Arsenio Rodríguez

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Arsenio Rodríguez_table_infobox_0

Arsenio RodríguezArsenio Rodríguez_header_cell_0_0_0
Background informationArsenio Rodríguez_header_cell_0_1_0
Birth nameArsenio Rodríguez_header_cell_0_2_0 Ignacio Arsenio Travieso ScullArsenio Rodríguez_cell_0_2_1
Also known asArsenio Rodríguez_header_cell_0_3_0 El Ciego MaravillosoArsenio Rodríguez_cell_0_3_1
BornArsenio Rodríguez_header_cell_0_4_0 (1911-08-31)August 31, 1911

Güira de Macurijes, Matanzas, CubaArsenio Rodríguez_cell_0_4_1

OriginArsenio Rodríguez_header_cell_0_5_0 Havana, CubaArsenio Rodríguez_cell_0_5_1
DiedArsenio Rodríguez_header_cell_0_6_0 December 30, 1970(1970-12-30) (aged 59)

Los Angeles, California, United StatesArsenio Rodríguez_cell_0_6_1

GenresArsenio Rodríguez_header_cell_0_7_0 Arsenio Rodríguez_cell_0_7_1
Occupation(s)Arsenio Rodríguez_header_cell_0_8_0 Arsenio Rodríguez_cell_0_8_1
InstrumentsArsenio Rodríguez_header_cell_0_9_0 Arsenio Rodríguez_cell_0_9_1
Years activeArsenio Rodríguez_header_cell_0_10_0 1929-1970Arsenio Rodríguez_cell_0_10_1
LabelsArsenio Rodríguez_header_cell_0_11_0 Arsenio Rodríguez_cell_0_11_1
Associated actsArsenio Rodríguez_header_cell_0_12_0 Arsenio Rodríguez_cell_0_12_1

Arsenio Rodríguez (born Ignacio Arsenio Travieso Scull; 31 August 1911 – 30 December 1970) was a Cuban musician, composer and bandleader. Arsenio Rodríguez_sentence_0

He played the tres, as well as the tumbadora, and he specialized in son, rumba and other Afro-Cuban music styles. Arsenio Rodríguez_sentence_1

In the 1940s and 1950s Rodríguez established the conjunto format and contributed to the development the son montuno, the basic template of modern-day salsa. Arsenio Rodríguez_sentence_2

He claimed to be the true creator of the mambo and was an important as well as a prolific composer who wrote nearly two hundred songs. Arsenio Rodríguez_sentence_3

Despite being blind since the age of seven, Rodríguez quickly managed to become one of Cuba's foremost treseros. Arsenio Rodríguez_sentence_4

Nonetheless his first hit, "Bruca maniguá" by Orquesta Casino de la Playa, came as a songwriter in 1937. Arsenio Rodríguez_sentence_5

For the following two years, Rodríguez worked as composer and guest guitarist for the Casino de la Playa, before forming his conjunto in 1940, one of the first of its kind. Arsenio Rodríguez_sentence_6

After recording over a hundred songs for RCA Victor over the course of twelve years, Rodríguez moved to New York in 1952, where he remained active, releasing several albums. Arsenio Rodríguez_sentence_7

In 1970, Rodríguez moved to Los Angeles, where he died of pneumonia shortly before the end of the year. Arsenio Rodríguez_sentence_8

Life and career Arsenio Rodríguez_section_0

Early life Arsenio Rodríguez_section_1

Ignacio Arsenio Travieso Scull was born on August 31, 1911, in Güira de Macurijes in Bolondrón (Pedro Betancourt), Matanzas Province, as the third of fifteen children, fourteen boys and one girl, to Bonifacio Travieso, a veteran of the Cuban War of Independence who worked as a farmer, and Dorotea Rodríguez Scull. Arsenio Rodríguez_sentence_9

His family had Kongo origins, and both his grandfather and great-grandfather were practitioners of Palo Monte. Arsenio Rodríguez_sentence_10

By the time Arsenio was four, in 1915, his family moved to the town of Güines, where his three younger siblings (Estela, Israel "Kike" and Raúl) were born. Arsenio Rodríguez_sentence_11

In 1918, at around 7 years of age, Arsenio was blinded when a horse kicked him in the head after he accidentally hit the animal with a broom. Arsenio Rodríguez_sentence_12

