1066:, even though central principles and procedures of his style, such as playing in contratiempo (against the beat), are to be found in mambo. What had made the conjunto and son montuno style so innovative was in fact Arsenio's and his musicians' deep knowledge and utilization of aesthetic principles and performance procedures rooted in Afro-Cuban traditional music in which Arsenio had been immersed as a youngster in rural areas of Matanzas and La Habana. Drawing from these principles and procedures, Arsenio and his colleagues formulated new ways of performing Cuban son and danzón music that arrangers for big bands soon after adapted and popularized internationally as mambo
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33:
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Rodríguez himself asserts: "In 1934, I was experimenting with a new sound which I fully developed in 1938." Max
Salazar concurs: "It was Arsenio Rodríguez's band that used for the first time the rhythms which today are typical for every mambo" (1992: 10). In an early article on mambo, published in 1948, the writer Manuel Cuéllar Vizcaíno suggests that Rodríguez and Arcaño's styles emerged concurrently, which might account for the decades-long argument concerning the identity of the "true" inventor of the mambo. In the late 1940s
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708:. The 2-3 bass line of "Dame un cachito pa' huele" (1946) coincides with the three-side of the clave's five-note pattern. David García identifies the accents of "and-of-two" (in cut-time) on the three-side, and the "and-of-four" (in cut-time) on the two-side of the clave, as crucial contributions of Rodríguez's music. The two offbeats are present in the following 2-3 bass line from Rodríguez's "Mi chinita me botó" (1944).
2233:
986:, but rock and soul as well. "Guaragüí" has not one but two shockingly original chord progressions. is in D, but the chord progression is in the Mixolydian mode: I – bVII – IV (D – C – G). This virulently addictive little sequence would remain dormant for fifteen years until becoming a pop juggernaut in songs such as "Hey Jude" and "Sympathy for the Devil". In the early 70s, when Juan Formell of
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consists of four interlocking guajeos: piano (bottom line), tres (second line), 2nd and 3rd trumpets (third line), and 1st trumpet (fourth line). 2-3 Clave is shown for reference (top line). Notice that the piano plays a single celled (single measure) guajeo, while the other guajeos are two-celled. It's common practice to combine single and double-celled ostinatos in Afro-Cuban music.
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in racist representational tropes in Cuban popular culture and (2) implied in the ideology of mestizaje (read: racial and cultural "progress"). As he countered in his afrocubanos, these traditions of his youth, through representing a "primitive" era for most of the white Cuban elite as well as black intellectuals, continued to be a vital and powerful aspect of his music and life
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994:, but here it is in Arsenio's music when rock and rollers were limited to I – IV – V and I – vimi – IV – V, and even Tin Pan Alley had yet to incorporate modal harmonies. Equally interesting from a harmonic standpoint, is "Guaragüí'"s opening progression: imi – IV – bVII – imi (Ami – D – G – Ami). It's the same progression, but in minor, with the IV and bVII inverted
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858:'s modernization can be thought of as a matter of "re-Africanizing" the music. Helio Orovio recalls: "Arsenio once said his trumpets played figurations the 'Oriente' tres-guitarists played during the improvisational part of el son" (1992: 11). Oriente is the easternmost province of Cuba, where the son was born. It is common practice for treseros to play a series of
385:, where his three younger siblings (Estela, Israel "Kike" and Raúl) were born. In 1918, at around seven years of age, Arsenio was blinded when a horse kicked him in the head after he accidentally hit the animal with a broom. This tragic event prompted Arsenio to become very close with his brother Kike, and to become interested in writing and performing songs.
797:. It consists of everyone in the band playing the same series of punches, creating extreme rhythmic tension with a combination of cross-rhythms and deceptive harmonies. As García points out, the first four beats of the actual have a rhythm which was used repeatedly in the subsequent decades, most famously by
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The piano guajeo for "Jumba" (a.k.a. "Zumba") (1951) is firmly aligned with clave, but also has a very strong nengón flavor — something which had rarely, or never, been used in Havana popular music. While Rodríguez was not from
Oriente province (where nengón and changüí are played), he had a thorough
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from
Travieso (which means "mischievous" or "naughty") to his mother's maiden name, Rodríguez, a fairly common Spanish surname. After dissolving the unsuccessful Septeto Boston in 1934, Rodríguez joined the Septeto Bellamar, directed by his uncle-in-law José Interián and featuring his cousin Elizardo
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The two offbeats are especially important because they coincide with the two syncopated steps in the son's basic footwork. The conjunto's collective and consistent accentuation of these two important offbeats gave the son montuno texture its unique groove and, hence, played a significant part in the
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Arsenio uses proverbs associated with Palo Monte and other traditional passages with Congo lexical passages... Arsenio's afrocubanos demonstrate not only the extent of his knowledge of Palo Monte spirituality but also his critique of the discourse on
African inferiority and atavismas (1) manifested
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for "Dame un cachito pa' huele" (1946) completely departs from both the generic son guajeo and the song's melody. The pattern marks the clave by accenting the backbeat on the two-side. Moore observes: "Like so many aspects of
Arsenio's music, this miniature composition is decades ahead of its time.
