Italianita perez prado biography
West Coast trumpeter Shorty Rogers helped out on the arrangements, and the results often recalled Stan Kenton 's progressive big-band mood music, albeit with a Latin sound. Several others -- the suby and the pau-pau both mid-'50s , La Chunga and El Dengue both early '60s -- failed to catch fire with the public as mambo had. Prado 's innovations were greeted with outright hostility from Cuba's conservative musical establishment, which resisted the incursion of jazz on their native music.
His association with RCA Victor ended in the mid s, and afterward his recorded output was mainly limited to smaller labels and recycled Latin-style anthologies. His career in Latin America was still strong. He toured and continued to record material released in Mexico, South America, and Japan. He was revered as one of the reigning giants of the music industry and was a regular performer on Mexican television.
In Japan, a live concert recording of his tour was released on LP in an early 4-channel format known as Quadraphonic. This was also the year of his last recording.
Persistent ill health plagued him for the next two years, and he died of a stroke in Mexico City on September 14,aged His mambo records and the joyous dancing they caused, are described in a later chapter of Jack Kerouac's seminal novel, On the Road His songs "Caballo Negro", "Lupita", and "Mambo no. In the decade after his death, the popularity of Perez's music was on the rise again. CD reissues of his RCA recordings continue to sell steadily.
The soundtrack to the action thriller Mean Guns heavily features the music of Prado, as it is the favorite choice of Ice T's character in the film. The soundtrack to the movie Office Space featured two of his performances, "Mambo No. From Wikipedia, the free encyclopedia.
This name uses Spanish naming customs: This article appears to contain trivial, minor, or unrelated references to popular culture. Please reorganize this content to explain the subject's impact on popular culture rather than simply listing appearances; add references to reliable sources if possible, otherwise delete it.
Retrieved October 21, Retrieved 20 June Identity, Nationality, and Culture Louis A. The Book of Golden Discs 2nd ed. Barrie and Jenkins Ltd. Charlie Gillett, Simon Frith eds. According to custom, he carried both his father's and mother's last name; his earliest recordings were issued under the name D.
Starting in childhood, Prado studied classical piano, and by the time he finished school, he was good enough to play piano and organ professionally in local clubs and movie theaters. He moved to Havana around and freelanced for a number of smaller orchestras over the next year or so. Chiefly a pianist at this point, he also landed an arranging job with Gapar Roca de la Peer, which sometimes supplied material to the highly popular Orquesta Casino de la Playa. The orchestra's lead vocalist, Cascaritaliked Prado 's work, and soon they hired him as arranger and pianist. This was the early platform Prado needed to develop his own arranging style, and after-hours jam sessions around Havana were already influencing his rhythmic concepts.
Seeking to bring more excitement into the well-established rumba rhythm, Prado began to experiment with the hard swing of American jazz, influenced especially by the harmonically sophisticated big-band music of Stan Kenton. He also sought to build new Afro-Cuban-derived rhythms, including a pattern that was dubbed the mambo, whose early forms were traced back to Arsenio Rodriguez and Orestes Lopez. Prado 's innovations were greeted with outright hostility from Cuba's conservative musical establishment, which resisted the incursion of jazz on their native music.
No longer able to find arranging work, he left Cuba in to try his luck in Puerto Rico.
He eventually joined a touring group that swung through Argentina, Venezuela, Panama, and Mexico, and emerged as their star attraction. Inhe relocated to Mexico City and set about putting together his own orchestra, which featured a core membership of Cuban expatriates.
InRCA reissued it in the U. OverPrado released numerous singles in Mexico; most of them were titled in tribute to a broad range of social classes and occupations, which helped make them wildly popular. Additionally, Prado appeared in several Mexican films, generally playing himself and spotlighting his stage act.
The early '50s were a busy time for Pradowho mounted a number of international tours as the mambo sound spread like wildfire. In Peru, Catholic authorities threatened to deny absolution for anyone who participated in mambo dancing, to little discernible effect.
Prado 's first U. The tour was a smashing success, however, especially on the West Coast, and RCA started releasing his records on their main RCA Victor imprint, rather than consigning them to a specialty subsidiary.
In latePrado caused a stir when he was abruptly deported by Mexican officials to Havana; his sudden disappearance he was arrested in a backstage dressing room sparked rumors of kidnapping before he finally resurfaced to explain that he had forgotten to renew his visa.
Prado returned to the U. He then made his way to New York, where his orchestra played several upscale venues that helped make mambo all the rage among upper as well as lower classes. Seeing that his music could cross over to the lucrative white market, Prado began to tailor it for mainstream consumption, scoring minor hits with covers of the theme from the Italian film Anna and the South African tune "Skokiaan," which signaled the beginning of a more polished studio sound.
He finally scored a breakout pop hit in early with "Cherry Pink and Apple Blossom White," which was used as the theme to the Jane Russell film Underwater!. Ironically for the Cuban-born El Rey del Mambo, his first major hit was an adaptation of a French song "Cerisier Rose et Pommier Blanc"and its underlying rhythm was a cha-cha. Powered by a dramatic, swooping trumpet lead by Billy Regis, "Cherry Pink and Apple Blossom White" spent an astounding ten weeks at number one on the pop charts, making it one of the biggest instrumental hits of all time.
The accompanying album, Mambo Maniawas Prado 's first full-length 12" LP, and mostly featured material he'd recorded during his time in Mexico.
Prado took advantage of his success to attempt more ambitious compositions during this period. His first effort in this vein was 's The Voodoo Suitean impressionistic tone poem for Afro-Cuban big band that incorporated elements of jazz and exotica.
West Coast trumpeter Shorty Rogers helped out on the arrangements, and the results often recalled Stan Kenton 's progressive big-band mood music, albeit with a Latin sound. The album Havana 3 A. Of course, there were many commercial projects too; the biggest was 's Prezwhich fell just short of the Top 20 on the pop LP charts.