Arcaño y sus Maravillas

From Wikipedia for FEVERv2
Jump to navigation Jump to search

Arcaño y sus Maravillas_table_infobox_0

Arcaño y sus MaravillasArcaño y sus Maravillas_header_cell_0_0_0
Background informationArcaño y sus Maravillas_header_cell_0_1_0
OriginArcaño y sus Maravillas_header_cell_0_2_0 Havana, CubaArcaño y sus Maravillas_cell_0_2_1
GenresArcaño y sus Maravillas_header_cell_0_3_0 Arcaño y sus Maravillas_cell_0_3_1
Years activeArcaño y sus Maravillas_header_cell_0_4_0 1937–1958Arcaño y sus Maravillas_cell_0_4_1
LabelsArcaño y sus Maravillas_header_cell_0_5_0 RCA Victor, Panart, Corona, Verne, Kubaney, Maype, Modiner, EGREMArcaño y sus Maravillas_cell_0_5_1
Past membersArcaño y sus Maravillas_header_cell_0_7_0 Arcaño y sus Maravillas_cell_0_7_1

Arcaño y sus Maravillas was a Cuban charanga founded in 1937 by flautist Antonio Arcaño. Arcaño y sus Maravillas_sentence_0

Until its dissolution in 1958, it was one of the most popular and prolific danzón orchestras in Cuba, particularly due to the development of the danzón-mambo by its two main composers and musicians: Orestes López (piano, cello, bass) and his brother Israel López "Cachao" (bass). Arcaño y sus Maravillas_sentence_1

Such upbeat version of the danzón served as a precursor of the mambo popularized by Pérez Prado, as well as the chachachá created by Enrique Jorrín, a violinist who started his career in the Maravillas. Arcaño y sus Maravillas_sentence_2

Other important musicians in the Maravillas were pianist Jesús López (unrelated to Orestes and Israel), timbalero Ulpiano Díaz, violinist Félix Reina and flautist Eulogio Ortiz. Arcaño y sus Maravillas_sentence_3

Antonio Arcaño, former member of singer Fernando Collazo's La Maravilla del Siglo, founded his orchestra in November 1937 under the name La Maravilla de Arcaño, featuring many of the members of Collazo's group. Arcaño y sus Maravillas_sentence_4

Collazo himself complained about the similarity in the name, so by 1939 it was changed to Arcaño y sus Maravillas. Arcaño y sus Maravillas_sentence_5

By then the band had become popular across the island due to hits such as "Mambo". Arcaño y sus Maravillas_sentence_6

Around 1944, they began to play at radio shows in Havana and the group doubled its roster. Arcaño y sus Maravillas_sentence_7

It became known as La Radiofónica and Arcaño as El Monarca del Danzón (The Monarch of Danzón). Arcaño y sus Maravillas_sentence_8

However, Arcaño had to stop playing in 1945 due to lip problems preventing him from maintaining his embouchure. Arcaño y sus Maravillas_sentence_9

He continued as director and hired his cousin José Antonio Díaz as flautist, who was later replaced by Eulogio Ortiz. Arcaño y sus Maravillas_sentence_10

Cachao left the group by the end of the decade (being replaced by his nephew Orlando "Cachaíto" López, Orestes' son), but returned to record "Chanchullo" in 1957, one year before the Maravillas played their last show in Alquízar. Arcaño y sus Maravillas_sentence_11

Several reunions of the group occurred in the 1970s and 1980s featuring some of the original members. Arcaño y sus Maravillas_sentence_12

These were released on two LPs by Areito. Arcaño y sus Maravillas_sentence_13

History Arcaño y sus Maravillas_section_0

Born in 1911 in Havana, Antonio Arcaño studied music with Armando Romeu Sr., playing cornet and clarinet and later learned the flute from his cousin José Antonio Díaz. Arcaño y sus Maravillas_sentence_14

He later joined Armando Valdespí's group and Orquesta Gris. Arcaño y sus Maravillas_sentence_15

In 1936, he joined La Maravilla del Siglo, directed by singer Fernando Collazo. Arcaño y sus Maravillas_sentence_16

The members of this band became the core of Arcaño's new band in November 1937: La Maravilla de Arcaño. Arcaño y sus Maravillas_sentence_17

This charanga was composed of Afro-Cubans, all except for Arcaño himself. Arcaño y sus Maravillas_sentence_18

He decided not to have a singer (vocalists were popular in danzón since 1929) and decided to play mostly black venues, which paid significantly less than whites-only clubs. Arcaño y sus Maravillas_sentence_19

Nonetheless, this allowed the group to learn their trade and became particularly prolific: one year they performed a record 404 shows in total. Arcaño y sus Maravillas_sentence_20

Every night, las Maravillas would play in a different venue, including casinos, hotels, youth associations, blacks associations, etc. Their long sets required them to have a vast repertoire, but thankfully most of its musicians were also composers. Arcaño y sus Maravillas_sentence_21

