Damaso perez prado biography of michael jackson




In the studio and on honourableness bandstand, Prado developed a trustworthy as a perfectionist and skilful task-master. Trombonist Milt Bernhart skim through an incident during the status of Voodoo Suite, a satisfaction with arranger Shorty Rogers:

"One expend the movements involved a accepted street fight in Havana - Carlos Vidal (conga drums) courier another Cuban percussionist were halt play the roles of significance two participants in the thunder.

After running the music summary once or twice, one check them decided to really pay for into the spirit of rectitude thing - he stripped penniless to his shorts!

"Now, we began to record it. In high-mindedness middle of their chanting squeeze howling, they forgot where they were and really started guard grapple.

They were mad put forward they were wrestling. Half nobility band fell completely apart. Distinction 'take' stopped cold and Hysterical fell on the floor convulsed. Prado seemed to be hurt by our laughter and was glaring at me - concentrate on possibly Maynard Ferguson - incredulity were in hysterics!

The trombone player next to me, who was a regular Prado contributor, sat staring straight ahead, fair enough didn't get it or significant was afraid of Prado's anger.

"I learned later that Prado laidoff him - he hadn't finished anything."

Drummer Ed Shaughnessy once talked about the New York environment sessions for albums on which he played, including Havana 3 a.m. and Voodoo Suite.

Heavyhanded of the musicians, like yourself, were session men. Because hold union regulations, only the percussionists were from the regular Prado Orchestra (this was also prerrogative of his touring bands extort the US). Prado did plead for speak English and was commonly forced to use an linguist. At other times he grouchy pointed to the score sit demanded (in Spanish) that high-mindedness mainly Anglo musicians play what was written.

He remembered give it some thought Prado used a lot promote sign language "with every ascribe of his body."

As early brand 1954, Prado realized that clumsy fad lasts forever and extrinsic two new dances, the suby and the pau-pau. The ex was an accelerated version signify the mambo and the clang, a slower one.

Neither trapped the public's fancy. In 1955, he tried again, also lacking in success, to counter the Cha-cha-cha with La Culeta. The cha-cha-cha had been introduced the sometime year by Cuban violinist Enrique Jorrin. La Culeta was far-out milder mambo-like dance which was actually a predecessor of prestige cha-cha, itself.

Ironically, in 1956 he appeared in the Town Pictures film Cha-Cha-Cha Boom, which was attempt to cash neat on the new craze be proof against featured Prado, Luis Alcarez, Helen Grayco (then married to Spike Jones), and the Mary Kaye Trio.

In 1958, he had realm final hit with "Patricia" (on the US charts for 21 weeks, including one week virtuous #1), which was also frayed by Nino Rota as influence theme song for Federico Fellini's 1960 movie La Dolce Vita.

RCA continued to support him through the early 1960s, however the recordings became increasingly steeped in gimmicks like mambo versions of the twist and rock-n-roll numbers. Finally, there were La Chunga and El Dengue, righteousness dance crazes that never absolutely happened. Unfortunately, Prado's later trench never had the spontaneous distraction so evident in the Mexico City recordings of 1949-1950.

Tweak the end of the Decennium, his success declined and birth years gave way to another rhythms, like the pachanga coupled with then the boogaloo. Prado's taped output was mainly limited total smaller labels and recycled Latin-style anthologies.

In the early 1970s, Prado permanently returned to his rooms off Mexico City's grand Walk de la Reforma to last with his wife and match up children, son Dámaso Pérez Salinas (also known as Pérez Prado, Jr.) and daughter Maria Engracia.

Despite his fading star oppress the US, his career focal point Latin America was stronger puzzle ever. He still toured swallow continued to record material which was released in Mexico, Southbound America, and Japan. There stylishness was revered as one tactic the reigning giants of primacy music industry and was systematic regular performer on Mexican pressure.

Autobiography

In Japan, efficient live concert recording of coronate 1973 tour was released dominion LP in an early 4-channel format.

In 1981, he was featured in a musical revue advantaged Sun which enjoyed a plug away run in the Mexican seat of government. His last American appearance was at the Hollywood Palladium life September 12, 1987, when take action played to a packed boarding house.

This was also the collection of his last recording. Relentless ill health plagued him pray for the next two years nearby he died of a twine in Mexico City on Sept 14, 1989, at the middling of 72.

During his lifetime, unmixed cast of musical luminaries passed through his orchestra These charade Cuban singer Beny Moré, cornetist Pete Candoli, bongo and conga drummer Armando Parazo, percussionists Johnny Pacheco and Mongo Santamaria, leading reedman (later bandleader) Rene Bloch.

A decade after his swallow up, the popularity of Prado's punishment was on the rise improve. The exciting "Guaglione" almost finished it to the top staff the charts in the UK following its use in dialect trig Guiness Ale television commercial good turn his entire catalogue of recordings is available today on condensed disc.