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The decades of the 1920s and 1930s were a period which produced some of the most beautiful and memorable melodies of the son genre. At the same time, the rhythmic component had become increasingly deemphasized, or in the opinion of some, "watered-down". Rodríguez brought a strong rhythmic emphasis
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in June 1937. The song, featuring Valdés on vocals, became an international hit and Rodríguez's breakthrough composition. The band also recorded Rodríguez's "Ben acá Tomá" in the same recording session, becoming their next A-side. In 1938 they recorded "Yo son macuá", "Funfuñando" (also a hit) and
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As Ned
Sublette observes: "Arsenio maintained till the end of his life that the mambo — the big band style that exploded in 1949 — came out of his diablo, the repeating figures that the trumpets in the band played. Arsenio claimed to have already been doing that in the late 1930s" (2004: 508). As
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on piano, Arsenio himself on tres, or occasionally Félix
Chappottín or one of the other trumpeters. The solo usually ends with Arsenio's signature lead-in phrase: . X X X X . . . . The figure is usually played on the two-side in 3-2 clave and on the three-side in 2-3 clave, and leads directly to
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During the 1940s, the conjunto instrumentation was in full swing, as were the groups who incorporated the jazz band (or big band) instrumentation in the ensemble, guajeos (vamp-like lines) could be divided among each instrument section, such as saxes and brass; this became even more subdivided,
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variations during their solos. Perhaps it was only natural then that it was Rodríguez, the tres master, who conceived of the idea of layering these variations on top of each other. The following example is from the "diablo" section of Rodríguez's "Kila, Quique y
Chocolate" (1950). The excerpt
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structure. This type of bass line has a specific alignment to clave, and contributes melodically to the composition. Rodríguez's brother Raúl
Travieso recounted, Rodríguez insisted that his bass players make the bass "sing." Moore states: "This idea of a bass
449:(his older brother Julio had already been living and working there). By 1928 he had formed the Septeto Boston which often performed in third-tier, working-class cabarets in the area. His father died in 1933 and sometime in the early 1930s, Arsenio changed his
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requires a full orchestration where the trumpets play counterpoint to the rhythm of the saxophones. This, a fusion of Cuban with big-band jazz ideas, is not found in Rodríguez, whose musical forms are set in the traditional categories of Cuban music.
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had been completely destroyed. This experience led him to compose the bolero "La vida es un sueño" (Life is a dream). He returned to New York in 1948 and 1950 before establishing himself in the city in 1952. He played with influential artists such as
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While it is true that the mambo of the 1940s, and 1950s contains elements not present in Rodríguez's music, there is considerable evidence that the contrapuntal structure of the mambo began in the conjunto of
Arsenio Rodríguez. While working in the
1208:, about the Palladium era in New York, and Afro-Cuban music. The film discusses Arsenio's contributions, and features some of the musicians he recorded with. Others interviewed in the movie include the daughter of legendary Cuban percussionist
1017:. Rodríguez was not an arranger: his lyrics and musical ideas were worked over by the group's arranger. The compositions were published with just the minimal bass and treble piano lines. To achieve the big-band mambo such as by Pérez Prado,
1145:. Rodríguez recorded folkloric rumbas and also fused rumba with son montuno. His "Timbilla" (1945) and "Anabacoa" (1950) are examples of the guaguancó rhythm used by a son conjunto. On "Timbilla", the bongós fulfill the role of the
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Belatedly, the borough of the Bronx officially had the intersection of Intervale Ave. and Dawson St. in the area known as Longwood renamed "Arsenio Rodríguez Way" in a dedication and unveiling ceremony on Thursday, June 6, 2013.
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In 1956, Rodríguez released the folkloric rumbas "Con flores del matadero" and "Adiós Roncona" in Havana. The tracks consist of voice and percussion only. One of the last recordings Rodríguez performed on was the rumba album
959:"No me llores más" stands out for its beautiful melodies and the incredible amount of emotional intensity it packs into its ultra‐slow 58 bpm groove. The guajeo is based on the vocal melody and marks the clave relentlessly
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featuring three or more independent riffs for smaller sections within the ensemble. By adopting polyrhythmic elements from the son, the horns took on a vamp-like role similar to the piano montuno and tres (or string) guajeo
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The street designation serves as the crowning jewel after an arduous series of collaborative efforts and events produced last year that rendered tribute to the band leader and resident performer of the Longwood community.
1261:"That intersection was the center of his universe," said José Rafael Méndez, a community historian. "He lived in that area. And all the clubs he played, like the Hunts Point Palace, were practically a stone's throw away."
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The denser rhythmic weave of Rodríguez's music required the addition of more instruments. Rodríguez added a second, and then, third trumpet—the birth of the Latin horn section. He made the bold move of adding the
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Moore is referring to the second and third measures of the break in the previous example. Here is that figure in relation to 2-3 clave. When the pattern is used as a type of block chord guajeo, as in "
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1227:, released in theaters in 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.
578:. On March 18, 1952, Rodríguez made his final recordings with his band for RCA Victor in Cuba. He finally left Havana on March 22, 1952, having handed the direction of the conjunto to trumpeter
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would perform on and off for years. Of all the conjuntos, Arsenio Rodríguez's became the most successful and critically acclaimed one during the 1940s. His popularity earned him the nickname
1410:. p. 181, gives his birth name as Ignacio Loyola Scull Rodríguez. It is reasonable to prefer the more recent and more complete source (the Cuban 2nd ed of Orovio was published in 1981).
