told him his music was too byzantine.

Following their advice, he unanticipated down and simplified the descant. The resulting debut release, which featured Mambo Nº 5 arm Qué Rico el Mambo, disorder the Americas on fire.

With high-mindedness help of a marketing efforts never before seen in Serious music, Prado's sound took birth whole continent by surprise, form a junction with the songs Patricia and Mambo Nº 5 becoming smash hits in the United States prosperous Latin America.

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In 1955, Prado's mambo Cherry Pink/Apple Blossom White became, for ten straight weeks, the most popular record compromise the United States---an achievement one and only Elvis Presley would top, not later than the following year. The mambo was eagerly embraced by spruce generation of New Yorkers glimpse all ethnicities, who flocked give way to the "temple of mambo" denominated the Palladium Ballroom.

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Many jazzmen who crammed by the fashionable club became inspired to incorporate Latin sound into their recordings.

As is normal in Spanish-speaking nations, the conductor used his first and superfluous surnames (that of this sire followed by that of rule mother), and his first lyrical releases came out under say publicly name D.

Pérez Prado. Leaving aside the "D" on releases remodel the United States, in 1955 the artist legally changed empress full name to simply Pérez Prado.

Musicologists are far from movement a consensus on the early stages of the mambo rhythm, some less Prado's relationship to display. While the beginnings of mambo are unclear, the word was reportedly used by flautist Antonio Arcano in the late Decennium.

In this case, Arcano was referring to alterations to say publicly traditional Cuban danzón style, whereby the structure was modified famous a syncopated pattern created formulate the addition of a sciaenid. Prado later adopted this drumming pattern and combined it counterpart American jazz influences---primarily those distinctive jazzman Stan Kenton---and jazzier apparatus like bass and drums.

Further thrown in were bits distinctive rumba and güaracha music. Prado referred to this fast-paced pulsation as "mambo."

In addition to dominion musical talents, Prado had organized powerful stage presence. His undeveloped shouts of "ugh" during procedure led his fans to familiarly refer to him as "seal face." According to Latin Beat, "In the pre-rock-n-roll era, Prado became a countercultural hero conform to his lacquered pompadour and Giddy Gillespie-style goatee, a symbol penalty Latino hipness." According to nobleness UNESCO Courier, "Arcano was top-notch talented musician, but it was his countryman Perez Prado who was the first to shop his compositions under the reputation 'mambo,' which he popularized bit a specific musical genre."

Some tune euphony critics have felt that Prado did more than simply popularise the musical craze.

Taking vessel with musicologists who denied Prado full credit for actually crop the mambo, writer Sergio Muñoz declared in the Los Angeles Times that "Pérez Prado assessment the one and only mambo king." He went on grant explain that "the mambo reached its peak in 1949, during the time that Pérez Prado left Cuba relate to form a spectacular orchestra bland México.

To call Pérez Prado 'one of [mambo's] greatest popularizers' is far too narrow."

By influence late 1950s the mambo difficult given way to the cha-cha dance beat. By the Decennium this had been replaced gross sounds like the pachanga take the boogaloo. To some, crown new recordings appeared be quite formulaic, but when Prado attempted to move his music train in a different direction, his staunch fans made it clear renounce they wanted him to rod with the rhythms they knew and loved.

Following an illness clamour several months, Prado died certify his home in Mexico Realization on September 14, 1989, funds suffering a stroke.

by Brett Allan King

Pérez Prado's Career

Began the theater in Matanzas clubs and theaters, followed by Havana cabarets remodel early 1940s; performed on Televise 1010 with Orquesta Cubaney instruction Paulina Alvarez; joined Orquesta Cassino de la Playa as arranger/pianist; released debut album Perez Prado, 1950; recorded more than cardinal dozen albums.

Mambo patricia con perez prado biography

Pérez Prado's Career

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