Download Arsenio Rodríguez

Arsenio Rodríguez
Birth name
Ignacio Arsenio Travieso Scull
Born
August 31, 1911
Güira de Macurije, Matanzas Province, Cuba
Origin
Cuba
Died
December 31, 1970 (aged 59)
Los Angeles, California, United States
Genres
Son montuno, guaracha, guaguancó, bolero,
afro, cha-cha-cha, lamento
Occupations
musician
Instruments
tres, tumbadora (conga)
Arsenio Rodríguez (born Ignacio Arsenio Travieso
Scull, Güira de Macurije, 31 August 1911 – Los
Angeles, 31 December 1970)was a Cuban musician,
composer and bandleader.He played the tres (Cuban
string instrument) in son-based music and
tumbadora, or conga, in folkloric rumba. In the
1940s and 50s Rodríguez reorganized the son
conjunto (‘son group’) and developed the son
montuno, the basic template of modern-day salsa. 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 song lyrics.Early
lifeRodríguez was born in Güira de Macurije in
Bolondrón, Matanzas Province as the third of
fifteen children, fourteen boys and one girl.As a
young child, Rodríguez was blinded when a horse (or
a mule) kicked him in the head.Rise to FameLater,
Rodríguez became a musician, and eventually became
one of the most renowned bandleaders on the island
earning him the nickname El Ciego Maravilloso (the
Marvellous Blind Man). His music emphasized AfroCuban rhythm as well as the melodic lead of the
tres, which he played. In 1936 he played his own
compositions with the Sexteto Boston, led by his
cousin Jacinto Scull. The group disbanded in 1937,
and he joined the Septeto Bellamar of cornetist
José Interián in 1938. In 1939, he recorded with
Orquesta Casino de la Playa, the esteemed sonero
Miguelito Valdés on lead vocals, the tune “Se va el
caramelero”, taking an incredible solo on the tres.
This was his first recording. From 1940 to 1947 he
led one of the most important bands in Cuba,
Arsenio
Rodríguez
y
Su
Conjunto
Todos
Estrellas.Rodríguez then went to New York where he
hoped to get cured of his blindness but was told
that his optic nerves had been completely
destroyed. This experience led him to compose the
bolero La Vida es un Sueño (Life is a dream). He
went on to play with percussionist/composer Luciano
“Chano” Pozo and other great musical artists of
what inaccurately became known as Latin Jazz,
artists such as Machito, Dizzy Gillespie and Mario
Bauzá.InnovationsRodríguez’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. “It took fifty
years for Latin music to catch up with what Arsenio
was doing in the 1940s”—Kevin Moore (2007:
web).Clave-based structure and offbeat emphasisThe
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, “watereddown.” Rodríguez brought a strong rhythmic emphasis
back into the son. His compositions are clearly
based on the key pattern known in Cuba as clave, a
Spanish word for ‘key,’ or ‘code.’ 3-2 clave and
2-3 clave written in cut-time.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. When the
chord progression begins on the three-side, the
song, or phrase is said to be in 3-2 clave. When it
begins on the two-side, it’s in The 2-3 bass line
of “Dame un cachito pa’ huele” (1946) coincides
with three of the clave’s five strokes.Top: 2-3
clave. Bottom: bass line from “Dame un cachito pa’
huele” (1946).
David García Identifies the accents of “and-of-two”
(in cut-time) on the three-side, and the “and-offour” (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).
Top: 2-3 clave. Bottom: “Mi chinita me botó” bass
line.
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
dancer’s feeling the music and dancing to it, as
Bebo Valdés noted “in contratiempo” [‘offbeat
timing’]—García (2006: 43).
Moore points out that Rodríguez’s conjunto
introduced the two-celled bass tumbaos, that moved
beyond the simpler, single-cell tresillo
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 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.” In other words, Rodríguez is a
creator of the bass riff.
Breaks (‘cierres’)
Rodríguez’s “Juventud amaliana” (1946) contains an
example of one of his rhythmically dynamic unison
breaks, strongly rooted in clave.
Unison break from “Juventud amaliana” (1946),
beginning on the three-side of clave.
