Arsenio Rodriguez, one of the most important figures in the history of Cuban music, was a prolific composer (he penned close to 200 songs), tresero, percussionist, and bandleader whose innovations changed the face of Latin dance music and paved the way for what would eventually become known as salsa. He is considered the father of the conjunto,... [+] Read More

Arsenio Rodriguez, one of the most important figures in the history of Cuban music, was a prolific composer (he penned close to 200 songs), tresero, percussionist, and bandleader whose innovations changed the face of Latin dance music and paved the way for what would eventually become known as salsa. He is considered the father of the conjunto, an instrumental format that was revolutionary for its time because it introduced the conga drum, which had previously been considered taboo because of its African origin. His compositions, many of which became standards of the Cuban and New York salsa repertoires, frequently emphasized Afro-Cuban, particularly Congolese, elements in their subject matter.

Arsenio Rodriguez, the descendent of Congolese slaves, was born on August 30th, 1911 in Guira de Macurije in Cuba's western province, Mantanzas. At age seven Rodriguez was blinded by a horse's kick; he would later become know as "El Ciego Maravilloso" ("The Marvelous Blind One"). As a child, he began playing a variety of instruments, including Afro-Cuban drums and percussion, bass, and tres, a Cuban six-string guitar that would become his primary instrument. Some important early influences on tres included Nene Malfugas, Isaac Oviedo and Eliseo Silviera.

He began composing in his teens and in the early 1930s formed El Sexteto Boston. In 1937 he joined trumpeter José Interain's Septeto Bellamar. 1937 also saw the first recordings of Rodriguez' compositions; Miguelito Valdes sang "Bruca Manigua," "Ven Acá Tomas," and "Fuñfuñando" with Orquesta Casino de la Playa.

During this period, the standard format for playing son was the Septeto, consisting of trumpet, guitar, tres, bongos, bass, maracas and claves, with two or more band members singing. The general trend in the 1930s had been for the son to stray somewhat from its African roots, adopting a more subdued sound. This would all change around 1940 when Rodriguez added conga drum, piano, and a second (and later third) trumpet to the typical son ensemble, giving birth to the conjunto. The conjunto format revolutionized the son with the added drive provided by the conga's deep tone and the trumpet section's power. Around this time, Rodriguez introduced the son montuno, a son with a montuno section featuring improvised vocals (soneos) by the lead singer (sonero) over a repeated chorus; trumpet, tres, and piano solos also occurred frequently. Rodriguez is also credited, along with bandleaders Antonio Arcaño and Perez Prado with developing the mambo rhythm during this period. Another key innovation was the band's adaptation of the guaguancó to the dance band/conjunto format. The guaguancó is an Afro-Cuban style traditionally performed by voices and percussion; Rodriguez mixed some of its melodic and formal elements with those of the son. These further "Afro-Cubanizations" of the son are among Rodriguez' most important and lasting contributions. The conjunto format, son montuno, and mambo are three essential elements of what would later be called salsa.

The 1940s were a classic period in Rodriguez' career and the history of the son. Many of his most famous compositions were recorded, including "A Belen le Toca Ahora," "La Yuca de Catalina," "Juventud Amaliana," and perhaps his most famous work, the bolero "La Vida es un Sueño," which was written after an unsuccessful attempt to restore his sight in 1947. Among his band members during the 40s were several key figures in the development of the son, such as vocalists Miguelito Cuní, Marcelino Guerra, and René Scull, trumpeters Felix Chappotin and Chocolate Armenteros, and pianist Lilí Martínez. This period is represented on several reissue CDs: Montuneando con Arsenio Rodriguez y Su Conjunto (Tumbao), Legendary Sessions: Chano Pozo and Arsenio Rodriguez (Tumbao), Dundunbanza (Tumbao), A Todos Los Barrios (RCA), and Oye Como Dice (Cubanacan).

In 1953, Rodriguez moved to New York, leaving his conjunto in Cuba under the leadership of trumpeter Chappotin, who would become a legend in his own right. Compositions such as "La Gente del Bronx" and "Como se Goza en el Barrio" (both available on the Tumbao CD named after the latter) continued to reflect his gift for writing about his everyday surroundings. His popularity in New York, while strong, would never match what it had been in Cuba. The mid-'50s saw the release of a strong album, Sabroso y Caliente (reissued on CD on Antilla) which added flute and timbales to the conjunto setup. "El Ciego Maravilloso" would continue to experiment with different instrumentations for the rest of his career, at times adding one or more saxophones to his band.

