Arsenio Rodríguez

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Ignacio de Loyola Rodríguez Scull, known as Arsenio Rodríguez (August 30, 1911 - December 30, 1970) was a Cuban musician who developed the son montuno, and other Afro-Cuban rhythms and is often said to be the true creator of the "Mambo." He was a prolific composer and wrote nearly two hundred songs.

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[edit] Early life

He was born in Güira de Macurijes in the province of Matanzas. As a young child, Rodríguez was blinded when a horse (or possibly a mule) kicked him in the head.

[edit] Rise to Fame

Later, he became a musician, and eventually became one of the most renowned bandleaders on the island earning him the nickname "El Ciego Maravilloso". His music emphasized the Afro-Cuban rhythm as well as the melodic lead of the tres, which he played. In 1928 he played his own compositions with the Sexteto Boston, which disbanded in 1937 because as a blind man he felt unable to be a bandleader, and he joined the Septeto Bellamar of cornettist José Interián. From 1940 to 1947 he led a band again, Arsenio Rodríguez y su Conjunto.

He then went to New York where he hoped to get cured from his blindness but was told that his seeing nerves had been completely destroyed. This experience led him to compose the bolero La Vida es un Sueño (Life is a dream). He went on to play with percussionist Chano Pozo and other great musical artists of what became Latin Jazz like Dizzy Gillespie, Tito Puente, and Mario Bauza.

Arsenio's bassist and close friend for eight years Alfonso "El Panameno" Joseph as well as other members of Arsenio's band, such as Julian Lianos, who performed with Arsenio at the Palladium Ballroom in New York during the 1960s, have had their legacies documented in a national television production called La Epoca, expected to be released in theaters across the US in September 2008 and in Latin America in 2009. He had much success in the US and migrated there in 1952 one of the reasons being the better pay of musicians (García 2006, p. 68).

[edit] Innovations

Another feat Arsenio Rodriguez is known for, even more-so than just Latin Jazz, is being the first to add reed and brass instruments to Latin bands and orchestras, as well as the conga (also called tumbadora), which was then primarily used in folkloric Rumba, and occasionally Santeria music.

[edit] Decline

At the end of the 1960s the Mambo craze more or less petered out, and Rodríguez showed no interest in modern Latin styles like Guaracha or Boogaloo. He tried a new start in Los Angeles. He invited Joseph to fly out to Los Angeles with him but died only a week later. Arsenio died there as in 1970 and was buried in New York. There is much speculation about his financial status during his last years, however David García (2006, p. 115f) argues that Rodríguez had a modest income from royalties.

[edit] Tributes

Tito Puente and Azuquita recorded a song after Rodriguez's death caleld "Guaguanco Arsenio". Ironically, this song has neither the Cuban tres nor is an actual Rumba Guaguanco. In fact, it is more related to salsa music in nature. It does, however, feature reed and brass instruments, reflecting Rodriguez's innovation and style.

Larry Harlow and Ismael Miranda recorded a post-humous song "Tributo a Arsenio Rodriguez", purportedly the first salsa recording using the Cuban tres, in homage to the great composer and tres player.

Jazz guitarist Marc Ribot recorded an album of Rodríguez' music called Marc Ribot y los Cubanos Postizos.

Arsenio Rodriguez is a name often mentioned in a major national television production called "La Epoca," which is about the Palladium-era in New York, and Afro-Cuban music and rhythms, Mambo and Salsa as dances and as music and much more, partly discussed in this "segment trailer" of the movie. The film discusses many of Arsenio's contributions, and features some of the musicians he recorded with such as Alfonso "El Panameno" Joseph, Luis Mangual, Julian Lianos and others. It discusses the controversial subject of how Arsenio Rodriguez is now documented as the originator of mambo, a rhythmic section in a musical arrangement, as seen in another "trailer" of the movie. The film also discusses the great contrasts between dancing "on 1" versus dancing "on 2," and how each is danced, featuring an interview with international dance-duo Freddy Rios and Mike Ramos from the Palladium Mambo Legends. Others interviewed in the movie, which has been the subject of interviews on radio interviews such as the popular interview of January 26, 2008, on the "840AM Interview " include the daughter of legendary Cuban percussionist Mongo Sanatamaria - Ileana Santamaria, and bongocero Luis Mangual, Alfonso "El Panameno" Joseph Arsenio's bassist), Julian Lianos (Arsenio's vocalist), Leo Flemming (bassist of Johnny Pacheco), Juan "Chiripa" Emilio (trumpeter of Johnny Pacheco and Sonora Matancera) and many others.

[edit] References

  • David García: "Arsenio Rodríguez and the Transnational Flows of Latin Popular Music", Temple University Press 2006
  • Orovio, Helio. 1981. Diccionario de la Música Cubana. La Habana, Editorial Letras Cubanas. ISBN 959-10-0048-0
  • Orovio, Helio. Diccionario de la música cubana; Biográfico y técnico. 2da. Edición. La Habana, Editorial Letras Cubanas, 1992.