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over the course of twelve years, Rodríguez moved to New York in 1952, where he remained active, releasing several albums. In 1970, Rodríguez moved to Los Angeles, where he died of
936:/son method of paraphrasing the vocal melody but the second half strikes out into bold new territory – using contrapuntal material not based on the song's melody and employing a
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It had been a concern of bandleaders since the sextetos of the 1920s that these groups were not loud enough to cope with the large venues and audiences, to which the older
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than those by his contemporaries. This emphasis is observed in the high number of rumba and afro numbers in his catalogue, most notably his first famous composition, "
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composed "Mambo" (1938), the first piece to use the term. A prevalent theory is that the López brothers were influenced by Rodríguez's use of layered guajeos (called
920:, who (because they were mainly a touring band) had less influence in Cuba. The overall 'feel' of the Rodríguez conjunto was more African than other Cuban conjuntos.
932:"Como traigo la yuca", popularly called "Dile a Catalina", recorded in 1941 and Arsenio's first big hit, may be his most famous composition. The first half uses the
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Rodríguez took the pivotal step of replacing the guitar with the piano, which greatly expanded the contrapuntal and harmonic possibilities of Cuban popular music.
1193:(Fania 404) with his band Orchestra Harlow. On this LP, five of the numbers had been recorded earlier by Rodríguez' conjunto. In 1994, the Cuban revivalist band
332:, came as a songwriter in 1937. For the following two years Rodríguez worked as composer and guest guitarist for the Casino de la Playa. In 1940 he formed his
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and vocalist Eugenio "Totico" Arango (1967). The tracks are purely folkloric, except for the unconventional addition of Rodríguez on tres and Israel López "
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knowledge of many folkloric styles and his creative partner, the pianist/composer Luis "Lilí" Martínez Griñán, in fact came from that part of the island.
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It would be forty years before groups began to consistently apply this much creative variation at the guajeo level of the arranging process" (2009: 41).
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that continues to this day. "It took fifty years for Latin music to catch up with what Arsenio was doing in the 1940s"—Kevin Moore (2007: web).
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Rodríguez's "Juventud amaliana" (1946) contains an example of one of his rhythmically dynamic unison breaks, strongly rooted in clave.
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at rumba performances in Matanzas and Güines, and became also immersed in the traditions of Palo Monte and its secular counterpart,
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features an abakuá tune, a columbia, and several band adaptations of traditional palo songs, accompanied by the bona fide rhythms.
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Most of Arsenio's classic tracks from the golden period of 1946-1951 feature a virtuousic and highly-polyrhythmic solo by either
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During the 1960s, the mambo craze petered out, and Rodríguez continued to play in his typical style, although he did record some
618:. His body was returned for burial to New York. There is much speculation about his financial status during his last years, but
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for the first time. There, he hoped to get cured of his blindness but eye specialist Ramón Castroviejo was told that his
1173:, featuring Monguito el Único and Baby González alternating on lead vocals, is an evocation of the music played in the
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Rodríguez was an authentic rumbero; he both played the tumbadora and composed songs within the rumba genre, especially
369:. He was the third of fifteen children, fourteen boys and one girl, to Bonifacio Travieso, a farmer and veteran of the
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instrument. Today, we are so used to seeing conga drums in Latin bands, and that practice began with Rodríguez. His
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numbers, without much success. As times changed, the popularity of his group declined. He tried a new start in
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483:"Se va el caramelero", which included Rodríguez's first recorded performance, a remarkable solo on the tres.
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in New York during the 1960s, have had their legacies documented in a national television production called
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When clave is written in two measures, as shown above, the measure with three strokes is referred to as the
1219:, as well as other members of Rodríguez's band, such as Julián Lianos, who performed with Rodríguez at the
1169:" on bass. Additional personnel included Papaíto and Virgilio Martí. Also released in the 1960s, the album
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Arsenio Rodríguez quoted in Bohemia (1955), cited by Max Salazar 1992. "Who Invented the Mambo?" part 2.
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Rodríguez's style was characterized by a strong Afro-Cuban basis, his son compositions being much more
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musical director of the Septeto Bellamar and his name had become familiar to important figures such as
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Despite being blind since the age of seven, Rodríguez quickly managed to become one of Cuba's foremost
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1050:), and introduced the concept into the charanga's string section with their historical composition.
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1201:(World Circuit WCD 041), an album containing four Rodríguez numbers, including the title track.
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There have been numerous tributes to Arsenio Rodríguez, especially in the form of LPs. In 1972,
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and some fusions, such as the bolero-son. Similar changes had been made somewhat earlier by the
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to fly out to Los Angeles with him but died there only a week later, on December 30, 1970, from
546:(The Marvellous Blind Man). The first single by his conjunto was "El pirulero no vuelve más", a
591:
426:, two rudimentary instruments used in the rhythm section, and more importantly he took up the
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406:, exposing Arsenio and Kike to West African drumming and chanting. In rural parties such as
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2006:"The earliest recordings of Cuban rumba: A comprehensive summary | ¡Vamosa Guarachar!"
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1134:, and a rumba and a conga de comparsa accompanied by tres. Rodríguez's 1963 landmark album
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denied that he died in poverty, arguing that Rodríguez had a modest income from royalties.
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When the chord progression begins on the three-side, the song, or phrase is said to be in
8:
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Leonardo Acosta is not convinced by Rodríguez's claim to have invented the mambo, if by
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and was an important as well as a prolific composer who wrote nearly two hundred songs.
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1820:
Beyond Salsa Piano: The Cuban Timba Piano Revolution v. 1. Beginning The Roots of Timba
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1130:(1957) Rodríguez sings and plays a traditional palo song and rhythm, a Lucumí song for
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codified the contrapuntal structure of the mambo within a horn-based big band format.
