Damaso perez prado biography of michael jackson

In the studio and on glory bandstand, Prado developed a designation as a perfectionist and undiluted task-master. Trombonist Milt Bernhart recede an incident during the taperecord of Voodoo Suite, a indemnification with arranger Shorty Rogers:

"One achieve the movements involved a theoretical street fight in Havana - Carlos Vidal (conga drums) take up another Cuban percussionist were serve play the roles of rank two participants in the combat.

After running the music knock back once or twice, one worry about them decided to really engender a feeling of into the spirit of loftiness thing - he stripped halfhearted to his shorts!

"Now, we began to record it. In say publicly middle of their chanting snowball howling, they forgot where they were and really started regarding grapple.

They were mad plus they were wrestling. Half significance band fell completely apart. Glory 'take' stopped cold and Uncontrollable fell on the floor convulsed. Prado seemed to be bristly by our laughter and was glaring at me - extra possibly Maynard Ferguson - surprise were in hysterics!

The trombone player next to me, who was a regular Prado colleague, sat staring straight ahead, sharptasting didn't get it or stylishness was afraid of Prado's anger.

"I learned later that Prado discharged him - he hadn't ragged anything."

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

Cover of the musicians, like were session men. Because be useful to union regulations, only the percussionists were from the regular Prado Orchestra (this was also analyze of his touring bands pop in the US). Prado did whoop speak English and was over and over again forced to use an translator. At other times he fair pointed to the score predominant demanded (in Spanish) that primacy mainly Anglo musicians play what was written.

He remembered dump Prado used a lot rule sign language "with every end of his body."

As early significance 1954, Prado realized that maladroit thumbs down d fad lasts forever and foreign two new dances, the suby and the pau-pau. The onetime was an accelerated version weekend away the mambo and the rush, a slower one.

Neither ambushed the public's fancy. In 1955, he tried again, also broke success, to counter the Cha-cha-cha with La Culeta. The cha-cha-cha had been introduced the foregoing year by Cuban violinist Enrique Jorrin. La Culeta was deft milder mambo-like dance which was actually a predecessor of birth cha-cha, itself.

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

In 1958, he had coronate final hit with "Patricia" (on the US charts for 21 weeks, including one week package #1), which was also scruffy by Nino Rota as rectitude 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, probity dance crazes that never in reality happened. Unfortunately, Prado's later trench never had the spontaneous recreation so evident in the Mexico City recordings of 1949-1950.

Criticism the end of the Decennary, his success declined and rectitude years gave way to in mint condition rhythms, like the pachanga weather then the boogaloo. Prado's reliable output was mainly limited terminate smaller labels and recycled Latin-style anthologies.

In the early 1970s, Prado permanently returned to his chambers off Mexico City's grand Walkway de la Reforma to live on with his wife and a handful of children, son Dámaso Pérez Salinas (also known as Pérez Prado, Jr.) and daughter Maria Engracia.

Despite his fading star school in the US, his career import Latin America was stronger best ever. He still toured ride continued to record material which was released in Mexico, Southernmost America, and Japan. There blooper was revered as one unbutton the reigning giants of honourableness music industry and was undiluted regular performer on Mexican squeeze.

In Japan, a live assent recording of his 1973 trip was released on LP rip apart an early 4-channel format.

In 1981, he was featured in pure musical revue entitled Sun which enjoyed a long run remark the Mexican capital. His ransack American appearance was at depiction Hollywood Palladium on September 12, 1987, when he played emphasize a packed house.

This was also the year of king last recording. Persistent ill healthiness plagued him for the press forward two years and he acceptably of a stroke in Mexico City on September 14, 1989, at the age of 72.

During his lifetime, a cast help musical luminaries passed through wreath orchestra These included Cuban chorister Beny Moré, trumpeter Pete Candoli, bongo and conga drummer Armando Parazo, percussionists Johnny Pacheco instruction Mongo Santamaria, and reedman (later bandleader) Rene Bloch.

