Jorge Morel He was born in Buenos Aires on May 9, 1931 with the name Jorge Scibona. The family was of Sicilian descent. For reasons of mispronunciation with his surname, he was advised to replace it with the surname Morel. Morel began playing the guitar at the age of seven under the strict tutelage of his father, Domingo, who recognized his innate talent and made many sacrifices so that he could continue his musical education and ultimately his career. When Jorge was 12 years old, his father gave him a Casa Nuñez guitar, a very good instrument that he continued to play until unfortunately it broke down in 1959. With that guitar that he loved so much from Casa Nuñez, Jorge prepared his technique, studying at the Academy of Professor Pablo Escobar. After graduation, Morel accompanied Escobar on radio shows and concerts in Argentina.

Morel was invited to play Ecuador, Colombia and Cuba. In Cuba he received a deserved recognition with a warm reception for his guitar skills. It was in Cuba that he recorded his first album in 1959. A few years later, Maestro Morel recorded his second album with Decca and then three more albums followed. Due to Cuban politics at that time, Morel traveled to Puerto Rico. Puerto Rico was closer to the United States and in particular to the city in which he professionally aspired to achieve his dreams, New York.

It was in Puerto Rico that Morel met the love of his life, Olga, whom he married in 1961. They had a daughter, Francesca.

Vladimir Bovri, the legendary President of the New York Classical Guitar Society, heard Morel's wonderful performances in Puerto Rico and paved the way for hosting concerts in California and Hawaii and eventually his Carnegie Hall debut. This changed the course of his life and that of his wife Olga to live in New York City where Maestro Morel studied composition for two years with Rudy Schramm.After moving to New York, the Village Gate became a frequent place where Morel had the opportunity to collaborate with jazz legends Errol Garner, Dizzy Gillespie, Stan Kenton, and Herbie Mann. Also during this time, he met Chet Atkins, widely recognized for his “fingerstyle” style of music. “Chet realized his special talent and made it easier for Morel to record an album with RCA Victor. This very special friendship catapulted Morel's career and continued until Atkins passed away. (Morel, with the kindness that characterized him, later gave him his guitar Manuel Velazquez after hearing from Atkins' wife that Chet was looking for precisely a Velazquez).

After recording a new album, Morel toured Canada and the United States where he gave around 70 concerts a year. Morel often played in remote cities where they hadn't had the opportunity to listen to classical guitar. He also played thousands of international concerts. In Poland, where he was highly regarded, he agreed to play for very low fees that they could afford. For Morel, his dedication was to compose and as long as he could reach a level of life that would sustain him, it was more than enough for him.

Morel's reputation as a musician, and more importantly as a composer, progressed throughout his career. He cultivated a unique personal style with sophisticated artistic expression. Morel's creative contribution as a composer has received the respect and recognition of his fellow professionals and he established himself in his career as one of the leaders who have contributed to the progressive development of the classical guitar. Through his own compositions and arrangements, Morel has contributed substantially to the classical guitar repertoire with works that impose technical and stylistic demands on the traditional school of the guitar. As a prolific composer, Morel wrote for solo guitar, for Duets, guitar and orchestra concerts, and chamber music quintets.