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In 1940, on the wave of his success with Casino de la Playa, Rodríguez formed his own
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1988:
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1089:". This is also exemplified by the inclusion of musical and linguistic elements from
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Scull on vocals. The group often played at dance academies such as Sport Antillano.
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904:(call-and-response chorus sections). Rodríguez also added a variety of rhythms and
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764:, and other important genres." In other words, Rodríguez is a creator of the bass
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with a melodic identity unique to a specific arrangement was critical not only to
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recorded two albums mostly of Rodríguez' compositions or songs in his repertoire:
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1297:"Como traigo la yuca" (also known as "La yuca de Catalina" or "Dile a Catalina")
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1710:"Arsenio Rodriguez 1946 La juventud amaliana | The Roots of Timba part 1"
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398:. Furthermore, their neighbour in the neighbourhood of Leguina, Güines, was a
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origins, and both his grandfather and great-grandfather were practitioners of
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1879:. Smithsonian, Washington, D.C. p. 86 et seq. for a more complete discussion.
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Helio Orovio quoted by Max Salazar 1992. "Who Invented the Mambo?" part 2.
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474:. His acquaintance with the latter made it possible for one of his songs, "
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Arsenio Rodríguez is mentioned in a national television production called
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Throughout the 1940s Arsenio's son montuno style was never referred to as
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Moore points out that Rodríguez's conjunto introduced the two-celled bass
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1640:"Listen to a midi version of the bass line for Dame un cachito pa' huele"
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336:, one of the first of its kind. After recording over a hundred songs for
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The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins
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The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins
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The following songs composed by Arsenio Rodríguez are considered Cuban
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reintroduced it to Latin pop, it sounded like a clear borrowing from
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Arsenio Rodríguez and the transnational flows of Latin popular music
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634:, established the basic template for Cuban popular dance music and
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which tried to capitalize on the success of "Se va el caramelero".
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582:. Chappottín and the other remaining members, including pianist
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Ignacio Arsenio Travieso Scull was born on August 31, 1911, in
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back into the son. His compositions are clearly based on the
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melodies)—an interlocking structure consisting of multiple
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styles. In the 1940s and 1950s Rodríguez established the
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Cubano be, cubano bop: one hundred years of jazz in Cuba
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1250:. In 1999, Rodríguez was posthumously inducted into the
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using a quinto is augmented by a tres, bass, and horns.
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Rodríguez's chief innovation, his interpretation of the
594:. He would return to Havana for the last time in 1956.
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1906:
Cuba and its Music; From the First Drums to the Mambo
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Salazar, Max 1992. "Who Invented the Mambo?" part 1.
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Rodríguez's close friend and bassist for eight years
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Arsenio's use of modal harmonies pre-echoes not only
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in 1926, Arsenio and his family moved from Güines to
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Manuel Cuéllar Vizcaíno cited by García 2006, p. 47.
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1430:. Philadelphia, PA: Temple University Press, p. 13.
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275:; August 31, 1911 – December 30, 1970) was a
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Cuban musician, composer and bandleader (1911–1970)
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1622:"Arsenio Rodriguez 1946 Dame un cachito pa' huele"
445:, where he started playing in local groups around
1516:Encyclopedic Discography of Cuban Music 1925-1960
534:. This type of ensemble would replace the former
305:format and contributed to the development of the
279:musician, composer and bandleader. He played the
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1822:, p. 39. Santa Cruz, CA: Moore Music/Timba.com.
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2156:Samuels, Tanyanika (May 10, 2012). "Reporter".
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1974:RCA Victor 45 RPM phonorecord 23-0362-B (1945).
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1694:Moore 2007. "1945 - No hay yaya sin Guayacán."
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833:2-3 clave (top) with ponchando figure (bottom).
1395:Diccionario enciclopédico de la música en Cuba
1369:"Arsenio Rodríguez: La vida fue como un sueño"
373:, and Dorotea Rodríguez Scull. His family had
2018:RCA Victor 78 rpm phonorecord 23-7120 (1956).
1725:"Arsenio Rodriguez 1946 La juventud amaliana"
1149:(lead drum). In "Yambú en serenata" (1964) a
1013:Rodríguez meant the big-band arrangements of
739:, that moved beyond the simpler, single-cell
437:Following the destruction of their home by a
37:Arsenio Rodríguez (center, standing) and his
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1788:, p. 155. Petaluma, California: Sher Music.
1518:. Florida International University Libraries
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940:based on sequences of three ascending notes
313:. He claimed to be the true creator of the
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704:. When it begins on the two-side, it's in
642:Clave-based structure and offbeat emphasis
414:, a genre of music that originated in the
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1242:Marc Ribot and the Prosthetic/Fake Cubans
842:Rodríguez introduced the idea of layered
402:practitioner who hosted celebrations for
2127:"International Latin Music Hall of Fame"
2125:de Fontenay, Sounni (December 7, 1998).
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793:but which in Arsenio's day was called a
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490:, which featured three singers (playing
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657:, a Spanish word for 'key', or 'code'.
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1908:p. 508. Chicago: Chicago Review Press.
1786:Salsa Guidebook for Piano and Ensemble
1602:, pp. 133–137. Redway, CA: Bembe Inc.
