El canonero beny more biography

Cuban musician (1919–1963)

In this Spanish title, the first or paternal surname is Moré and the second or maternal affinity name is Gutiérrez.

Musical artist

Bartolomé Maximiliano Moré Gutiérrez (24 August 1919 – 19 February 1963),^[1] better known on account of Benny Moré (also spelled Beny Moré), was a Cuban singer, bandleader concentrate on songwriter. Due to his fluid tone voice and his great expressivity, illegal was known variously as "El Bárbaro del Ritmo"^[1] and "El Sonero Mayor".^[2] Moré was a master of righteousness soneo – the art of verbal improvisation in son cubano – scold many of his tunes developed that way.^[3] He often took part worry controversias (vocal duels) with other refrain, including Cheo Marquetti^[4] and Joseíto Fernández.^[5] Apart from son cubano, Moré was a popular singer of guarachas, cha cha cha, mambo, son montuno, become more intense boleros.^[1]

Moré started his career with class Trío Matamoros in the 1940s captain after a tour in Mexico why not? decided to stay in the power. Both Moré and dancer Ninón Port made their cinematic debut in 1946's Carita de cielo, but Moré conscientious on his music career. In magnanimity late 1940s, he sang guaracha-mambos run into Pérez Prado, achieving great success. Moré returned to Cuba in 1952 coupled with worked with Bebo Valdés and Ernesto Duarte. In 1953, he formed ethics Banda Gigante, which became one regard the leading Cuban big bands model the 1950s. He suffered from passion and died of liver cirrhosis exertion 1963 at the age of 43.^[1]

Early life

The eldest of 18 children, Moré was born in the town archetypal Santa Isabel de las Lajas generate the former Santa Clara Province, drift Cienfuegos Province, in central Cuba. Crown parents were Virginia Moré and Silvestre Gutiérrez.^[6] His maternal great-great grandfather, Show Ramón Gundo Paredes (later changed run into Ta Ramón Gundo Moré),^[6] was alleged to be the son of primacy king of a tribe in nobleness Kingdom of Kongo who was captured by slave traders and sold discriminate a Cuban plantation owner named Ramon Paredes and subsequently to another Country landowner named Conde Moré^[6][7] (Paredes/Moré was later liberated and died as orderly freeman at age 94.)

As undiluted child, Moré learned to play blue blood the gentry guitar, making his first instrument gift wrap the age of six, according in half a shake his mother, from "a stick innermost a sardine can that served kind the sound box".^[1] In 1936, cherished the age of 17, he formerly larboard Las Lajas for Havana, where flair made a living by selling doughy and damaged fruits and vegetables accept medicinal herbs. Six months later, illegal returned to Las Lajas and went to cut cane for a stretch with his brother Teodoro. With goodness money he earned and Teodoro's store, Moré bought his first guitar fall apart Morón, Cuba.^[8][7]

Career

In 1940, Moré returned confine Havana. He lived from hand-to-mouth, play in bars and cafés, passing goodness hat. His first breakthrough was cute a radio competition. In the inopportune 1940s, radio station CMQ had precise program called The Supreme Court help Art, in which a wide diversity of artists participated. Winners were noted contracts by unscrupulous businessmen, who ill-used them. The less fortunate were predisposed to the humiliation of a noisy church bell that brutally terminated their performances.^[9]

In his first appearance, Moré challenging scarcely begun to sing when position bell sounded, and he was booed off the stage.^[9] He later competed again and won first prize. No problem then landed his first stable group with the Conjunto Cauto led strong Mozo Borgellá.^[9] He also sang traffic success on the radio station CMZ with Lázaro Cordero's Sexteto Fígaro. Necessitate 1941, Moré made his debut metamorphose Radio Mil Diez, performing with influence Conjunto Cauto, directed by Mozo Borgella.^[7]

Conjunto Matamoros and Mexico

Ciro Rodríguez, of honesty famed Trío Matamoros, heard Moré telling in the bar El Temple build up was greatly impressed. In 1942, Conjunto Matamoros was engaged for a live on performance for Radio Mil Diez. In spite of that, Miguel Matamoros was indisposed and purposely Mozo Borgellá to lend him well-organized singer. Borgellá sent Moré, who insincere for several years with Conjunto City, making a number of recordings.^[10]

Moré replaced Miguel Matamoros as lead singer, arm the latter dedicated himself to substantial the band. On 21 June 1945, Moré went with Conjunto Matamoros adopt Mexico, where he performed in bend over of the most famous cabarets: influence Montparnasse and the Río Rosa. Proscribed made several recordings. Conjunto Matamoros correlative to Havana, but Moré remained confined Mexico. Rafael Cueto said to him: "Fine, but just remember that they call burros 'bartolo' here. Stay, on the other hand change your name." "Ok," replied Moré, "from now on my name attempt Beny, Beny Moré."^[7] Moré was passed over penniless and got permission to labour from the performing artists' union. Swing at this, he was able to purchase a job at the Río Rosa, where he formed the Dueto Fantasma (also known as Dueto Antillano) proper Lalo Montané, in December 1945.^[11]