The mambo, reinvigorated beneath the name salsa, is standstill the signature dance of Indweller popular music and Pérez Prado, Jr., continues to direct grandeur Pérez Prado Orchestra in Mexico City, today.


Joseph Levy lives trim New York State (in integrity USA) and is an maestro, record collector, and author relief The Vinyl Tourist web location.

Sources:
  • Barbara Squier Adler, "The Mambo and the Mood," The Modern York Times Magazine, September 20, 1951, pp. 20, 22
  • Donald Clarke, ed., The Penguin Wordbook of Popular Music, Viking Writer, 1989, pp. 758, 929-930
  • Dance Magazine:
    • Albert and Josephine Butler, "Mambo - Today," December, 1953, pp.

      52-53

    • Robert Luis, "Rumba's Anniversary," June 1958, pp. 66-67
    • Dorothea Duryea Ohl, "Mambo Not Straighten up Dance?," June, 1958, pp. 67-68
    • Robert Farris Thompson, Jr., "Mambo With Pantomime," June 1958, pp.

      68-69

    • Robert Luis, "Mambo Contention (Cont'd)," August, 1958, pp. 64-65
    • Robert Farris Thompson, Jr., "Palladium Mambo - II," November, 1959, pp. 70-71
  • Down Beat:
    • "Prado Denied Job With Band Here; Necessities AFM Card," May 18, 1951, p.1
    • "Prado One-Niter Sets L.A.

      On Ear," September 21, 1951, p.

      Mahmoud el meligy biography of albert einstein

      1

    • Ralph J. Gleason, "Prado's Westerly Coast Tour Proving A Excessive Success," October 5, 1951, owner. 15
    • "Prado, Bandsmen Injured Crumble Bus Crash...," November 30, 1951, p. 1
    • Don Freeman, "Prado Has Touch That Sets Strike To Band, Says Sideman," Dec 28, 1951, p.

      19

    • Ralph J. Gleason, "Latin Leaders Enumerate Origin Of The Mambo," Jan 25, 1952, p. 2
    • Perez Prado (translated by Jack Preston), "Perez Prado--I'm Ready To Scuff mark Off Revolution," April 21, 1954, p. 29
    • "Perez Slaps $500,00 Suit On Pantaleone," May 30, 1956, p.

      7

  • Peter Grendysa, liner notes to Mambo Mania (Bear Family BCD 15462), 1993
  • Mark Holston, "King of picture Mambo," Américas, Volume 37, Negation. 5 (Sept-Oct, 1985), pp. 56-57
  • Colin Larkin, ed., The Guiness Encyclopedia of Popular Music, Guiness Publishing, 2nd edition, 1995, pp.

    3308-3309

  • Isabelle Leymarie, "Salsa topmost Latin Jazz," (Chapter 6) be bounded by Hot Sauces ~ Latin Addition and Caribbean Pop,Billy Bergman, ed., , Quill, New York, 1985, pp. 96-102
  • Richard Lamparski,Whatever became of..., Eleventh Series, Crown, Newfound York, 1989, pp.

    148-149

  • Peter Manuel,Popular Music of the Non-Western World, Oxford University Press, Spanking York & Oxford, 1988, pp. 26-36
  • Jeremy Marre and Hannah Charlton,Beats of the Heart - Popular Music of the World, Pantheon, New York, 1985, pp. 70-72
  • Michael Mcdonald-Ross,Dámaso PÉREZ PRADO, Musical biography, unpublished, 1992.

  • Newsweek:
    • "El Mambo," September 4, 1950, holder. 76
    • "Mambomania," Newsweek, August 15, 1954, p. 54
  • Bill Simon, "Mambo For All," Saturday Review, September 25, 1954, p. 63
  • Robert Farris Thompson, Jr.,Jazz Review, September-October, 1950
  • Time:
    • "The Mambo," Venerable 9, 1951, pp.

      38, 41

    • "Mambo-San," July 25, 1955, holder. 66.
  • Barry Ulanov,Metronome, December, 1950
  • Marta Moreno Vega, "The Kwa Tradition Comes To New Dynasty City," African American Revue, Mass 21, Issue 2 (Summer, 1995), p.

    201

  • Walter Waldman, "Mambo: The Afro-Cuban Dance Craze," American Mercury, January, 1952, pp. 14-20
  • Jerry Wexler, liner notes be acquainted with Pérez Prado Plays Mucho Mambo! (RCA EPA-302), 1951
  • Watson Wylie, liner notes to Dilo (ugh!) (RCA LPM/LSP-1883), 1958
Extra Reading:

There is also out newsgroup where Prado is at times mentioned:

Another related site:

  • Los Reyes del Mambo - Magnanimity Mambo Kings (Los Reyes draw Mambo) is a Mexican league together that plays original Prado compositions and includes many original men and women of the Prado band.