Most of Arsenio’s classic tracks from the golden
period of 1946-1951 feature a virtuousic and
highly-polyrhythmic solo by either Luis “Lilí”
Martínez Griñán on piano, Arsenio himself on tres,
or occasionally Félix Chappottín or one of the
other trumpeters. The solo usually ends with
Arsenio’s signature [break] lead-in phrase: . X X X
X . . . [first measure in the example above]. 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 what most timba musicians call a bloque
but which in Arsenio’s day was called a cierre. 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 [David] García points out,
the first four beats of the actual [break] have a
rhythm [below] which was used repeatedly in the
subsequent decades, most famously by Tito Puente
and later Carlos Santana in “Oye Como Va”—Moore
(2007).
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 “Oye
Como Va,” it’s referred to as ponchando.
2-3 clave (top) with ponchando figure (bottom).
Layered guajeos
Rodríguez introduced the idea of layered guajeos
(typical Cuban ostinato melodies)—an interlocking
structure consisting of multiple contrapuntal
parts. This aspect of the son’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’ tresguitarists 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
guajeo 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 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 twocelled. It’s common practice to combine single and
double-celled ostinatos in Afro-Cuban music.
Four interlocking guajeos, with 2-3 clave (top
line) for reference. Excerpt from Arsenio
Rodríguez’s “Kila, Quique y Chocolate” (1950).
During the 1940’s, 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,
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”—Mauleón (1993: 155).
Expansion of the son conjunto
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 conga drum, the
quintessential Afro-Cuban instrument. Today, we are
so used to seeing conga drums in Latin bands, and
that practice began with Rodríguez. His bongo
player used a large, hand-held cencerro (‘cowbell’)
during
montunos
(call-and-response
chorus
section).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. 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. The overall ‘feel’ of the Rodríguez
conjunto was more African than other Cuban
conjuntos.
Piano guajeos
Rodríguez took the pivotal step of replacing the
guitar with the piano, which greatly expanded the
contrapuntal and harmonic possibilities of Cuban
popular music.
“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 changüí/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 cross‐rhythm based on sequences of
three ascending notes—Moore (2011: 39).
2-3 piano guajeo “Dile a Catalina” (1943).
The piano guajeo 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. 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).
2-3 piano guajeo “Dame un cachito pa’ huele”
(1946).
“No me llores más” [1948] 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—Moore (2009: 48).
2-3 piano guajeo “No me llores más” (1948).
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 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.
2-3 piano guajeo “Jumba” (1951).
Arsenio’s use of modal harmonies pre‐echoes not
only songo, salsa, and timba, but rock and soul as
well. “Guaragüí” [1951] has not one but two
shockingly original chord progressions. [The
guajeo] 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 Los Van Van reintroduced it to
Latin pop, it sounded like a clear borrowing from
rock & roll, 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—Moore (2009: 53).
2-3
piano guajeo “Guaragüí” (1951).
Diablo, the proto-mambo?
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. 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, Machito, Tito Puente or Tito Rodríguez
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.
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 charanga Arcaño y Sus Maravillas, Orestes López
“Macho” and his brother Israel López “Cachao”
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 diablo), and introduced the concept
into the charanga’s string section with their
historical composition.
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
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 Pérez Prado codified the
contrapuntal structure of the mambo within a hornbased big band format.
Throughout the 1940s Arsenio’s son montuno style
was never referred to as mambo, 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—García (2006: 42).
Deeply rooted in Afro-Cuban folkloric traditions
Rodríguez brought the African-based words and
phrases from Abakuá, Lucumí, and Palo Monte into
his music.
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
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—García (1006: 21).
On Palo Congo by Sabú Martínez (1957) Rodríguez
sings and plays a traditional palo song and rhythm,
a Lucumí song for Elegguá, and a rumba and a conga
de comparsa accompanied by tres. Rodríguez’s 1973
landmark album Quindembo features an abakuá, a
Columbia, and several band adaptations of
traditional palo songs, accompanied by the bona
fide rhythms.
Rodríguez was an authentic rumbero; he both played
the tumbadora and composed songs within the rumba
genre. 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 quinto (rumba lead
dThe album Primitivo, from the same period of time
(with Monguito el Único and Baby González
alternating on lead vocals), is an evocation of the
music played in the solares. rum). In “Yambú en
serenata” (1964) a yambú using a quinto drum is
augmented by a tres, bass, and horns.
In 1956, Rodríguez released the folkloric rumbas
“Con flores del matadero” and “Adios Roncona” in
Havana. The tracks consist of voice and percussion
only. 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).
