Beny Moré / Beny More
Wikimp3 information about the music of Beny Moré / Beny More. On our website we have 70 albums and 62 collections of artist Beny Moré / Beny More. You can find useful information and download songs of this artist. We also know that Beny Moré / Beny More represents Salsa genres.
Biography
[Edit]Beny Moré is the greatest singer of popular music Cuba has ever produced. Think Frank Sinatra or Nat King Cole and you'll get an idea of how he's perceived in Cuba, and how he should be regarded elsewhere. In the nearly half century since his death, no Cuban vocalist has emerged to fill his shoes, and he remains as close as ever to the hearts of the Cuban people. Few singers in this hemisphere have consistently matched his interpretive gifts, vocal virtuosity, and comfort with a range of styles.
Moré's genius lay in his synthesis of two of the major currents of Cuban song — Afro-Cuban son and the Spanish-derived guajiro music of the Cuban countryside. He owed at least some of his singing style to a series of soneros who preceded him: Antonio Machin, Miguelito Valdes, and Orlando "Cascarita" Guerra. Moré's intimacy with both the African and European elements in Cuban music allowed him to be comfortable in all different styles. He was equally successful with boleros as with mambos and rhumbas. Most important is what he conveyed with his singing: a tenderness and direct emotional appeal in his boleros, a hip-shaking exuberance in his mambos. Though he could not read music, Moré composed two of his smash hits, "Bonito y Sabroso" and "Que Bueno Baila Usted." He also doubled as a bandleader and assembled a powerful big band comprised of talented musicians like trumpeters Alejandro "El Negro" Vivar and Alfredo "Chocolate" Armenteros, and trombonist and arranger Generoso "El Tojo" Jimenez. His was the quintessential Afro-Cuban big-band sound of the 1950s: brash, multi-textured, dynamic. But unlike New York bands like Machito & His Afro-Cubans, Moré was not pushing the boundaries of Latin jazz. His music was more "pop" than Machito's, but it was anything but formulaic.
Born Bartolome Maximiliano Moré in 1919 in the village of Santa Isabel de Las Lajas in Las Villas Province, Cuba, Moré left for Havana as a teenager and for several years worked a variety of odd jobs while performing as a street singer in the city's port area. His big break came in 1945, when he accompanied the Miguel Matamoros conjunto to Mexico. In the late '40s, Mexico City was a magnet for Cuban entertainers seeking to make it big in the Mexican film industry. After touring Mexico, Matamoros returned to Cuba, but Moré decided to stay behind. Before leaving, Matamoros counseled Moré to change his name since "bartolo" meant donkey in Mexican slang. Rechristened Beny Moré, in a year or two he was discovered by Mario Rivera Conde, the director of RCA Victor Mexico, who paired him with a series of high-caliber orchestras, including those of Perez Prado and Mexican composer Raphael De Paz.
Moré's early recordings in Mexico include a balance of uptempo tunes and ballads; this proportion changed in favor of ballads when he finally fronted his own band. What's striking about the early sessions is the consistent quality and tastefulness of the orchestral accompaniment. Moré sings with five different orchestras on these sessions, yet there are few jarring contrasts. The Perez Prado orchestra is an exception to this rule; Prado's flailing piano style and trademark grunts jar in a marvelous, amphetamine-driven way. Rivera Conde's pairing of Prado and Moré was a masterstroke and produced some of the most high-energy recordings of Moré's career. Moré sang some of his most memorable songs while on his Mexican sojourn — "Bonito y Sabroso," "San Fernando," "Donde Estabas Tu" — with the Raphael De Paz Orchestra. But perhaps Moré's best-known song, the bolero "Como Fue," was recorded with neither Prado nor De Paz, but with the orchestra of Ernesto Duarte. "Como Fue" was included in the soundtrack of the film Mambo Kings Play Songs of Love, where it added authenticity to an otherwise watery collection of Latin music.
Moré returned to Cuba in 1953 and assembled his own big band, with whom he crisscrossed Cuba until his death. Moré was intensely loyal to his musicians, referring to them as his tribu (tribe). Because he always insisted on having a large band, he was known to have gone out of pocket on his RCA recordings to pay his men. They responded by embellishing his songs with subtle, ornate orchestral playing. While Moré continued to record uptempo smash hits such as "Francisco Guayabal" and "Que Bueno Baila Usted," he focused on boleros, a natural showcase for his vocal and interpretive gifts. Moré had a signature vocal technique, a sort of glissando, that he used everywhere in varying forms. Typically, he would hold a note, then slide up the scale to a higher note and hold it there for a few seconds. It's an impressive, exciting device, and he uses it to build drama on boleros like "Tu Me Sabes Comprender" and "No Puedo Callar." A less frequently used but equally distinctive technique was Moré's seagull squawk, which he includes at the finale of the uptempo "Soy Campesino."
It is unfortunate that Moré never brought his outstanding band to record or perform in the United States, even though he was active during one of the rare moments in U.S. pop music history when authentic Cuban music was in demand. Moré decided to stay in Cuba after the Revolution, but he didn't live long, a victim of his love for rum. All rumors to the contrary notwithstanding, Beny Moré finally succumbed to cirrhosis of the liver on February 19, 1963, in Havana. Moré's recorded output was relatively small, cut short as it was by his premature death. In 1992, BMG Music released the majority of Moré's 1948-1958 recordings for RCA Victor on five CDs for its Tropical Series. Moré never recorded for anyone other than RCA, so all his hits are here. Nevertheless, his earliest recordings with the Miguel Matamoros conjunto are missing, and only some of his songs with the Perez Prado orchestra are included. From a technical standpoint, the discs are terrific (they sound as if they were made yesterday), but three of the five albums have no liner notes to speak of and information about session dates and personnel is either very sketchy or nonexistent, which is shabby treatment indeed for an artist of Beny Moré's stature. Moré's great legacy, though, is clear on the recordings themselves: a voice that can evoke memories of lost romance, or make you dance with joyous abandon.
