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===1940-1952: "Brass" Mambo in Mexico City=== [[Dámaso Pérez Prado]], a pianist and arranger from [[Matanzas, Cuba]], established his residence in Havana at the beginning of the 1940s and began to work at night clubs and orchestras, such as Paulina Alvarez's and Casino de La Playa. In 1949 he traveled to Mexico looking for job opportunities and achieved great success with a new style, to which he assigned a name that had been already used by [[Antonio Arcaño]], the ''mambo''.<ref>Díaz Ayala, Cristóbal: Música cubana, del Areyto a la Nueva Trova, Ediciones Universal, Miami Florida, 1993. p. 194.</ref> Perez Prado's style differed from the previous mambo concept. The new style possessed a greater influence from North-American [[jazz music|jazz]], and an expanded instrumentation consisting of four to five trumpets, four to five saxophones, double bass, drums, maracas, cowbell, congas and bongos. This new mambo included a catchy counterpoint between the trumpets and the saxophones that induced the body to move along with the rhythm, stimulated at the end of each musical phrase by a characteristic deep throat sound expression. Because his music was aimed at an audience that lived primarily outside Cuba, Pérez Prado used a large number of international influences, especially North-American, in his arrangements. This is evident in his arrangements of songs such as "Mambo Rock", "Patricia" and "Tequila", where he uses a triple meter U.S. "swing" rhythm fused with elements from [[Cuban rumba]] and son. [[Pérez Prado]] gained hits such as "[[Mambo No. 5]]"<ref>{{cite web |url=https://archive.org/details/78_mambo-no.-5_perez-prado-and-his-orchestra-d.-perez-prado_gbia0009774b |title=Mambo No. 5 - Perez Prado and his Orchestra |access-date=9 March 2022}}</ref> and "Mambo No. 8" in 1950. The mambo boom peaked in the US in early 1950s, when Pérez Prado hit the American [[charts]] at number one with a [[cha-cha-chá (music)|cha-cha-chá]] version of "[[Cherry Pink (and Apple Blossom White)]]". Pérez Prado's repertoire included numerous international pieces such as "Cerezo Rosa", "María Bonita", "Tea for Two", "[[La Bikina]]", "[[Cuando calienta el sol (song)|Cuando Calienta El Sol]]", "[[Malagueña (song)|Malagueña]]" and "En Un Pueblito Español", among many others.<ref>Rodríguez Ruidíaz, Armando: Los sonidos de la música cubana. Evolución de los formatos instrumentales en Cuba. https://www.academia.edu/18302881/Los_sonidos_de_la_m%C3%BAsica_cubana._Evoluci%C3%B3n_de_los_formatos_instrumentales_en_Cuba. P. 49 – 50.</ref> Prado's recordings were meant for the Latin American and U.S. ''latino'' markets, but some of his most celebrated mambos, such as "Mambo No. 5" and "Que Rico El Mambo", quickly crossed over to a wider U.S. audience.<ref name="Leon2004">León, Javier F. "Mambo." ''Encyclopedia of Latino Popular Culture''. Ed. Cordelia Chávez Candelaria, Arturo J. Aldama, Peter J. García, Alma Alvarez-Smith. 2 vols. Connecticut: Praeger, 2004: 510</ref> Cuban singer [[Beny Moré]] also lived in Mexico between 1945 and 1952.<ref name="cienfuegoscity.org">{{Cite web|url=http://www.cienfuegoscity.org/cienfuegos-city-per-benny-more.htm|archive-url=https://web.archive.org/web/20120426125640/http://www.cienfuegoscity.org/cienfuegos-city-per-benny-more.htm|url-status=usurped|archive-date=April 26, 2012|title = Cienfuegos city .org - Benny Moré}}</ref> He composed and recorded some mambos there with Mexican orchestras, especially the one led by Rafael de Paz; they recorded "Yiri Yiri Bon", "La Culebra", "Mata Siguaraya", "[[Solamente Una Vez]]" and "Bonito Y Sabroso".<ref name="cienfuegoscity.org"/> Benny and Perez Prado recorded 28 mambo songs including "La Múcura", "Rabo Y Oreja", and "Pachito E'ché".<ref>{{cite web|last1=Díaz Ayala|first1=Cristóbal|title=Benny Moré|url=http://latinpop.fiu.edu/SECCION04Mpt2.pdf|website=Encyclopedic Discography of Cuban Music 1925-1960|publisher=Florida International University Libraries|access-date=27 September 2016|date=Fall 2013}}</ref> At this time Benny also recorded with the orchestra of Jesús "Chucho" Rodríguez.
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