Originally a member of the Dirección Federal de Seguridad (DFS) police agency, he founded the Guadalajara Cartel in the 1970s along with other drug kingpins in Mexico.
Following its disintegration in the late 1980s, he went on to lead the Juárez Cartel, and eventually settled in the Sinaloa Cartel.
During his tenure in Guadalajara, Camerena uncovered some of the workings of the cartel and even befriended Félix Gallardo and others.
In November 1984, Camarena directed Mexican authorities to a 220 acres (0.89 km) marijuana plantation in Chihuahua known as Rancho Búfalo (English: "Buffalo Ranch"), which was owned by the Guadalajara Cartel.
With the growing influence of the Guadalajara Cartel, the Drug Enforcement Administration (DEA) started to conduct covert operations in Mexico.
One of its special agents, Enrique Camarena Salazar, was sent to the DEA offices in Guadalajara and started to work undercover by infiltrating the Guadalajara Cartel.
He worked alongside Joaquín "El Chapo" Guzmán, once considered Mexico's most-wanted drug lord.
After the implementation of Operation Condor (Spanish: Operación Cóndor), a Mexican antidrug program carried out in the 1970s to stop the flow of drugs from Mexico to the United States, many drug traffickers from the state of Sinaloa regrouped in Guadalajara, Jalisco to continue their operations.
At the same time, the cartel enjoyed a level of protection through the DFS police agency; several of its members were involved in organized crime directly by actively participating in murder and drug trafficking on the cartel's behalf.
There is, on the other hand, no doubt about the weight or staying power of "Concierto" or "Solea," which firmly anchor both the older and newer incarnations of The former, governed throughout by Davis' bright, expressive trumpet, is a largely sedate and allusive tone poem, whereas the latter, introduced by the string section and Davis' radiant horn, evinces the spirit and sensuality of a Spanish dance (or two), an impression underscored by throbbing drums and clicking castanets.
Davis' "Matador" is sober and unhurried, as befits its theme, his "El Moreno" more redolent of buoyant Spanish rhythms.
Besides composing, adapting and orchestrating the music, Orbert Davis sits in for his celebrated namesake on solo trumpet.
What makes these new especially intriguing is the fact that Davis has seen fit to retain the original album's opening and closing movements (Joaquin Rodrigo's "Concierto de Aranjuez," Evans' "Solea") but has replaced the middle three with a pair of his own compositions ("Muerte del Matador," El Moreno") and "El Albaicin," composed for piano by Issac Albeniz.
Betzaida's first album isn't as consistent as it could have been; not all of the tracks are as memorable as "El Moreno" or "Te Tengo Que Aprender a Olvidar." But the disc has more ups than downs and indicates that Betzaida is someone to keep an eye on.