This tragic event prompted Arsenio to become very close with his brother Kike, and to become interested in writing and performing songs. Arsenio Rodríguez_sentence_13

The young brothers began playing the tumbadora at rumba performances in Matanzas and Güines, and became also immersed in the traditions of Palo Monte and its secular counterpart, yuka. Arsenio Rodríguez_sentence_14

Furthermore, their neighbour in the neighbourhood of Leguina, Güines, was a Santería practitioner who hosted celebrations for Changó, exposing Arsenio and Kike to West African drumming and chanting. Arsenio Rodríguez_sentence_15

In rural parties such as guateques, they also learned the son, a genre of music that originated in the eastern region of the island. Arsenio Rodríguez_sentence_16

Arsenio learned how to play the marímbula and the botija, two rudimentary instruments used in the rhythm section, and more importantly he took up the tres, a small guitar, now considered Cuba's national instrument. Arsenio Rodríguez_sentence_17

He received classes from Víctor González, a renowned tresero from Güines. Arsenio Rodríguez_sentence_18

Following the destruction of their home by a Category 4 hurricane in 1926, Arsenio and his family moved from Güines to Havana, where he started playing in local groups around Marianao (his older brother Julio had already been living and working there). Arsenio Rodríguez_sentence_19

By 1928 he had formed the Septeto Boston which often performed in third-tier, working-class cabarets in the area. Arsenio Rodríguez_sentence_20

His father died in 1933 and sometime in the early 1930s, Arsenio changed his stage name from Travieso (which means "mischievous" or "naughty") to his mother's maiden name, Rodríguez, a fairly common Spanish surname. Arsenio Rodríguez_sentence_21

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 Scull on vocals. Arsenio Rodríguez_sentence_22

The group often played at dance academies such as Sport Antillano. Arsenio Rodríguez_sentence_23

Rise to fame Arsenio Rodríguez_section_2

By 1938, Rodríguez was the de facto musical director of the Septeto Bellamar and his name had become familiar to important figures such as Antonio Arcaño and Miguelito Valdés. Arsenio Rodríguez_sentence_24

His acquaintance with the latter made it possible for one of his songs, "Bruca maniguá", to be recorded by the famous Orquesta Casino de la Playa in June 1937. Arsenio Rodríguez_sentence_25

The song, featuring Valdés on vocals, became an international hit and Rodríguez's breakthrough composition. Arsenio Rodríguez_sentence_26

The band also recorded Rodríguez's "Ben acá Tomá" in the same recording session, becoming their next A-side. Arsenio Rodríguez_sentence_27

In 1938 they recorded "Yo son macuá", "Funfuñando" (also a hit) and "Se va el caramelero", which included Rodríguez's first recorded performance, a remarkable solo on the tres. Arsenio Rodríguez_sentence_28

In 1940, on the wave of his success with Casino de la Playa, Rodríguez formed his own conjunto, which featured three singers (playing claves, maracas and guitar), two trumpets, tres, piano, bass, tumbadora and bongo. Arsenio Rodríguez_sentence_29

At the time, only two other conjuntos existed: Conjunto Casino and Alberto Ruiz's Conjunto Kubavana. Arsenio Rodríguez_sentence_30

This type of ensemble would replace the former septetos, although some such as the Septeto Nacional would perform on and off for years. Arsenio Rodríguez_sentence_31

Of all the conjuntos, Arsenio Rodríguez's became the most successful and critically acclaimed one during the 1940s. Arsenio Rodríguez_sentence_32

His popularity earned him the nickname El Ciego Maravilloso (The Marvellous Blind Man). Arsenio Rodríguez_sentence_33

The first single by his conjunto was "El pirulero no vuelve más", a pregón which tried to capitalize on the success of "Se va el caramelero". Arsenio Rodríguez_sentence_34

In 1947, Rodríguez went to New York for the first time. Arsenio Rodríguez_sentence_35

There, he hoped to get cured of his blindness but eye specialist Ramón Castroviejo was told that his optic nerves had been completely destroyed. Arsenio Rodríguez_sentence_36

This experience led him to compose the bolero "La vida es un sueño" (Life is a dream). Arsenio Rodríguez_sentence_37

He returned to New York in 1948 and 1950 before establishing himself in the city in 1952. Arsenio Rodríguez_sentence_38