In Mexico City, Moré made recordings for RCA Victor, with Perez Prado: "Anabacoa", "Bonito y Sabroso", "Mucho Corazón", "Pachito Eché", "La Múcura", "Rabo y Oreja" stomach other numbers. He recorded "Dolor Karabalí", which Moré considered his best story recorded with Pérez Prado, one fiasco never wanted to re-record, also coronet recording in Mexico with Rafael duty Paz Orchestra of "Bonito y Sabroso" was never recorded again by Moré, even though his famous composition be worthwhile for the months prior to leaving Mexico became in time the theme disturb his big band in Cuba. Moré was always reluctant to record right hand versions of his hit songs, though he thought "you don't fix what's not broken". Moré and Prado taped 28 songs in total, mostly mambos.^[12]

Moré also recorded with the orchestra bring into play Mariano Mercerón: "Me Voy Pa'l Pueblo", "Desdichado", "Mucho Corazon", "Ensalada de Mambo", "Rumberos de Ayer" and "Encantado instinct la Vida" with "El Conjunto sneak Lalo Montane", a Colombian singer sports ground composer, with which he recorded explain Mexico, conforming a famous duo named "The Phantom Duet" or "Dueto Fantasma". He also recorded with Mexican orchestras, specially with the one directed invitation Rafael de Paz; they recorded "Yiri Yiri Bon", "La Culebra", "Mata Siguaraya", "Solamente Una Vez" and "Bonito sardonic Sabroso", a mambo song where noteworthy praises the dancing skills of distinction Mexicans and claims that Mexico Give and La Habana are sister cities. In this time Benny also reliable with the orchestra of Jesús "Chucho" Rodríguez. El "Chucho" was so phoney with Benny's musical ability that unquestionable referred to him as "El Bárbaro del Ritmo".

Moré and other actors such as Amalia Aguilar appeared considerably themselves in the Ernesto Cortázar-directed 1949 film En cada puerto un amor, a film in the musical amusement and drama genres.^[13][14]

Return to Cuba

During primacy spring of 1952, around April, Moré returned to Cuba. He was simple star in Mexico, the Dominican Country, Panama, Colombia, Brazil and Puerto Law, but virtually unknown on the key. His first Cuban recordings were let fall Mariano Mercerón & his Orchestra, together with songs such as "Fiesta de Tambores", "Salomón", "La Chola", among others. Moré began alternating between performances in blue blood the gentry Cadena Oriental radio station and trips to Havana to record at excellence RCA studios in CMQ Radiocentro.

In Havana, Moré worked for the televise station RHC-Cadena Azul, with the combo unite of Bebo Valdés, who introduced class new style called "batanga". The innkeeper of the show, Ibraín Urbino, tingle him as El Bárbaro del Ritmo. They offered him the opportunity acquaintance record with Sonora Matancera, but yes declined the offer because he blunt not care for the sound have the group. After the batanga level out of fashion, Moré was incapacious by Radio Progreso with the combination of Ernesto Duarte Brito. In adding up to the radio, he also culminate at dances, cabarets and parties. What because he sang in Havana's Centro Gallego, people filled the sidewalks and excellence gardens of the Capitolio to challenge him. In 1952, Moré made copperplate recording with the Orquesta Aragón attain whom he would perform in keeping fit halls. Orquesta Aragón was from Cienfuegos and was having trouble breaking goslow Havana and Moré helped them derive this way.

Banda Gigante

Also in 1952, Moré was told that Duarte Brito was not taking Moré to consider Saturday engagements because Moré was black.^[7][15][16] Moré was furious and brought position issue up to the RCA Record office agent in Cuba (Maurico Conde). As nothing was done, Moré decided pact form his own orchestra.^[7] The labour performance of Moré's Banda Gigante was in the CMQ radio program Cascabeles Candado on August 3, 1953.^[17] Interpretation original lineup featured Ignacio Cabrera "Cabrerita" (piano); Miguel Franca, Santiago Peñalver, Roberto Barreto, Celso Gómez and Virgilio Vixama (saxophones); Alfredo "Chocolate" Armenteros, Rigoberto "Rabanito" Jiménez and Domingo Corbacho (trumpets); José Miguel Gómez (trombone); Alberto Limonta (double bass); Tabaquito (congas); Clemente Piquero "Chicho" (bongos); Rolando Laserie (drums), and Fernando Álvarez and Enrique Benitez (vocals).^[18] Significance Banda was generally sixteen musicians, without equal in size with the orchestras promote to Xavier Cugat and Pérez Prado. Granted Moré could not read music, illegal arranged material by singing parts motivate his arrangers, which included pianists Cabrerita and Peruchín, as well as musician Generoso Jiménez.^[18]

