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In the late 1930s, a syncopated form of the Cuban emerged, pioneered by artists like Antonio Arcaño. This new sound was the birth of the mambo we know today. However, it was the Cuban bandleader, pianist, and showman Dámaso Pérez Prado who took this style and transformed it into a global phenomenon in the late 1940s and 1950s.
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Pérez Prado’s music was revolutionary. He filled his mambos with piercing high-register trumpets, undulating saxophone counterpoint, and powerful percussion that provided punchy, rhythmic punctuation. His sound was energetic and brassy, driven by a powerful beat. He described his creative process as a search for elemental noises: " I am a collector of cries and noises, elemental ones like seagulls on the shore, winds through the trees, men at work in a foundry. " He called Mambo a " movement back to nature, by means of rhythms based on such cries and noises. "
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