He played with influential artists such as Chano Pozo, Machito, Dizzy Gillespie and Mario Bauzá. Arsenio Rodríguez_sentence_39

On March 18, 1952, Rodríguez made his final recordings with his band for RCA Victor in Cuba. Arsenio Rodríguez_sentence_40

He finally left Havana on March 22, 1952, having handed the direction of the conjunto to trumpeter Félix Chappottín. Arsenio Rodríguez_sentence_41

Chappottín and the other remaining members, including pianist Lilí Martínez and singer Miguelito Cuní, formed Conjunto Chappottín. Arsenio Rodríguez_sentence_42

He would return to Havana for the last time in 1956. Arsenio Rodríguez_sentence_43

Later life and death Arsenio Rodríguez_section_3

During the 1960s, the mambo craze petered out, and Rodríguez continued to play in his typical style, although he did record some boogaloo numbers, without much success. Arsenio Rodríguez_sentence_44

As times changed, the popularity of his group declined. Arsenio Rodríguez_sentence_45

He tried a new start in Los Angeles. Arsenio Rodríguez_sentence_46

He invited his friend Alfonso Joseph to fly out to Los Angeles with him but died there only a week later, on December 30, 1970 from pneumonia. Arsenio Rodríguez_sentence_47

His body was returned for burial to New York. Arsenio Rodríguez_sentence_48

There is much speculation about his financial status during his last years, but Mario Bauzá denied that he died in poverty, arguing that Rodríguez had a modest income from royalties. Arsenio Rodríguez_sentence_49

Innovations Arsenio Rodríguez_section_4

Rodríguez's chief innovation, his interpretation of the son montuno, established the basic template for Cuban popular dance music and salsa that continues to this day. Arsenio Rodríguez_sentence_50

"It took fifty years for Latin music to catch up with what Arsenio was doing in the 1940s"—Kevin Moore (2007: web). Arsenio Rodríguez_sentence_51

Clave-based structure and offbeat emphasis Arsenio Rodríguez_section_5

The decades of the 1920s and 1930s were a period which produced some of the most beautiful and memorable melodies of the son genre. Arsenio Rodríguez_sentence_52

At the same time, the rhythmic component had become increasingly deemphasized, or in the opinion of some, "watered-down." Arsenio Rodríguez_sentence_53

Rodríguez brought a strong rhythmic emphasis back into the son. Arsenio Rodríguez_sentence_54

His compositions are clearly based on the key pattern known in Cuba as clave, a Spanish word for 'key,' or 'code.' Arsenio Rodríguez_sentence_55

When clave is written in two measures, as shown above, the measure with three strokes is referred to as the three-side, and the measure with two strokes—the two-side. Arsenio Rodríguez_sentence_56

When the chord progression begins on the three-side, the song, or phrase is said to be in 3-2 clave. Arsenio Rodríguez_sentence_57

When it begins on the two-side, it's in 2-3 clave. Arsenio Rodríguez_sentence_58

The 2-3 bass line of "Dame un cachito pa' huele" (1946) coincides with the three-side of the clave's five-note pattern. Arsenio Rodríguez_sentence_59

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. Arsenio Rodríguez_sentence_60

The two offbeats are present in the following 2-3 bass line from Rodríguez's "Mi chinita me botó" (1944). Arsenio Rodríguez_sentence_61

Moore points out that Rodríguez's conjunto introduced the two-celled bass tumbaos, that moved beyond the simpler, single-cell tresillo structure. Arsenio Rodríguez_sentence_62

This type of bass line has a specific alignment to clave, and contributes melodically to the composition. Arsenio Rodríguez_sentence_63

Rodríguez's brother Raúl Travieso recounted, Rodríguez insisted that his bass players make the bass "sing." Arsenio Rodríguez_sentence_64

Moore states: "This idea of a bass tumbao with a melodic identity unique to a specific arrangement was critical not only to timba, but also to Motown, rock, funk, and other important genres." Arsenio Rodríguez_sentence_65

In other words, Rodríguez is a creator of the bass riff. Arsenio Rodríguez_sentence_66

Breaks ('cierres') Arsenio Rodríguez_sentence_67

Rodríguez's "Juventud amaliana" (1946) contains an example of one of his rhythmically dynamic unison breaks, strongly rooted in clave. Arsenio Rodríguez_sentence_68