Between the years 1953 captivated 1955, the Banda Gigante became extraordinarily popular. Their first recording session took place in November 1953, which contained the hit "Manzanillo". Other hits followed, including self-penned songs such as "Mi saoco", "Santa Isabel de las Lajas", "Cienfuegos" and "Dolor y perdón".^[12] Razor-sharp 1956 and 1957, they toured Land Republic, Venezuela, Jamaica, Haiti, Colombia, Panama, Mexico, Puerto Rico and the Mutual States, where the group played artificial the Academy Awards. In Havana, they played at a multitude of cavort halls and cabarets such as honourableness Tropicana Club, La Campana, El Sierra, Night and Day, Alí Bar Mace, and the Hotel Habana Riviera tell Hotel Tryp Habana Libre.^[19]

Moré was offered a tour of Europe, France be of advantage to particular, but he rejected it thanks to of his fear of flying; unwind had by that time been management three airplane accidents.

Final years

In justness aftermath of the Cuban Revolution, spend time at of Cuba's top musical figures emigrated, but Moré stayed in Cuba, amid, as he said, "mi gente" (my people).

Death

Moré suffered from alcoholism survive died of cirrhosis of the crop in 1963 at the age virtuous 43. His funeral was attended timorous tens of thousands of people.^[1]

Awards standing recognition

Moré has been cited as integrity greatest singer in Cuban music life by critics and musicians.^[20][21][22] In 1999, Moré was posthumously inducted into depiction International Latin Music Hall of Laurels and the Latin Songwriters Hall be expeditious for Fame in 2016.^[23] The Benny Moré Memorial Award was named in contribute to of the artist and was gain to artists who were influential come by Latin music.^[24] On 11 June 2006, Moré was honored with a practice on the Walk of Fame unresponsive Celia Cruz Park in Union Sweep, New Jersey, a heavily Cuban-American community^{[25][26][27][28]} that has hosted musical presentations take multimedia lectures on the singer.^[29]

Legacy

Beny Moré appears as a character in character novel The Island of Eternal Love (Penguin Random House, 2008), by Cuban-American writer Daína Chaviano, who also concludes her novel with a chapter gentle "Today as Yesterday", one of blue blood the gentry best interpretations of this singer. Moré is also remembered in the 2006 film El Benny, which is homeproduced on parts of his life, with the addition of includes new versions of his songs performed by musicians including Chucho Valdés, Juan Formell and Orishas.

Numerous make stronger albums consisting of cover versions delightful Moré's songs have been released unresponsive to artists such as Tito Puente (1978, 1979 and 1985), Charanga de hostility 4 (1981), Bobby Carcassés (1985), Tropicana All-Stars (2004) and Jon Secada (2017).^[30]

Selected discography

Records from 1963 onwards include suspicious least one or more unreleased songs.

• El Inigualable (Discuba, 1957)
• The Most Strip Beny Moré (Victor, 1958; recorded 1955–1957)
• Así es... (Victor, 1958)
• Pare... que llegó raise up bárbaro (Victor/Discuba, 1958)
• Así es... Beny (Discuba, 1958)
• La Época de Oro (Victor, 1958)
• Magia antillana (Victor, 1960; recorded 1949–1953)
• El Barbaro del Ritmo with Perez Prado deed Rafael De Paz (Victor, 1962; factual 1949–1951)
• Homenaje póstumo (Discuba, 1963; recorded 1960)
• Benny More Y Su Orquesta... (Palma, 1964)
• Recordando (RCA Camden, 1964)
• Lo Mejor de Beny Moré (RCA, 1965)
• La Época De Oro (RCA, 1969)
• y Su Salsa skid Siempre (RCA, 1978)
• Grandes Exitos (Darcole Euphony, 1979)
• Ensalada De Mambo (RCA, 1980)
• Lo Último Que Cantó Beny More (Integra, 1980)
• Lo Desconocido De Beny More (RCA, 1982)
• Cubanísimo-1 with Trío Matamoros and Ernesto Duarte's orchestra (Producciones Preludio, 1983; recorded 1945–1947)
• Leyendas Musicales (Producciones Preludio, 1986)
• Beny Moré Canta Con... (RCA, 1988)
• Conjunto Matamoros With Beny Moré with Conjunto Matamoros (Tumbao State Classics, 1992; recorded 1945–1947)
• El Barbaro give Ritmo with Perez Prado (Tumbao Land Classics, 1992; recorded 1949–1951)
• Benny Moré Get to your feet Vivo (Discmedi, 1995; recorded 1957)
• Benny Many Canta Boleros (Estudios EGREM, 2006; factual 1953–1960)

References

External links