In the late '50s, Rodriguez recorded Primitivo (currently available on CD only as a Japanese import), and appeared on the Blue Note release Palo Congo, under the leadership of conguero Sabu Martinez and which featured his brothers and conjunto sidemen Quique and Caesar Rodriguez. This album includes chants from Palo Congo, an Afro-Cuban religion of Congolese origin. In the early '60s, Rodriguez recorded Quindembo/AfroMagic (Epic), an innovative experimental album on which he wrote and sang on all the tracks. Rodriguez called this style, which blends jazz influences with son and more earthy Afro-Cuban religious elements, "Quindembo," a Congolese word meaning a mixture of many things. Around this time he also recorded two very strong albums in the conjunto style, Arsenio Rodriguez y Su Conjunto, Vols. I and II. In his final years he continued to experiment, developing a style he called "swing son." The last album Rodriguez recorded was Arsenio Dice, a 1968 Tico release. On December 30, 1970, "El Ciego Maravilloso" died of pneumonia in Los Angeles. As a composer, performer, and musical experimenter, Arsenio Rodriguez was one of the undoubted giants of Cuban music. In the United States, his was a decisive influence in the '60s and '70s tipico movement, and his experimentation pointed to way to some of the developments made by the more adventurous architects of salsa, such as Willie Colon. His legacy is recognized on several tribute albums, including Larry Harlow's Tribute to Arsenio Rodriguez, and Tico's all-star Recordando a Arsenio. ~ Nick Herman, All Music Guide [-] Hide

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Founded by vocalist and maracas player Maria Emilia Garcia, guitarist Pancho Cobas and the group's first director Francisco Coba La in 1939, Cuarteto Patria achieved international success after guitarist/tres player and lead vocalist Eliades Ochoa assumed leadership in 1978.



Under the guidance of Santiago, Chile-born... [+] Read More

Founded by vocalist and maracas player Maria Emilia Garcia, guitarist Pancho Cobas and the group's first director Francisco Coba La in 1939, Cuarteto Patria achieved international success after guitarist/tres player and lead vocalist Eliades Ochoa assumed leadership in 1978.



Under the guidance of Santiago, Chile-born Ochoa, the group expanded its early bolero and criolla repertoire to include a dance-inspiring mix of son montuno, guaracha and guajira.



Although they released no albums prior to Ochoa's arrival, Cuarteto Patria has released four memorable albums since – A Una Coquesta in 1993, Se Salto Un Leon in 1995 and Cubafrica, recorded with Cameroon-born saxophonist Manu Dibango, in 1998. Released in September 2000, Tribute To The Cuarteto Patria celebrated the band's sixtieth anniversary.



Cuarteto Patria was featured on Ochoa's solo albums, including his masterpiece, Sublime Illusion, a Grammy nominee in the category of “best traditional tropical and Latin performance of 1999". ~ Craig Harris, All Music Guide [-] Hide

The sounds of Havana, Cuba's dance music were introduced to North American audiences by Fernando Storch (1904 – 2001) and his band, Cuarteto Caney. A breeding ground for future Latin music stars, including Panchito Riset, Frank “Machito" Grillo, Pablo “Tito" Rodriguez, Johnny Lopez and Alfredito Valdes, Cuarteto Caney helped to transform the... [+] Read More

The sounds of Havana, Cuba's dance music were introduced to North American audiences by Fernando Storch (1904 – 2001) and his band, Cuarteto Caney. A breeding ground for future Latin music stars, including Panchito Riset, Frank “Machito" Grillo, Pablo “Tito" Rodriguez, Johnny Lopez and Alfredito Valdes, Cuarteto Caney helped to transform the Latin jazz style, tumbao, into a worldwide sensation.



Forming Cuarteto Caney shortly after moving to the United States in the early-1930s, Storch based the group on Cuba's classic soneros groups. While rooted in the tradition set by tumbao septets, Storch greatly expanded on the traditional format, often breaking tunes down to bare-bone percussion and vocals.



Signed by the Columbia record label in 1936, Cuarteto Caney was extremely prolific, recording more than one hundred tunes before 1942. The group remained active, until the mid-1970s, when Storch retired and settled in Jacksonville, Florida. ~ Craig Harris, All Music Guide [-] Hide

Colombian arranger/composer Lucho Argain (born Luis Guillermo Pérez Cedrón) made his first record in 1959 after signing up to Antonio Fuentes Estrada's label Discos Fuentes. Soon, the talented musician and the visionary entrepreneur teamed up to assemble a major orchestra inspired by the success of Cuban Sonora Matancera. Unfortunately, the... [+] Read More

Colombian arranger/composer Lucho Argain (born Luis Guillermo Pérez Cedrón) made his first record in 1959 after signing up to Antonio Fuentes Estrada's label Discos Fuentes. Soon, the talented musician and the visionary entrepreneur teamed up to assemble a major orchestra inspired by the success of Cuban Sonora Matancera. Unfortunately, the original group disbanded in 1963.