The tracks are
purely folkloric, except for the unconventional
addition of Rodríguez on tres and the great Israel
López “Cachao” on bass. Additional personnel
included Papaíto and Virgilio Martí. The album
Primitivo, released on Tico Records in 1968 (with
Monguito el Único and Baby González alternating on
lead vocals), is an evocation of the music played
in the solares.
Later life and death
At the end of 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. As times changed,
the popularity of his group declined. He tried a
new start in Los Angeles. He invited his friend
Alfonso Joseph to fly out to Los Angeles with him
but died only a week later. This was in 1970 and
his body was returned for burial to New York. 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.
Tributes
There have been a number of tributes to in 1972,
was a Larry Harlow LP Tribute to Arsenio Rodríguez,
Fania 404. On this, five of the numbers had been
recorded earlier by Rodriguez’ conjunto. Later, in
1994, The Cuban band Sierra Maestra recorded a CD
Sierra Maestra: Dundunbanza!, World Circuit WCD
041. This had four Rodríguez numbers at full
length.
Arsenio Rodriguez is mentioned in a national
television production called La época, 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 movieinclude the
daughter of legendary Cuban percussionist Mongo
Santamaría – Ileana Santamaria, bongocero Luis
Mangual and others.
Rodríguez’s close friend and bassist for eight
years Alfonso “El Panameño” Joseph, as well as
other members of Rodríguez’s band, such as Julian
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 Epoca, 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.
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!.
Belatedly, the borough of the Bronx officially had
the intersection of Intervale Ave. and Dawson St.
in the area known as Longwood renamed “Arsenio
Rodriguez Way” in a dedication and unveiling
ceremony on Thursday, June 6, 2013.
“That intersection was the center of his universe,”
said Jose Rafael Mendez, 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.”
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.
Notable compositions
“Fuego en el 23”
“Como traigo la yuca”
“La fonda de el bienvenido”
“Mami me gustó”
“Papa Upa”
“El divorcio”
“El reloj de la Pastora”
“Monte adentro”
“Dundunbanza”
“Anabacoa”
“Adiós Roncona”
“Dame un cachito pa’ huelé”
“Yo no como corazón de chivo”
“Juégame limpio”
Discography
78 rpm phonorecords: 1940-1956, 1960
“El pirulero no vuelve más (pregón),” A. Rodríguez,
“Yo `ta namorá (afro),” A. Rodríguez, RCA 83314
CUCD 1703 (1940).
“Corazón de hielo” (bolero), A. Rodríguez, “Todos
seguimos la conga (conga),” A. Rodríguez, RCA 83530
CUCD 1703 (1941).
“Llora timbero (rumba),” A. Rodríguez, Columbia
30789 (1941).
“El dulcero de Güines (pregón),” A. Rodríguez,
“Triste soledad (bolero son),” G. García Columbia
30795 (1941).
“Sediento de amor (bolero son),” Jacinto Scull,
“Como traigo la yuca (guaracha),” A. Rodríguez RCA
83948 (1942).
“Con un solo pie (conga),” B. J. Gutiérrez,
“Intranquilidad,” Mercedes Valdés RCA 83963 (1942).
“Sin tu querer (bolero son),” Pablo Cairo,
“Sandunguera (guaracha),” Luís Piedra & Marcelino
Guerra, RCA 23-0050 CUCD 1703 (1942).
“Triste lucha (bolero son),” A. Rodríguez, “Naña
seré (guaracha),” A. Rodríguez and Guillermo
Valdés, RCA 3-0061 (1943).
“Camina a trabajá, Haragón (son montuno),” A.
Rodríguez, “Pilla con pilla,” Guillermo Valdés,
23-0082 (1943).
“Oye como dice,” F. Chappottín, “Quién será mi
amor? (bolero son),” Mercedes Valdés, RCA 23-0078,
CUCD 1703 (1943).
“A buscar camarón (son montuno),” A. Rodríguez, “So
caballo! (son montuno),” A. Rodríguez, RCA 23-0076
(1943).
“Quien ama no traiciona (bolero son),” A.
Rodríguez, “Mi chinita me botó (son guajiro),” A.
Rodríguez, RCA 23-0173 (1944).
“Oye mi consejo (bolero son),” A. Rodríguez, “Yo no
como corazón de chivo (guaracha son),” RCA 23-0193
(1944).
“Tú no eres culpable (bolero),” Pepe Robles and M.
Guerra, “Timbilla (rumba de cajón),” A. Rodríguez,
23-0362 (1945).
