b. 19 Apr 1905, Santiago, Cuba, d. 26 Dec, 1976, Mexico Town, Mexico. Mercerón analyzed music as a guy and in the first 30s led a dance music group at resorts and night clubs. Playing tenor saxophone and clarinet, his repertoire included regional variants on jazz forms which were trickling in from the united states. He became extremely popular and even though he reverted to Cuban music as his foundation and soon founded a considerable existence in Havana. Along with his music group, the Muchachos Pimienta, he documented from 1941, occasionally in his have name along with other occasions backing established performers. His repertoire included guarachas, sones, boleros and rumbas. In 1946 he folded his music group in Cuba and relocated to Mexico Town where he was shortly popular. In the past due 40s he frequently played and documented with artists such as for example Beny Moré. By the end from the 10 years he came back to Cuba and Moré became a member of him there and much more record schedules ensued. Among various other performers with whom he proved helpful had been Pacho Alonso and Fernando Alvarez. By the end from the 50s, Mercerón returned to Mexico, produced a new music group, and remained a substantial existence there for the others of his lifestyle. Mercerón was observed for his functionality of danzon, an extremely rhythmic type of well-known music that’s among the root base of better-known Latin forms such as for example mambo and cha cha cha. Therefore prominent was Mercerón in the proper execution that he became known with the soubriquet Un Emperador del Danzon. Among music he performed and documented are ‘Florecita’, ‘Amor Perdido’, ‘Te Necesito’, ‘Un Que Sabe Sabe’, ‘Sabor De Engaño’, ‘Me Extraña’, ‘A Todas las Alturas Del Simpson’, ‘Un Cadete Constitutional’, ‘Un Bombin De Barreto’, ‘Arriba Mi Cuate’ and ‘La Margarita’, his 1959 documenting which became a big success throughout Latin America.