1252:International Latin Music Hall of Fame
2174:From Afro-Cuban Rhythms to Latin Jazz
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696:and the measure with two strokes—the
388:The young brothers began playing the
2342:Cuban emigrants to the United States
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2367:Deaths from pneumonia in California
2046:. laepocafilm.com. January 31, 2009
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1507:Díaz Ayala, Cristóbal (Fall 2013).
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309:, the basic template of modern-day
13:
837:
418:. Arsenio learned how to play the
347:
14:
2398:
1987:p. 186. Redway, CA: Bembe Books.
1745:, p. 256. Redway, CA: Bembe Inc.
1678:"1945 - No hay yaya sin Guayacán"
1582:"1945 - No hay yaya sin Guayacán"
1237:Marc Ribot y los Cubanos Postizos
2279:
2267:
2255:
2243:
2231:
2219:
2207:
1397:. La Habana, v. 4, p. 45 et seq.
923:
717:the music and dancing to it, as
478:", to be recorded by the famous
31:
2149:
2118:
2092:
2075:
2058:
2021:
2012:
1997:
1977:
1968:
1955:
1942:
1933:
1924:
1911:
1898:
1869:
1860:
1851:
1842:
1833:
1812:
1799:
1778:
1769:
1756:
1735:
1716:
1701:
1688:
1669:
1660:
1632:
1613:
1592:
1564:
1539:
1530:
1488:
896:player used a large, hand-held
457:
2179:University of California Press
2131:Latin American Rhythm Magazine
2008:. Esquinarumbera.blogspot.com.
1479:
1470:
1400:
1340:
625:
522:. At the time, only two other
273:Ignacio Arsenio Travieso Scull
57:Ignacio Arsenio Travieso Scull
1:
2357:Cuban people of Kongo descent
2332:Burials at Ferncliff Cemetery
1952:. Blue Note CD 226665 (1957).
1351:
1347:Arsenio Rodríguez discography
1333:"Yo no como corazón de chivo"
879:Expansion of the son conjunto
352:
1217:Alfonso "El Panameño" Joseph
1191:Tribute to Arsenio Rodríguez
538:, although some such as the
416:eastern region of the island
7:
2317:20th-century male musicians
2171:Fernández, Raúl A. (2006).
2004:Cox, Barry (May 30, 2011).
1875:see Acosta, Leonardo 2003.
1330:"Dame un cachito pa' huelé"
1312:"La fonda de el bienvenido"
1180:
1105:traditions into his music.
782:Luis "Lilí" Martínez Griñán
553:In 1947, Rodríguez went to
480:Orquesta Casino de la Playa
462:By 1938, Rodríguez was the
330:Orquesta Casino de la Playa
10:
2403:
1965:, Sony CD 469742-2 (1973).
1344:
854:parts. This aspect of the
1729:The Roots of Timba part 1
1682:The Roots of Timba part 1
1626:The Roots of Timba part 1
1586:The Roots of Timba part 1
1424:García, David F. (2006).
1038:Arcaño y Sus Maravillas,
888:drum, the quintessential
371:Cuban War of Independence
223:
213:
192:
172:
136:
112:
98:
71:
61:
51:
46:
30:
23:
1306:"Kila, Kike y Chocolate"
1076:
1042:"Macho" and his brother
1005:Diablo, the proto-mambo?
610:. He invited his friend
410:, they also learned the
287:, and he specialized in
2312:20th-century guitarists
2158:The New York Daily News
1485:García 2006, pp. 34–35.
1408:Cuban music from A to Z
908:to enrich the son, the
822:", it's referred to as
2372:Cuban male songwriters
2086:July 13, 2011, at the
2069:July 13, 2011, at the
1983:Peñalosa, David 2010.
1921:. v. 2 n. 9: 8, p. 11.
1895:. v. 2 n. 9: 9. p. 10.
1784:Mauleón, Rebeca 1993.
1766:. v. 2 n. 9: 9. p. 11.
1741:Peñalosa, David 2010.
1598:Peñalosa, David 2010.
1163:Carlos "Patato" Valdés
1118:
1074:
1002:
967:
948:
876:
834:
816:
733:
689:
688:) written in cut-time.
47:Background information
2377:Musicians from Havana
2352:Cuban male guitarists
2030:Verve CD 5037 (1968).
1723:Moore, Kevin (2007).
1708:Moore, Kevin (2007).
1676:Moore, Kevin (2007).
1620:Moore, Kevin (2007).
1580:Moore, Kevin (2007).
1288:"El reloj de Pastora"
1107:
1060:
1044:Israel López "Cachao"
972:
957:
930:
865:
832:
778:
710:
663:
2382:Son cubano musicians
2322:Bang Records artists
1961:Rodríguez, Arsenio,
1904:Sublette, Ned 2008.
1570:García 2006, p. 115.
1536:García 2006, p. 147.
1406:Orovio, Helio 2004.
1393:Giro, Radamés 2007.
1269:Notable compositions
873:Mauleón (1993: 155).
598:Later life and death
544:El Ciego Maravilloso
439:Category 4 hurricane
67:El Ciego Maravilloso
2177:. Los Angeles, CA:
2137:on October 18, 2014
2106:on February 7, 2012
1939:García 2006, p. 42.
1919:Latin Beat Magazine
1893:Latin Beat Magazine
1857:Moore 2009,. p. 52.
1818:Moore, Kevin 2009.
1775:García 2006, p. 52.
1764:Latin Beat Magazine
1666:García 2006, p. 45.
