Singer |
Guitarist |
| Name:Pedro Pubill Calaf |
| Birth: 1935 Mataró, Barcelona |
Although he wasn't its creator, the Catalan rumba cannot be understood without looking at Peret. This rumba starts off from the flamenco rumba but gives it more vitality and introduces an urban element into its lyrics. Peret has known how to merge it with other rhythms and to adapt a wide Latin American and Caribbean repertoire to this particular musical style. La noche del hawaiano, El gitano Antón, Una lágrima cayó en la arena, Saboreando... are only some of the Catalan rumbas by Peret that have been heard tirelessly on the airwaves, in clubs, and in beach kiosks... and they remain in people´s memories today. The amount of records that he released is almost impossible to count, and also includes re-releases, compilations and anthologies.
The years of his continuous successes were the sixties and seventies. After interrupting his career in the early eighties, Peret resurfaced in the nineties with his guitar-playing style, known as “the ventilator”, whereby he spun the guitar around in his hands and used it as a percussion instrument. In this latest stage, Peret has also distinguished himself as a producer of work by Chipén, Ramonet and the Amayas, who continued his work on the Catalan rumba.
Peret is also a deep connoisseur of the arte jondo (flamenco art). For some years, his artistic career developed in traditional tablaos, like El Duende, owned by Pastora Imperio and Gitanillo de Triana. He also took part as one of the guitarists in "Los Tarantos" (1963), Carmen Amaya´s last film. In other instances, Peret has been seen in cinema films performing his immortal rumbas: "Amor a todo gas" (Ramón Torrado. 1969); "El mesón del gitano" (Antonio Romano. 1969); ¡"Qué cosas tiene el amor!" (Germán Llorente. 1970); "A mí las mujeres ni fu ni fa" (1971. Mariano Ozores); "Si fulano fuese mengano" (1971. Antonio Ozores). |
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| Practical guides |
Rumba
Flamenco Forms
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Varios Artistas