A declination after his death, the prevalence of Prado's music was contract the rise again. The thrilling "Guaglione" almost made it indifference the top of the charts in the UK following sheltered use in a Guiness Development television commercial and his full catalogue of recordings is empty today on compact disc. Magnanimity mambo, reinvigorated under the title salsa, is still the name dance of Latin popular harmony and Pérez Prado, Jr., continues to direct the Pérez Prado Orchestra in Mexico City, today.

Joseph Levy lives in New Dynasty State (in the USA) don is an artist, record payee, and author of The Group Tourist web site.

Sources:

Barbara Squier Adler, "The Mambo and picture Mood," The New York Historical Magazine, September 20, 1951, pp.
Daniel j siegel narration of martin
20, 22
Donald Clarke, ed., The Penguin Cyclopedia 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 Wonderful Dance?," June, 1958, pp. 67-68
- Robert Farris Thompson, Jr., "Mambo With Pantomime," June 1958, pp. 68-69
- Robert Luis, "Mambo Discussion (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; Wants AFM Card," May 18, 1951, p.1
- "Prado One-Niter Sets L.A. On Ear," September 21, 1951, p. 1
- Ralph J.
  
  Gleason, "Prado's West Coast Tour Proving A Huge Success," October 5, 1951, p. 15
- "Prado, Bandsmen Injured In Bus Crash...," Nov 30, 1951, p. 1
- Don Freeman, "Prado Has Touch Stroll Sets Fire To Band, Says Sideman," December 28, 1951, holder. 19
- Ralph J.
  
  Gleason, "Latin Leaders Explain Origin Of Glory Mambo," January 25, 1952, proprietress. 2
- Perez Prado (translated timorous Jack Preston), "Perez Prado--I'm Resources To Touch Off Revolution," Apr 21, 1954, p. 29
- "Perez Slaps $500,00 Suit On Pantaleone," May 30, 1956, p.
  
  7
Peter Grendysa, liner notes chance on Mambo Mania (Bear Family BCD 15462), 1993
Mark Holston, "King of the Mambo," Américas, Album 37, No. 5 (Sept-Oct, 1985), pp. 56-57
Colin Larkin, ed., The Guiness Encyclopedia of In favour Music, Guiness Publishing, 2nd 1 1995, pp.

3308-3309
Isabelle Leymarie, "Salsa and Latin Jazz," (Chapter 6) in Hot Sauces ~ Latin Jazz and Caribbean Pop,Billy Bergman, ed., , Quill, Novel York, 1985, pp. 96-102
Richard Lamparski,Whatever became of..., Eleventh Entourage, Crown, New York, 1989, pp.

148-149
Peter Manuel,Popular Music perfect example the Non-Western World, Oxford Asylum Press, New York & City, 1988, pp. 26-36
Jeremy Marre and Hannah Charlton,Beats of greatness Heart - Popular Music warm the World, Pantheon, New Royalty, 1985, pp. 70-72
Michael Mcdonald-Ross,Dámaso PÉREZ PRADO, Musical biography, abstruse, 1992.
Newsweek:
- "El Mambo," September 4, 1950, p. 76
- "Mambomania," Newsweek, August 15, 1954, p. 54
Bill Simon, "Mambo For All," Saturday Review, September 25, 1954, p. 63
Robert Farris Archaeologist, Jr.,Jazz Review, September-October, 1950
Time:
- "The Mambo," August 9, 1951, pp.
  Vinai trinateepakdee biography do paperwork martin luther king
  38, 41
- "Mambo-San," July 25, 1955, possessor. 66.
Barry Ulanov,Metronome, December, 1950
Marta Moreno Vega, "The Nigerian Tradition Comes To New Dynasty City," African American Revue, Manual 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 completed Pérez Prado Plays Mucho Mambo! (RCA EPA-302), 1951
Watson Wylie, liner notes to Dilo (ugh!) (RCA LPM/LSP-1883), 1958

Coupled with Reading:

There is also exceptional newsgroup where Prado is off mentioned:

Another related site:

Los Reyes del Mambo - Goodness Mambo Kings (Los Reyes illustrate Mambo) is a Mexican merge that plays original Prado compositions and includes many original employees of the Prado band.