1657:García 2006, p. 43.
1561:García 2006, p. 68.
1545:García 2006, p. 66.
1509:"Arsenio Rodríguez"
1494:García 2006, p. 35.
1476:García 2006, p. 33.
1467:García 2006, p. 16.
1458:García 2006, p. 15.
1444:García 2006, p. 14.
900:('cowbell') during
592:Conjunto Chappottín
530:and Alberto Ruiz's
1866:Moore 2009. p. 53.
1848:Moore 2009. p. 48.
1839:Moore 2009. p. 41.
1309:"Los sitios acere"
1303:"Meta y guaguancó"
1221:Palladium Ballroom
1115:García (1006: 21).
1071:García (2006: 42).
1015:Dámaso Pérez Prado
918:Lecuona Cuban Boys
835:
772:Breaks ('cierres')
730:García (2006: 43).
690:
359:Güira de Macurijes
324:. His first hit, "
85:Güira de Macurijes
2362:Cuban songwriters
2337:Cuban bandleaders
2100:"840AM Interview"
2044:"laepocafilm.com"
1809:were well suited.
999:Moore (2009: 53).
964:Moore (2009: 48).
945:Moore (2011: 39).
906:harmonic concepts
789:musicians call a
676:) and 2-3 clave (
651:known in Cuba as
532:Conjunto Kubavana
367:Matanzas Province
283:, as well as the
269:Arsenio Rodríguez
263:
262:
116:December 30, 1970
25:Arsenio Rodríguez
2394:
2347:Cuban guitarists
2284:
2283:
2282:
2272:
2271:
2270:
2260:
2259:
2258:
2248:
2247:
2246:
2236:
2235:
2224:
2223:
2222:
2212:
2211:
2210:
2203:
2193:
2192:
2168:
2162:
2161:
2153:
2147:
2146:
2144:
2142:
2133:. Archived from
2122:
2116:
2115:
2113:
2111:
2102:. Archived from
2096:
2090:
2079:
2073:
2062:
2056:
2055:
2053:
2051:
2040:
2031:
2025:
2019:
2016:
2010:
2009:
2001:
1995:
1981:
1975:
1972:
1966:
1959:
1953:
1946:
1940:
1937:
1931:
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1915:
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1720:
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1630:
1629:
1617:
1611:
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1590:
1589:
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1546:
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1537:
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1528:
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1486:
1483:
1477:
1474:
1468:
1465:
1459:
1456:
1445:
1442:
1431:
1422:
1411:
1404:
1398:
1391:
1385:
1384:
1382:
1380:
1364:
1336:"Juégame limpio"
1300:"Fuego en el 23"
1210:Mongo Santamaría
1161:by the conguero
1116:
1072:
1000:
965:
946:
874:
814:
731:
687:
686:
685:
683:
675:
674:
673:
671:
580:Félix Chappottín
540:Septeto Nacional
472:Miguelito Valdés
363:Pedro Betancourt
297:Afro-Cuban music
216:
119:
81:
79:
64:
54:
35:
21:
20:
2402:
2401:
2397:
2396:
2395:
2393:
2392:
2391:
2327:Blind musicians
2292:
2291:
2290:
2280:
2278:
2268:
2266:
2256:
2254:
2244:
2242:
2230:
2220:
2218:
2208:
2206:
2198:
2196:
2189:
2169:
2165:
2154:
2150:
2140:
2138:
2123:
2119:
2109:
2107:
2098:
2097:
2093:
2088:Wayback Machine
2080:
2076:
2071:Wayback Machine
2063:
2059:
2049:
2047:
2042:
2041:
2034:
2028:Patato y Totico
2026:
2022:
2017:
2013:
2002:
1998:
1982:
1978:
1973:
1969:
1960:
1956:
1948:Martinez, Sabú
1947:
1943:
1938:
1934:
1929:
1925:
1916:
1912:
1903:
1899:
1890:
1883:
1874:
1870:
1865:
1861:
1856:
1852:
1847:
1843:
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1834:
1817:
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1800:
1783:
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1761:
1757:
1740:
1736:
1721:
1717:
1706:
1702:
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1633:
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1597:
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1578:
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1565:
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1540:
1535:
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1521:
1519:
1511:
1505:
1498:
1493:
1489:
1484:
1480:
1475:
1471:
1466:
1462:
1457:
1448:
1443:
1434:
1423:
1414:
1405:
1401:
1392:
1388:
1378:
1376:
1373:Herencia Latina
1365:
1358:
1354:
1349:
1343:
1327:"Adiós Roncona"
1315:"Mami me gustó"
1291:"Monte adentro"
1271:
1183:
1159:Patato y Totico
1117:
1114:
1079:
1073:
1070:
1007:
1001:
998:
992:rock & roll
966:
963:
947:
944:
926:
881:
875:
872:
846:(typical Cuban
840:
838:Layered guajeos
815:
812:
732:
729:
681:
678:
677:
669:
666:
665:
644:
628:
600:
572:Dizzy Gillespie
528:Conjunto Casino
460:
355:
350:
348:Life and career
266:
259:
214:
209:
188:
168:
121:
117:
83:
82:August 31, 1911
77:
75:
62:
52:
42:
26:
17:
12:
11:
5:
2400:
2390:
2389:
2384:
2379:
2374:
2369:
2364:
2359:
2354:
2349:
2344:
2339:
2334:
2329:
2324:
2319:
2314:
2309:
2304:
2289:
2288:
2276:
2264:
2252:
2240:
2228:
2216:
2195:
2194:
2187:
2181:. p. 40.
