Miquel Rubió
Miquel Rubió i Tusquellas (Barcelona, November 21, 1945), artistically known as Miquel Rubió, was the introductory musician of the Latin bass in Spain (Latin bass was an essential element for the birth of Catalan rumba). He participated in the recording of several pieces of the discography of this cultural movement as in tours with other artists around the world.
Artistic biography[edit]
In the sixties, on his return from a two-year stay at clubs in Sweden, Miquel Rubió met three Cuban artists: Ramoncito Pérez, Pedrito Díaz and Miguel Moliner, who were traveling with the Fania All-Star records in their suitcases. From them, he absorbed the essence of Latin rhythms and learned to play bass in their own way.
Later, along with Josep M. Bardagí (guitar), Quique López (drums) and Pedrito Vázquez (piano), they played at El Papagayo, the club of Mitre Street, in Barcelona, forming a group they called IN. The experience ended after Pedrito Vázquez left the group to move to Switzerland.
Then, they started a stage with the boleros singer Moncho. At that time, Moncho played guarachas, the germ of Catalan rumba. Their presentation took place in 1969, in La masía d'Esplugues, along with two other orchestras; commensals of that night could enjoy in the same evening of the repertoire of Moncho, Dyango and Grau Querol.
At the same time, Quique López (drums), Josep Conill (piano), Josep M. Bardagí (guitar), Ramoncito Perez and Miquel Rubió (bass) created a parallel orchestra, Fruta Bomba, with which they settled in Las Vegas club, in Barcelona.
Later, Catalan rumba arrived. Peret met Miquel Rubió at the gypsy weddings, and, together with Josep Conill (piano) and Josep M. Bardagí, he played on his tours from 1974 to 1976.
In the seventies, he was named the best Latin bass in Europe by the continent's press.
Later, together with Papi Nilton (Drums) and José Luis Soler "Beethoven" (piano), they signed a contract with Sala Bossanova, in Tenerife. They called the trio Spanish Bossa and debuted without having agreed a repertoire and without having rehearsed a single minute.
Spanish Bossa played for eight months in the Sala Bossanova without repeating any song or a single night.
After the experience in Tenerife, he ended the decade of the seventies forming part of groups of stars such as Lola Flores, Ágata Lys and, for four years -in different moments of time- he was part of the group of Sara Montiel.
At the end of the seventies, his collaboration with Gato Pérez, playing Catalan rumba, was intensified, both in discography tours.
The 1980s began with his participation in the company of Isabel Pantoja, who, at that time, had a cast of diverse artists, such as Martes y Trece, Chiquetete and Máximo Valverde.
Discography[edit]
- Yellow You Yellow Mi / Massachussets (1967).
- Guru-Guru / La Jaula (1972). Julia Robles y sus "Calós".
- Che Che Colé (1975). Fruta Bomba (Ricard Miralles, Domingo Portugués, Miquel Rubió, Enrique López, Ramón, Ramoncito Pérez).
- Plechanga (1975). Ramoncito y su fruta bomba.
- Si tú no, la otra (1976). Ramoncito.
- Avísale a mi company (1977). Ramoncito y su fruta bomba.
- Carabruta (1978). Gato Pérez, Manel Joseph "El Trilla", Lluís Cabanach, Josep Cunill, Miquel Rubió, Quino Béjar, Víctor Cortina, Jordi Vilella.
- Romesco (1979). Gato Pérez, Luigi Cabanach, Agustín Fernández, Miquel Rubió, Jordi Vilella, Quinito Béjar, Moto Cluà, José Luis Soler "Beethoven", Manel Joseph "El Trilla", Carles Benavent, Toni Xuclà, Joan Albert Amargós.
- Fenicia (1990). Gato Pérez, Mayito Pérez, Sergio Fecé, Emilio Ruiz, Josep Lladó, Miquel Rubió, Xavier Batllés, "Ñoño" Martínez, José Luis Esteve, "Petitet" Ximenez, Andreu Simón, "Rafalito" Salazar, Johnny T., Pedro Reyes, Ricardo Tarragona, Enric Esteve, Ángel Blázquez, "Chafy y Merche", Mathew Simón, Juanjo Arrom.
Other collaborations[edit]
He worked as a support musician for artists who were traveling with their own groups but who, for different reasons, needed an exceptional substitute. This is how he collaborated with Olga Guillot, Astrud Gilberto, Tito Puente or Mireille Mathieu.
Music Therapy[edit]
As a researcher of the connection between music, color and human health, he has developed the Mirtus Method (Mirtus Therapy System), in the field of music therapy. It is based on his knowledge of the Greek philosopher and mathematician Pythagoras, as well as in his analysis of the Kabbalah, made after studying Hebrew grammar and drinking from its direct sources. His theory defends that there is a connection between numerical value, frequency and color.
References[edit]
Joseph Bergua, Manel (2015). El nét del vigilant. La Plateria i altres retalls (in Catalan). La lluvia. ISBN 9788415526568.CS1 maint: Unrecognized language (link) Search this book on 
"BNE - Biblioteca Nacional de España. Miguel Rubió. Sus obras. Obras en las que participa".
"VIAF - Fichero de Autoridades Virtual Internacional. Rubió, Miguel. ID de VIAF: 87005844".
Pàmies, Sergi (2017). "Candombe y rumba". La Vanguardia.
Ordóñez, Marcos (2012). "Gramola Galáctica: "Fenicia" (Gato Pérez, 1990)". El País.
Bibliography[edit]
- Joseph Bergua, Manel (2015). El nét del vigilant. La Plateria i altres retalls. La lluvia.
External links[edit]
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