The brothers Cachao and Orestes would compose new danzones regularly, totalling thousands over the years. Arcaño y sus Maravillas_sentence_22

Many of these were dedicated to the venues they performed in, such as "Social Club Buenavista" (in Buenavista, Havana) "Club Social de Marianao" (in Marianao, Havana), "Redención Sport Club" (in Pogolotti, Havana), "Juventud de Pueblo Nuevo" (in Pueblo Nuevo, Havana), "Avance Juvenil" (in Ciego de Ávila), "Centro San Agustín" (in Alquízar) and "Bella Unión" (in Güines). Arcaño y sus Maravillas_sentence_23

The band's first big hit came with "Mambo", a danzón de nuevo ritmo, or as it would be called later, danzón-mambo. Arcaño y sus Maravillas_sentence_24

This style, created by the López brothers, added an improvised section to the end of the danzón structure. Arcaño y sus Maravillas_sentence_25

This section, the "mambo", proved to be very popular with dancers, as it allowed them a certain freedom not present in the rigid structure of the danzón. Arcaño y sus Maravillas_sentence_26

New genres would later emerge from this section, such as the fast-paced mambo and the slower chachachá, both of which became dance crazes in the 1950s. Arcaño y sus Maravillas_sentence_27

They made their first recordings in April 1940, and in 1944 the group expanded its lineup for the radio, where they had their own program on Radio Mil Diez, sponsored by Gravi toothpaste and Dermos soap. Arcaño y sus Maravillas_sentence_28

This group was known as La Radiofónica. Arcaño y sus Maravillas_sentence_29

At this point, the group was competing with the most popular ensembles of the island, and together with Orquesta Melodías del 40 and Arsenio Rodríguez's conjunto it formed Los Tres Grandes (The Big Three). Arcaño y sus Maravillas_sentence_30

In 1945, circulatory problems related to his lip prevented Arcaño from maintaining his embouchure, which was the end for his playing career. Arcaño y sus Maravillas_sentence_31

He continued as director and hired his cousin and former teacher José Antonio Díaz as flautist, who was later replaced by Eulogio Ortiz. Arcaño y sus Maravillas_sentence_32

It was Ortiz who recorded the 1951 version of "Mambo". Arcaño y sus Maravillas_sentence_33

Cachao left the group by the end of the decade (being replaced by his nephew Orlando "Cachaíto" López, Orestes' son), but returned to record "Chanchullo" in 1957, one year before the Maravillas played their last show in Alquízar. Arcaño y sus Maravillas_sentence_34

Both Cachao and Orestes were playing in Havana's Philharmonic Orchestra at the same time as they were members of the Maravillas. Arcaño y sus Maravillas_sentence_35

In fact, many of their compositions were arrangements of classical pieces, and even film scores, such as Cachao's "África viva", which quotes "Somewhere over the Rainbow". Arcaño y sus Maravillas_sentence_36

In the mid-1950s, Arcaño signed with Panart, Cuba's first independent record label, and recorded twelve songs, some of which featured the Cuarteto Musicabana (with young vocalist Omara Portuondo) and blind pianist Frank Emilio Flynn (these were his first recordings). Arcaño y sus Maravillas_sentence_37

Nonetheless, in the 1950s mambo and chachachá contributed to the decline of the danzón, and by 1958, Arcaño decided to put an end to his charanga after two decades of concerts and recordings. Arcaño y sus Maravillas_sentence_38

The final recording of the original band, and the only one for Gema Records, was "Chanchullo" by Cachao. Arcaño y sus Maravillas_sentence_39

The tumbao in the song was imitated by Tito Puente for his hit "Oye cómo va". Arcaño y sus Maravillas_sentence_40

Discography Arcaño y sus Maravillas_section_1

Most of the group's RCA Victor singles (1940–1951) have never been released on LP or CD. Arcaño y sus Maravillas_sentence_41

Arcaño y sus Maravillas_unordered_list_0

  • 1957: Latin Fiesta (Kubaney)Arcaño y sus Maravillas_item_0_0
  • 1958: Danzones de ayer, de hoy y siempre (Maype)Arcaño y sus Maravillas_item_0_1
  • 1959: Pita Arcaño, dale Dermos (Modiner)Arcaño y sus Maravillas_item_0_2
  • 1976: Arcaño y sus Maravillas (Areito)Arcaño y sus Maravillas_item_0_3
  • 1980: Arcaño y sus Maravillas (Areito)Arcaño y sus Maravillas_item_0_4
  • 1996: Orquesta Arcaño y sus Maravillas (Discmedi) – archival radio recordingsArcaño y sus Maravillas_item_0_5

See also Arcaño y sus Maravillas_section_2

Arcaño y sus Maravillas_unordered_list_1

Credits to the contents of this page go to the authors of the corresponding Wikipedia page:ño y sus Maravillas.