Moore is referring to the second and third measures of the break in the previous example. Arsenio Rodríguez_sentence_69

Here is that figure in relation to 2-3 clave. Arsenio Rodríguez_sentence_70

When the pattern is used as a type of block chord guajeo, as in "Oye Como Va," it's referred to as ponchando. Arsenio Rodríguez_sentence_71

Layered guajeos Arsenio Rodríguez_section_6

Rodríguez introduced the idea of layered guajeos (typical Cuban ostinato melodies)—an interlocking structure consisting of multiple contrapuntal parts. Arsenio Rodríguez_sentence_72

This aspect of the son's modernization can be thought of as a matter of "re-Africanizing" the music. Arsenio Rodríguez_sentence_73

Helio Orovio recalls: "Arsenio once said his trumpets played figurations the 'Oriente' tres-guitarists played during the improvisational part of el son" (1992: 11). Arsenio Rodríguez_sentence_74

Oriente is the easternmost province of Cuba, where the son was born. Arsenio Rodríguez_sentence_75

It is common practice for treseros to play a series of guajeo variations during their solos. Arsenio Rodríguez_sentence_76

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. Arsenio Rodríguez_sentence_77

The following example is from the "diablo" section of Rodríguez's "Kila, Quique y Chocolate" (1950). Arsenio Rodríguez_sentence_78

The excerpt consists of four interlocking guajeos: piano (bottom line), tres (second line), 2nd and 3rd trumpets (third line), and 1st trumpet (fourth line). Arsenio Rodríguez_sentence_79

2-3 Clave is shown for reference (top line). Arsenio Rodríguez_sentence_80

Notice that the piano plays a single celled (single measure) guajeo, while the other guajeos are two-celled. Arsenio Rodríguez_sentence_81

It's common practice to combine single and double-celled ostinatos in Afro-Cuban music. Arsenio Rodríguez_sentence_82

Expansion of the son conjunto Arsenio Rodríguez_section_7

The denser rhythmic weave of Rodríguez's music required the addition of more instruments. Arsenio Rodríguez_sentence_83

Rodríguez added a second, and then, third trumpet—the birth of the Latin horn section. Arsenio Rodríguez_sentence_84

He made the bold move of adding the conga drum, the quintessential Afro-Cuban instrument. Arsenio Rodríguez_sentence_85

Today, we are so used to seeing conga drums in Latin bands, and that practice began with Rodríguez. Arsenio Rodríguez_sentence_86

His bongo player used a large, hand-held cencerro ('cowbell') during montunos (call-and-response chorus sections). Arsenio Rodríguez_sentence_87

Rodríguez also added a variety of rhythms and harmonic concepts to enrich the son, the bolero, the guaracha and some fusions, such as the bolero-son. Arsenio Rodríguez_sentence_88

Similar changes had been made somewhat earlier by the Lecuona Cuban Boys, who (because they were mainly a touring band) had less influence in Cuba. Arsenio Rodríguez_sentence_89

The overall 'feel' of the Rodríguez conjunto was more African than other Cuban conjuntos. Arsenio Rodríguez_sentence_90

Piano guajeos Arsenio Rodríguez_section_8

Rodríguez took the pivotal step of replacing the guitar with the piano, which greatly expanded the contrapuntal and harmonic possibilities of Cuban popular music. Arsenio Rodríguez_sentence_91

The piano guajeo for "Dame un cachito pa' huele" (1946) completely departs from both the generic son guajeo and the song's melody. Arsenio Rodríguez_sentence_92

The pattern marks the clave by accenting the backbeat on the two-side. Arsenio Rodríguez_sentence_93

Moore observes: "Like so many aspects of Arsenio's music, this miniature composition is decades ahead of its time. Arsenio Rodríguez_sentence_94

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). Arsenio Rodríguez_sentence_95

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. Arsenio Rodríguez_sentence_96

While Rodríguez was not from Oriente province (where nengón and changüí are played), he had a thorough 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. Arsenio Rodríguez_sentence_97

Diablo, the proto-mambo? Arsenio Rodríguez_section_9

Leonardo Acosta is not convinced by Rodríguez's claim to have invented the mambo, if by mambo Rodríguez meant the big-band arrangements of Dámaso Pérez Prado. Arsenio Rodríguez_sentence_98