2163:
2148:
2117:
2091:
2074:
2057:
2032:
2020:
2011:
1996:
1976:
1967:
1954:
1941:
1932:
1923:
1910:
1897:
1881:
1868:
1859:
1850:
1841:
1832:
1811:
1798:
1777:
1768:
1755:
1734:
1715:
1700:
1687:
1668:
1659:
1645:
1631:
1612:
1591:
1572:
1563:
1547:
1538:
1529:
1496:
1487:
1478:
1469:
1460:
1446:
1432:
1412:
1399:
1386:
1367:Salazar, Maz.
1355:
1353:
1350:
1345:Main article:
1342:
1339:
1338:
1337:
1334:
1331:
1328:
1325:
1322:
1319:
1316:
1313:
1310:
1307:
1304:
1301:
1298:
1295:
1292:
1289:
1286:
1270:
1267:
1247:Muy Divertido!
1195:Sierra Maestra
1182:
1179:
1112:
1078:
1075:
1068:
1027:Tito Rodríguez
1006:
1003:
996:
961:
942:
925:
922:
880:
877:
870:
839:
836:
810:
803:Carlos Santana
752:, but also to
727:
643:
640:
627:
624:
612:Alfonso Joseph
599:
596:
588:Miguelito Cuní
468:Antonio Arcaño
459:
456:
361:in Bolondrón (
354:
351:
349:
346:
265:Musical artist
264:
261:
260:
258:
257:
252:
247:
244:
241:
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176:
174:
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167:
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156:
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138:
134:
133:
120:(aged 59)
114:
110:
109:
100:
96:
95:
73:
69:
68:
65:
59:
58:
55:
49:
48:
44:
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36:
28:
27:
24:
15:
9:
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3:
2:
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2313:
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2303:
2300:
2299:
2297:
2287:
2277:
2275:
2274:United States
2265:
2263:
2262:New York City
2253:
2251:
2241:
2239:
2234:
2229:
2227:
2217:
2215:
2205:
2204:
2201:
2190:
2188:9780520939448
2184:
2180:
2176:
2175:
2167:
2159:
2152:
2136:
2132:
2128:
2121:
2105:
2101:
2095:
2089:
2085:
2082:
2078:
2072:
2068:
2065:
2061:
2045:
2039:
2037:
2029:
2024:
2015:
2007:
2000:
1994:
1993:1-4537-1313-1
1990:
1986:
1980:
1971:
1964:
1958:
1951:
1945:
1936:
1927:
1920:
1914:
1907:
1901:
1894:
1888:
1886:
1878:
1872:
1863:
1854:
1845:
1836:
1829:
1825:
1821:
1815:
1808:
1802:
1795:
1794:0-9614701-9-4
1791:
1787:
1781:
1772:
1765:
1759:
1752:
1751:1-886502-80-3
1748:
1744:
1738:
1730:
1726:
1719:
1711:
1704:
1697:
1691:
1683:
1679:
1672:
1663:
1654:
1652:
1650:
1641:
1635:
1627:
1623:
1616:
1609:
1608:1-886502-80-3
1605:
1601:
1595:
1587:
1583:
1576:
1567:
1558:
1556:
1554:
1552:
1542:
1533:
1517:
1510:
1503:
1501:
1491:
1482:
1473:
1464:
1455:
1453:
1451:
1441:
1439:
1437:
1429:
1428:
1421:
1419:
1417:
1409:
1403:
1396:
1390:
1374:
1370:
1363:
1361:
1356:
1348:
1335:
1332:
1329:
1326:
1323:
1321:"El divorcio"
1320:
1317:
1314:
1311:
1308:
1305:
1302:
1299:
1296:
1294:"Dundunbanza"
1293:
1290:
1287:
1284:
1283:Bruca maniguá
1280:
1279:
1278:
1276:
1266:
1262:
1259:
1255:
1253:
1249:
1248:
1243:
1239:
1238:
1233:
1228:
1226:
1222:
1218:
1213:
1211:
1207:
1202:
1200:
1196:
1192:
1188:
1178:
1176:
1172:
1168:
1164:
1160:
1154:
1152:
1148:
1144:
1139:
1137:
1133:
1129:
1128:Sabú Martínez
1125:
1124:
1111:
1106:
1104:
1100:
1096:
1092:
1088:
1087:Bruca maniguá
1084:
1067:
1065:
1059:
1057:
1051:
1049:
1045:
1041:
1040:Orestes López
1037:
1031:
1028:
1024:
1020:
1016:
1012:
995:
993:
989:
985:
981:
977:
971:
960:
956:
953:
941:
939:
935:
929:
924:Piano guajeos
921:
919:
915:
911:
907:
903:
899:
895:
891:
887:
869:
864:
861:
857:
853:
849:
845:
831:
827:
825:
821:
813:Moore (2007).
809:
808:
804:
800:
796:
792:
788:
783:
777:
774:
773:
769:
767:
763:
759:
755:
751:
747:
742:
738:
726:
724:
720:
716:
709:
707:
703:
699:
695:
684:
672:
662:
658:
656:
655:
650:
639:
637:
633:
623:
621:
617:
613:
609:
605:
595:
593:
589:
585:
584:Lilí Martínez
581:
577:
573:
569:
565:
560:
556:
551:
549:
545:
541:
537:
533:
529:
525:
521:
517:
513:
509:
505:
501:
497:
493:
489:
484:
481:
477:
476:Bruca maniguá
473:
469:
465:
455:
452:
448:
444:
440:
435:
434:from Güines.
