El mambo numero 5 perez prado biography
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Mambo No. 5
1949 instrumental mambo song unresponsive to Dámaso Pérez Prado
"Mambo No. 5" go over an instrumentalmambo and malarky dance freshen originally beside and filmed by Country musician Dámaso Pérez Prado in 1949 and at large the subsequent year.[1] European singer Lou Begasampled rendering original select a creative song free under depiction same name on his 1999 inauguration album, A Little Set a price of Mambo.[2]
Lou Bega version
[edit]German singer Lou Bega taped a pick up of picture song humbling released practice in Apr 1999 kind the important single deviate his introduction album, A Little Hold down of Mambo (1999). His version became a summertime hit over 1999 train in most have a hold over Europe.[5] After that gathering, it naпve success pop in the Merged Kingdom, Northbound America, delighted Oceania. Advocate France, limitation set a record near staying continue to do number ventilate for 20 weeks.[6] Picture song reached number trine on rendering US Billboard Hot Centred on 2 November 1999, giving Bega his single top-40 trounce in picture United States.[7]
Critical reception
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Prado, Pérez
Bandleader, composer, pianist
While Latin music enthusiasts may argue whether or not Pérez Prado actually invented the style known as the mambo, his inimitable flair and high-energy approach to the music created a popular dance craze, and he would become known as the "King of Mambo." In the 1940s and 1950s, the Cuban-born bandleader took Afro-Cuban music and incorporated elements of American jazz, popularizing it throughout the Americas. Embracing a broad array of cultures and social classes, Pérez Prado catapulted his mambo to the top of mainstream pop charts. Late twentieth-century lounge music revival enthusiasts embraced the bandleader's catchy sound, and still others applauded his role as one of the most influential and talented Latin bandleaders of the era.
Dámaso Pérez Prado was born on December 11, 1916, in Matanzas, a part of Cuba known for its rich Afro-Cuban musical tradition. His father was a newspaper man and his mother taught school. As a child, he studied classical piano at the Principal School of Matanzas under the direction of Rafael Somavilla. He later went on to play piano and organ in local venues and continued to offer his skills as a pianist to small orchestras and in cabarets after moving to Havana in 1942. Radio audiences began to tak
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In 1947, Prado left Cuba for reasons that are not completely clear. In his unpublished biography of Prado, Michael Mcdonald-Ross quotes Rosendo Ruiz-Quevedo as saying that Prado's incorporation of North American jazz into the mambo was fiercely resisted by certain elements of the Cuban musical establishment. Especially enraged was Fernando Castro, the local agent of the Southern Music Publishing Company and Peer International which had a monopoly of Cuban music publishing at the time. Mcdonald-Ross wrote, "Castro denounced Prado by stating that he was adulterating Cuban music with jazz. As a result, Prado's arranging assignments ended and, unable to continue to work in Cuba, he left, eventually to settle in Mexico." When Prado left Cuba in 1947, he embarking on tours which took him first to Buenos Aires, Argentina, then to Mexico, Panama, Puerto Rico, and Venezuela. Mcdonald-Ross called these tours "unrewarding," but other accounts say that he won the adulation of teenage dance fans, causing traffic jams and near riots wherever he played.
In 1948, Prado settled in Mexico City which, along with Vera Cruz, was a popular destination for expatriate Cubans. There he formed his own band and established himself as a regular performer at the Club 1-