MANZANITA Y SU CONJUNTO by La cumbia de mis viejos blogsite (translated to English)
The Berardo Trujillo Hernández, young man took a liking to the guitar, accompanying his older brother Melesio, who was guitarist for folk music. Since the early sixties, Berardo solo boleros and waltzes played under the stage name Jack Sabu. Of these rocks presentations captures the attention of artists like Peter Otiniano and Lucho Barrios, who incorporated it for your recordings. On the other hand, casually Cesar Zarate, then saxophonist in Los pacharaca lived in the same neighborhood as Melesio. Through him, Berardo is submitted to the director Freddy Centti and with his approval becomes part of the group since 1962.
In 1967 some members of the group The pacharaca leave and form The Pachas, who would be part of the record DINSE. Berardo between them, was accompanied by Jorge Mariazza (timbales), Modesto Pastor (2nd guitar) and directed by Cesar Zarate (sax). Also at this time includes The Pirates, who recorded for IEMPSA. In both groups showed Berardo and the chords that would later very famous in his own band. Still others claim that Berardo and rehearsing his own compositions from the time with The pacharaca. In any case, it is clear that we are facing one of the fathers of Peruvian cumbia.
In 1969 he formed his own band and had its first presentation at the opening of the Rimac Shooting Club, hired by Freddy Roland. It was initially thought to call “Berardo Hernandez and his Ensemble” Albert Maraví but always with a keen nose for commercial, suggested a more appealing name. So, using an old nickname that went back to school ages, are named “Manzanita and Joint.”
Continuing the relationship with Dinse, the same year he recorded his first 45 RPM Arre caballito success and the following year released their first LP, named in the same way. All this happens just before his former teammates from Los Pachas-and with Luis Silva and first guitar – also inscribed their first LP entitled “The Peruvian rhythm Pachas. Unfortunately, shortly after leaving DINSE Berardo estranged Maraví with legal hassles involved.
Different musicians passed through the group over time. Some who were from the first stage were Jorge Mariazza on timbales, Paco Zambrano on the bongos (later replaced by Hector Mattos), Alex Novoa “piranha” in the bass, Hernán Huamán in the organ and Antonio “the black” Medina in the tombs.
The first half of the seventies has Manzanita as an artist of Viceroy. He recorded two long-term (“the new sound” and “apples to Manzanita”), plus several albums guys, is to Viceroy or the subsidiary DoReMi. At that time Maraví befriended and recorded for him again, now with the new label Infopesa and under the name of The Mad Monk. This peculiar name describes very well as all those who knew Manzanita agree that was a very quiet, peaceful and humble, like a monk. But it was crazy to see him play guitar.
By 1976, Berardo along with two other partners formed his own label EDYSAMBER. He released another of his most famous songs, “Pay the bill crook.” In addition, he played guitar for other groups that recorded for his label. During the eighties, Manzanita continues to record 45 RPM records for different labels (IEMPSA, Volcano, strikes, etc.) and recorded his last LP, “Return of Manzanita, which contains such classics but with a more modern and sung.
Note the good friendship that existed between teachers and Enrique Delgado Hernández Berardo, who always supported him. Even Henry often accompanied their presentations Manzanita playing the organ. Finally, special thanks to Manzanita Jr, an excellent guitarist as his father, who helped to publish this story.