In 1975, Julio Ernesto Estrada Rincon, also known as Fruko, re-formed Sonora Dinamita. In 1981, La India Meliyará became their leading vocalist, making successful records, including the Cumbia classic "Mi Cucu." ~ Drago Bonacich, All Music Guide [-] Hide

The first volume in BMG's five-disc re-release, Mata Siguaraya mostly includes uptempo numbers drawn from Moré's earliest recordings with RCA/Victor. Here he is matched with several bands, most notably those of Rafael De Paz and Perez Prado. Typically, the strongest and best-known tracks -- "Mata Siguaraya," Yiri Yiri Bon," and "Ah Barbara" --... [+] Read More

The first volume in BMG's five-disc re-release, Mata Siguaraya mostly includes uptempo numbers drawn from Moré's earliest recordings with RCA/Victor. Here he is matched with several bands, most notably those of Rafael De Paz and Perez Prado. Typically, the strongest and best-known tracks -- "Mata Siguaraya," Yiri Yiri Bon," and "Ah Barbara" -- are recorded with De Paz, whose lush arrangements cloak Moré's voice in ermine. Other uptempo gems recorded with various groups include "Mi Chiquita Quiere Guarachar" and the thunderous "A Media Noche." "Batiri RCA" is a characteristic Moré/Prado matchup. Prado's horn section plays the introduction here with the nervous, wound-up sound that characterizes most of their playing. There's not much of a melody, and about halfway through Prado breaks in with one of his piano vamps, beginning with a frantic run that must use all 88 keys. He then plays a series of fractured, dissonant chords before giving the floor back to Moré. Nowhere is the tug of war between the two giants more evident. ~ Spencer Harrington, All Music Guide [-] Hide

Cuarteto Patria present son and bolero in a purely traditional lineup but with a virtuosity and passion that makes it sound fresh on each listening. Leader Eliades Ochoa's expressive voice, improvising lines of the sones, caressing the romantic boleros, is beautifully supported by unerring vocal and guitar harmonies and sensuously... [+] Read More

Cuarteto Patria present son and bolero in a purely traditional lineup but with a virtuosity and passion that makes it sound fresh on each listening. Leader Eliades Ochoa's expressive voice, improvising lines of the sones, caressing the romantic boleros, is beautifully supported by unerring vocal and guitar harmonies and sensuously get-under-your-skin rhythmic underpinnings of bass, bongo and congas. For the listener who doesn't want to invest in the Cuba: I Am Time box set, this is the indispensable post-guaguanco/pre-salsa Cuban CD. ~ Janet Rosen, All Music Guide [-] Hide

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Including 16 favorites from La Sonora Dinamita, Super Exitos is an excellent collection of cumbias including songs like "Capullo y Sorullo," "Mi Cucu," "La Parabolica," and "Mete y Saca," among others. ~ Earl Simmons, All Music Guide

Including 16 favorites from La Sonora Dinamita, Super Exitos is an excellent collection of cumbias including songs like "Capullo y Sorullo," "Mi Cucu," "La Parabolica," and "Mete y Saca," among others. ~ Earl Simmons, All Music Guide [-] Hide

Female singers are abundant in Latin pop, but for whatever reason, salsa has remained a male-dominated idiom. From the 1950s to the mid-'90s, salsa's most prominent female vocalist has been Celia Cruz, a pearl of a singer rightly exalted as "the Queen of Salsa." This excellent CD focuses largely on the recordings she made with la Sonora... [+] Read More

Female singers are abundant in Latin pop, but for whatever reason, salsa has remained a male-dominated idiom. From the 1950s to the mid-'90s, salsa's most prominent female vocalist has been Celia Cruz, a pearl of a singer rightly exalted as "the Queen of Salsa." This excellent CD focuses largely on the recordings she made with la Sonora Mantancera in her native Havana, Cuba, in the 1950s. La Sonora was already one of Cuba's top dance bands when Cruz was hired to replace singer Myrta Silva in 1950, and her passionate performances on such classics as "Ritmo, Tambo y Flores" (1951), "Burundanga" (1953), and "Melao de Cana" (1953) made it clear that she was the right choice. For even casual salseros, "Mi Sonito" (1955), "Me Voy a Pinar del Rio" (1956), "Chango Tá Veni" (1958), and other gems on 100% Azucar! are essential listening. Azucar! also contains a handful of recordings made in the early to mid-'60s in New York, including an excellent version of Ignacio Piñeiro's "Suavecito" (1962). With Cuba under communism, Cruz and her husband, Sonora trumpeter Pedro Knight, made a permanent move to the U.S. in 1961. 100% Azucar! isn't quite the last word on early Cruz -- where are "Cao Cao Mani Picao" (1951) and "Tumba la Cana, Jibarito" (1960)? Nonetheless, it can serve as a fine introduction to her legacy. ~ Alex Henderson, All Music Guide [-] Hide