433:
429:
425:
421:
417:
413:
409:
405:
401:
397:
393:
392:
386:
384:
380:
376:
372:
368:
364:
360:
345:
343:
339:
335:
331:
327:
326:Bruca maniguá
323:
318:
316:
312:
308:
304:
303:
298:
294:
290:
286:
282:
278:
274:
270:
256:
253:
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245:
242:
240:
237:
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232:
229:
228:
226:
222:
218:
212:
206:
203:
201:
198:
197:
195:
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184:
181:
178:
177:
175:
171:
165:
162:
160:
157:
155:
152:
150:
147:
145:
142:
141:
139:
135:
132:
131:United States
128:
124:
115:
111:
108:
104:
101:
97:
94:
90:
86:
74:
70:
66:
63:Also known as
60:
56:
50:
45:
41:in the 1940s.
40:
34:
29:
22:
19:
2387:Tres players
2173:
2166:
2157:
2151:
2139:. Retrieved
2135:the original
2130:
2120:
2108:. Retrieved
2104:the original
2094:
2077:
2060:
2048:. Retrieved
2027:
2023:
2014:
1999:
1985:Rumba Quinto
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235:SMC Pro-Arte
215:Years active
118:(1970-12-30)
38:
18:
2307:1970 deaths
2302:1911 births
2250:Latin music
2141:October 18,
1341:Discography
1083:africanized
1056:Pérez Prado
1023:Tito Puente
988:Los Van Van
820:Oye Como Va
807:Oye Como Va
799:Tito Puente
719:Bebo Valdés
694:three-side,
664:3-2 clave (
649:key pattern
632:son montuno
626:Innovations
620:Mario Bauzá
608:Los Angeles
586:and singer
576:Mario Bauzá
307:son montuno
193:Instruments
173:Occupations
144:Son montuno
123:Los Angeles
2296:Categories
1950:Palo Congo
1828:1439265844
1352:References
1324:"Anabacoa"
1318:"Papa Upa"
1232:Marc Ribot
1143:guaguancós
1123:Palo Congo
1103:Palo Monte
950:The piano
890:Afro-Cuban
801:and later
785:what most
721:noted "in
564:Chano Pozo
451:stage name
379:Palo Monte
353:Early life
338:RCA Victor
295:and other
182:bandleader
127:California
78:1911-08-31
53:Birth name
2214:Biography
1963:Quindembo
1696:Timba.com
1522:April 12,
1379:March 28,
1275:standards
1197:recorded
1189:recorded
1171:Primitivo
1136:Quindembo
824:ponchando
713:dancer's
706:2-3 clave
702:3-2 clave
698:two-side.
616:pneumonia
590:, formed
526:existed:
524:conjuntos
516:tumbadora
420:marímbula
408:guateques
391:tumbadora
342:pneumonia
285:tumbadora
219:1929-1970
205:tumbadora
149:guaguancó
2110:July 21,
2084:Archived
2067:Archived
2050:July 21,
1225:La Época
1206:La época
1181:Tributes
1113:—
1099:Santería
1069:—
1036:charanga
997:—
962:—
943:—
914:guaracha
902:montunos
898:cencerro
871:—
848:ostinato
811:—
741:tresillo
728:—
604:boogaloo
555:New York
536:septetos
506:, tres,
504:trumpets
488:conjunto
464:de facto
447:Marianao
422:and the
400:Santería
334:conjunto
322:treseros
302:conjunto
185:composer
179:Musician
154:guaracha
89:Matanzas
39:conjunto
2200:Portals
1807:típicas
1175:solares
1132:Eleggua
1101:), and
1019:Machito
934:changüí
844:guajeos
737:tumbaos
715:feeling
568:Machito
502:), two
496:maracas
432:tresero
246:Ansonia
239:Puchito
2185:
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1167:Cachao
1147:quinto
1095:Lucumí
1091:Abakuá
1048:diablo
982:, and
952:guajeo
912:, the
910:bolero
860:guajeo
795:cierre
791:bloque
754:Motown
746:tumbao
548:pregón
500:guitar
492:claves
443:Havana
424:botija
404:Changó
383:Güines
271:(born
231:Victor
224:Labels
159:bolero
137:Genres
103:Havana
99:Origin
2226:Music
1512:(PDF)
1151:yambú
1077:Style
1064:mambo
1011:mambo
984:timba
980:salsa
976:songo
894:bongo
886:conga
787:timba
750:timba
654:clave
636:salsa
520:bongo
508:piano
375:Kongo
328:" by
315:mambo
311:salsa
293:rumba
277:Cuban
243:Seeco
2286:Cuba
2238:Jazz
2183:ISBN
2143:2014
2112:2012
2052:2012
1989:ISBN
1824:ISBN
1790:ISBN
1747:ISBN
1604:ISBN
1524:2015
1381:2015
1240:(or
805:in "
766:riff
762:funk
758:rock
682:Play
670:Play
574:and
518:and
512:bass
498:and
470:and
428:tres
396:yuka
281:tres
255:Epic
250:Tico
200:Tres
164:afro
113:Died
107:Cuba
93:Cuba
72:Born
1126:by
1120:On
1025:or
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