Title: Pare, Que Llegó el Bárbaro / Pare, Que Llego el Barbaro
Artist: Beny Moré / Beny More
Genre: World Music
Title: Pare... Que Llegó El Bárbaro / Pare... Que Llego El Barbaro
Artist: Beny Moré / Beny More
Genre: Latin
Title: Beny Moré: The Very Best (CD2) / Beny More: The Very Best (CD2)
Artist: Beny Moré / Beny More
Genre: Latin
Title: RCA 100 Años De Musica (CD2) / RCA 100 Anos De Musica (CD2)
Artist: Beny Moré / Beny More
Genre: Pop
Title: Beny Moré- 20 Éxitos / Beny More- 20 Exitos
Artist: Beny Moré / Beny More
Title: Last Christmas I Gave You My Heart (The Hit Collection)
Artist: Beny Moré / Beny More
Genre: Latin
Collections
Title: A Night In Cuba
Title: Radio Latina, Le Son Latino CD 10
Genre: Latin
Title: Cuba: The Greatest Songs Ever
Genre: Latin
Title: Cuba (I Am Time) - Disc 3 - Bailar Con Cuba
Genre: Latin
Title: Lo Mejor De Las Sonoras
Title: Encuentro De Sonoras CD5
Genre: Blues
Title: Encuentro De Sonoras CD9
Genre: Blues
Title: Latino CD3
Genre: World Music, Latin, Pop
Title: Latin Ballroom (CD4)
Title: The Rough Guide To Cuban Son
Genre: World Music
Title: Pure... Latin Dance (CD3)
Genre: Dancefloor
Title: Latin For Men 1994
Title: Dexter: Season 5
Genre: Theatre/Soundtrack
Title: The Mambo Kings (Original Soundtrack)
Genre: Theatre/Soundtrack
Title: The Rough Guide To The Cuban Music Story
Genre: Ethnic
Title: Years Of Mr. Bongo: 2014
Title: 100% Cuba (CD3)
Genre: World Music, Latin, Ethnic , American Folk
Title: 100% Cuba (CD4)
Genre: World Music, Latin, Ethnic , American Folk
Title: Latin Fever: 60 Sizzling Hot Latin Tracks (CD1)
Genre: Blues, Jazz, World Music, Latin, Pop
Title: La Boîte Noire De Radio Nova 1960
Genre: Rock, Reggae, Latin, Theatre/Soundtrack, Funk
Title: South American All Stars
Genre: Electronica, World Music, Latin, Bossanova
Title: Latino Party 2016 (CD1)
Genre: Latin
Title: The Real Cuban Music - Daiquiri Sessions
Genre: Jazz, World Music, Latin, Pop, Folk
Title: Overboard (Original Soundtrack)
Genre: Theatre/Soundtrack
Title: Crazy About The Mambo
Title: 30 Years Of Mr Bongo (Compiled By Mr Bongo)
Genre: Hip Hop/R&B, Soul, Funk
Title: El Corazon De Cuba
Title: Mambo E Cha Cha Cha
Title: La Noche De Cuba
Title: Bailemos En Cuba
Genre: Pop
Title: Mambo, Mambo! The Big Bands 1946-1957, Vol. 2
Genre: Jazz
Title: Bossa Nova En Cuba
Title: Cuban Classic Music
Title: Bossa Nova Junto A Ti
Title: Copa Cubana 2021
Genre:
Title: Latin Jazz Essentials 2021 (CD1)
Genre: Jazz
Featuring albums
Title: The Best of Perez Prado: The Original Mambo #5
Artist: Pérez Prado / Perez Prado
Genre: Latin
Title: The Mambo Kings Original Motion Picture Soundtrack
Artist: Mambo Kings Soundtrack
Genre: Theatre/Soundtrack
Title: Rewound & Reworked - Jazz Remixes Vol. 2
Artist: Various Artists
Genre: Electronica, Jazz, Dancefloor
Title: Dexter - Season 5 (Music From The Showtime Original Series)
Artist: Various Artists
Genre: Theatre/Soundtrack
Title: Salsa Caribe 100 Rumbas, Merengues, Guarachas, Mambos...
Artist: Various Artists
Genre: Latin
Title: Pedro Vargas - Éxitos Dorados / Pedro Vargas - Exitos Dorados
Artist: Pedro Vargas
Genre: Latin
Title: Le meilleur de la musique latino, vol. 2 (feat. Vinicius De Moraes)
Artist: Various Artists
Genre: Pop
Title: Grandes Duetos - 12 Grandes Éxitos / Grandes Duetos - 12 Grandes Exitos
Artist: Pedro Vargas
Genre: Latin
Title: Música del Mundo Vol.10 Boleros / Musica del Mundo Vol.10 Boleros
Artist: Various Artists
Genre: Latin
Title: The Real Cuban Music - Daiquiri Sessions (Remasterizado)
Artist: Various Artists
Genre: Latin