Bartolomé Maximiliano Moré Gutiérrez, or simply Benny Moré, was one of the stars of the Cuban musical stave of the 20th century, who marked and contributed to the identity and particularity of the music of the largest of the Antilles. Sixty-two years after his death, today marks the birthday of the Bárbaro del Ritmo, born in Santa Isabel de Lajas, Cienfuegos province.
He was a man of unparalleled voice who empirically demonstrated through his innate capacity for composition his wide range of musical interpretation.
According to the researchers of this important singer, the great economic hardship in his childhood did not allow Benny to have the opportunity to study or to have a full-time job. However, in his short period of study at the Politic Instruction Public School José de la Luz y Caballero he stood out for his discipline, devotion, clear and natural intelligence for mathematics and reading.
His aptitudes for singing and musical improvisation were unequaled since early childhood. Valued as a genius in Cuban music, he has been a source of consultation and inspiration for many performers.
Benny won the affection and respect of the Cuban people, who know how to value art when it is good. Affection conquered not only for his talent but also for his charisma and naturalness.
The year 1945 is considered as the year in which Benny made his debut as a professional singer with Miguel Matamoros’ band, with which he had his first performance and made his first recordings.
When Benny first heard his voice recorded, he was strangely impressed. Then he would walk around the recording studio with his hands on his head, crying and laughing like a child, almost not believing what he was hearing.
From that moment on, Bartolo’s career as a singer, as he was also called, could be described as vertiginous.
Contramaestre in 1952 had the privilege of having the Bárbaro del Ritmo in the traditional festivities of San Liquito, in the town of Pueblo Nuevo. The event was recorded in the radio material entitled La Huella del Benny (Benny’s Footprint) by researcher and broadcaster Yunia Garcia Rosales. This report deals with the visit of the musician to the Contramaestrian demarcation and demonstrates the artist’s achievements, both for his popularity and for his interpretative and musical quality.