Rodríguez was not an arranger: his lyrics and musical ideas were worked over by the group's arranger. Arsenio Rodríguez_sentence_99

The compositions were published with just the minimal bass and treble piano lines. Arsenio Rodríguez_sentence_100

To achieve the big-band mambo such as by Pérez Prado, Machito, Tito Puente or Tito Rodríguez requires a full orchestration where the trumpets play counterpoint to the rhythm of the saxophones. Arsenio Rodríguez_sentence_101

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. Arsenio Rodríguez_sentence_102

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. Arsenio Rodríguez_sentence_103

While working in the charanga Arcaño y Sus Maravillas, Orestes López "Macho" and his brother Israel López "Cachao" composed "Mambo" (1938), the first piece to use the term. Arsenio Rodríguez_sentence_104

A prevalent theory is that the López brothers were influenced by Rodríguez's use of layered guajeos (called diablo), and introduced the concept into the charanga's string section with their historical composition. Arsenio Rodríguez_sentence_105

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 Rodríguez_sentence_106

Arsenio claimed to have already been doing that in the late 1930s" (2004: 508). Arsenio Rodríguez_sentence_107

As Rodríguez himself asserts: "In 1934, I was experimenting with a new sound which I fully developed in 1938." Arsenio Rodríguez_sentence_108

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). Arsenio Rodríguez_sentence_109

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. Arsenio Rodríguez_sentence_110

In the late 1940s Pérez Prado codified the contrapuntal structure of the mambo within a horn-based big band format. Arsenio Rodríguez_sentence_111

Style Arsenio Rodríguez_section_10

Rodríguez's style was characterized by a strong Afro-Cuban basis, his son compositions being much more africanized than those by his contemporaries. Arsenio Rodríguez_sentence_112

This emphasis is observed in the high number of rumba and afro numbers in his catalogue, most notably his first famous composition, "Bruca maniguá". Arsenio Rodríguez_sentence_113

This is also exemplified by the inclusion of musical and linguistic elements from Abakuá, Lucumí (Santería), and Palo Monte traditions into his music. Arsenio Rodríguez_sentence_114

On Palo Congo by Sabú Martínez (1957) Rodríguez sings and plays a traditional palo song and rhythm, a Lucumí song for Eleggua, and a rumba and a conga de comparsa accompanied by tres. Arsenio Rodríguez_sentence_115

Rodríguez's 1963 landmark album Quindembo features an abakuá tune, a columbia, and several band adaptations of traditional palo songs, accompanied by the bona fide rhythms. Arsenio Rodríguez_sentence_116

Rodríguez was an authentic rumbero; he both played the tumbadora and composed songs within the rumba genre, especially guaguancós. Arsenio Rodríguez_sentence_117

Rodríguez recorded folkloric rumbas and also fused rumba with son montuno. Arsenio Rodríguez_sentence_118

His "Timbilla" (1945) and "Anabacoa" (1950) are examples of the guaguancó rhythm used by a son conjunto. Arsenio Rodríguez_sentence_119

On "Timbilla," the bongós fulfill the role of the quinto (lead drum). Arsenio Rodríguez_sentence_120

In "Yambú en serenata" (1964) a yambú using a quinto is augmented by a tres, bass, and horns. Arsenio Rodríguez_sentence_121

In 1956, Rodríguez released the folkloric rumbas "Con flores del matadero" and "Adiós Roncona" in Havana. Arsenio Rodríguez_sentence_122

The tracks consist of voice and percussion only. Arsenio Rodríguez_sentence_123

One of the last recordings Rodríguez performed on was the rumba album Patato y Totico by the conguero Carlos "Patato" Valdés and vocalist Eugenio "Totico" Arango (1967). Arsenio Rodríguez_sentence_124

The tracks are purely folkloric, except for the unconventional addition of Rodríguez on tres and Israel López "Cachao" on bass. Arsenio Rodríguez_sentence_125

Additional personnel included Papaíto and Virgilio Martí. Arsenio Rodríguez_sentence_126

Also released in the 1960s, the album Primitivo, featuring Monguito el Único and Baby González alternating on lead vocals, is an evocation of the music played in the solares. Arsenio Rodríguez_sentence_127

Tributes Arsenio Rodríguez_section_11

There have been numerous tributes to Arsenio Rodríguez, especially in the form of LPs. Arsenio Rodríguez_sentence_128

In 1972, Larry Harlow recorded Tribute to Arsenio Rodríguez (Fania 404) with his band Orchestra Harlow. Arsenio Rodríguez_sentence_129

On this LP, five of the numbers had been recorded earlier by Rodríguez' conjunto. Arsenio Rodríguez_sentence_130

In 1994, the Cuban revivalist band Sierra Maestra recorded Dundunbanza! Arsenio Rodríguez_sentence_131

(World Circuit WCD 041), an album containing four Rodríguez numbers, including the title track. Arsenio Rodríguez_sentence_132

Arsenio Rodríguez is mentioned in a national television production called La época, about the Palladium era in New York, and Afro-Cuban music. Arsenio Rodríguez_sentence_133

The film discusses Arsenio's contributions, and features some of the musicians he recorded with. Arsenio Rodríguez_sentence_134

Others interviewed in the movie include the daughter of legendary Cuban percussionist Mongo Santamaría – Ileana Santamaría, bongocero Luis Mangual and others. Arsenio Rodríguez_sentence_135

Rodríguez's close friend and bassist for eight years Alfonso "El Panameño" Joseph, as well as other members of Rodríguez's band, such as Julián Lianos, who performed with Rodríguez at the Palladium Ballroom in New York during the 1960s, have had their legacies documented in a national television production called La Época, released in theaters in the US in September 2008, and in Latin America in 2009. Arsenio Rodríguez_sentence_136

He had much success in the US and migrated there in 1952, one of the reasons being the better pay of musicians. Arsenio Rodríguez_sentence_137

Starting in the late 1990s, jazz guitarist Marc Ribot recorded two albums mostly of Rodríguez' compositions or songs in his repertoire:Marc Ribot y los Cubanos Postizos (or Marc Ribot and the Prosthetic/Fake Cubans) and Muy Divertido!. Arsenio Rodríguez_sentence_138

In 1999, Rodríguez was posthumously inducted into the International Latin Music Hall of Fame. Arsenio Rodríguez_sentence_139

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. Arsenio Rodríguez_sentence_140

"That intersection was the center of his universe," said José Rafael Méndez, a community historian. Arsenio Rodríguez_sentence_141

"He lived in that area. Arsenio Rodríguez_sentence_142

And all the clubs he played, like the Hunts Point Palace, were practically a stone’s throw away." Arsenio Rodríguez_sentence_143

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. Arsenio Rodríguez_sentence_144

Notable compositions Arsenio Rodríguez_section_12

The following songs composed by Arsenio Rodríguez are considered Cuban standards: Arsenio Rodríguez_sentence_145

Arsenio Rodríguez_unordered_list_0

  • "Bruca maniguá"Arsenio Rodríguez_item_0_0
  • "El reloj de Pastora"Arsenio Rodríguez_item_0_1
  • "Monte adentro"Arsenio Rodríguez_item_0_2
  • "Dundunbanza"Arsenio Rodríguez_item_0_3
  • "Como traigo la yuca" (also known as "La yuca de Catalina" or "Dile a Catalina")Arsenio Rodríguez_item_0_4
  • "Fuego en el 23"Arsenio Rodríguez_item_0_5
  • "Meta y guaguancó"Arsenio Rodríguez_item_0_6
  • "Kila, Kike y Chocolate"Arsenio Rodríguez_item_0_7
  • "Los sitios acere"Arsenio Rodríguez_item_0_8
  • "La fonda de el bienvenido"Arsenio Rodríguez_item_0_9
  • "Mami me gustó"Arsenio Rodríguez_item_0_10
  • "Papa Upa"Arsenio Rodríguez_item_0_11
  • "El divorcio"Arsenio Rodríguez_item_0_12
  • "Anabacoa"Arsenio Rodríguez_item_0_13
  • "Adiós Roncona"Arsenio Rodríguez_item_0_14
  • "Dame un cachito pa' huelé"Arsenio Rodríguez_item_0_15
  • "Yo no como corazón de chivo"Arsenio Rodríguez_item_0_16
  • "Juégame limpio"Arsenio Rodríguez_item_0_17

Discography Arsenio Rodríguez_section_13

Main article: Arsenio Rodríguez discography Arsenio Rodríguez_sentence_146

Credits to the contents of this page go to the authors of the corresponding Wikipedia page: Rodríguez.