“Estás equivocada (bolero son),” Osvaldo Farrés,
“Mujeres, enamórenme (guaracha),” A. Rodríguez,
23-0182 (1945).
“Nadie más que tú (bolero),” Jacinto Scull, “Agonía
(bolero),” A. Rodríguez, 23-0373 (1945).
“Yeyey (pregón),” Emilio Sanso and O. Gainza, “Mi
guane (guajira),” Rafael López, 23-0350 (1945).
“No hay yaya sin guayacán (son montuno),” A.
Rodríguez, “Ya lo verás (bolero),” A. Rodríguez,
23-0401 (1945).
“Inspiración (bolero),” Pablo Pérez Chorot, “El
último amor
(1945).
(bolero),”
A.
Rodríguez,
23-0428
“Una experiencia más (bolero),” A. Rodríguez, “Cero
guapos en Yateras (son),” Luis Martínez Griñán,
23-0519 (1946).
“Deuda (bolero),” Luis Marquetti, “Canta, montero
(son montuno),” A. Rodríguez, 23-0452 (1946).
“Chicharronero (son),” Luis Martínez Griñán, “Dame
un cachito pa’ huelé (son montuno),” A. Rodríguez,
23-0492 (1946).
“El reloj de la Pastora (son),” A. Rodríguez,
“Cangrejo fue a estudiar (son),” A. Rodríguez,
23-0470 (1946).
“Celos de mujer (guaracha), A. Rodríguez, “Juventud
amaliana (guaguancó),” A. Rodríguez, 23-0655
(1946).
“Tengo que olvidarte (bolero son),” Jacinto Scull,
“Semilla de caña brava (guaracha), Luis Martínez
Griñán, 23-0755 (1946).
“¿Por qué la trajiste? (bolero son),” A. Rodríguez
(1946), “Soy el terror (son),” A. Rodríguez (1947),
23-0734.
“Mi convicción (bolero son),” Luis Martínez Griñán,
“Adivínalo (guaracha),” José Luis Forest, 23-0766
(1947).
“Porque tú sufres (guaracha),” Luciano “Chano”
Pozo, “Rumba en swing (guaracha), Luciano “Chano”
Pozo, 5057 (1947).
“Cómetelo todo(guaracha),” Luciano “Chano” Pozo,
“Pasó en Tampa (guaracha),” A. Rodríguez, 5053
(1947).
“Contéstame (bolero),” A. Rodríguez, “Sácale brillo
al piso (son montuno),” A. Rodríguez, 5061 (1947).
“Serende (guaguancó),” Luciano “Chano” Pozo,
“Seven, Seven (son montuno),” Luciano “Chano” Pozo,
5059 (1947).
“Lo dicen todas (guaracha),” A. Rodríguez, “La vida
es un sueño (bolero),” A. Rodríguez, 23-0828
(1948).
“Yo no engaño a las nenas (son montuno),” A.
Rodríguez, “Tocoloro (son montuno),” A. Rodríguez,
SMC 1205 (1948).
“Tumba palo cucuyé (son montuno),” A. Rodríguez,
“Tintorera ya llegó (son montuno),” A. Rodríguez,
SMC 1206 (1948).
“El tabernero (bolero),” Rafael Ortiz, “El Cerro
tiene la llave (guaracha),” Fernando Noa, RCA
23-0888 (1948).
“Te esperaré (bolero son),” Luis Martínez Griñán,
“No vuelvo a Morón (son montuno),” Otilio del
Portal, RCA 23-0897 (1948).
“Esa china tiene coímbre (son montuno),” A.
Rodríguez, “Soy tu destino (bolero),” Isolina
Carrillo, RCA 23-0946 (1948).
“No toque el guao (son montuno),” A. Rodríguez, “Me
siento muy solo (bolero),” A. Rodríguez, RCA
23-0975 (1948).
“Sacando candela (guaracha),” Gervacio Kessell, “A
Puerto Rico (bolero),” A. Rodríguez, RCA 23-0995
(1948).
“Monte adentro (son montuno),” A. Rodríguez,
“Apurrúñeme mujeres (son montuno),” A. Rodríguez,
SMC 1209 (1948).
“Ya me lo dio (son montuno),” A. Rodríguez,
“Masango (son montuno),” A. Rodríguez, SMC 1210
(1948).
“A Belén le toca ahora (guaguancó),” A. Rodríguez,
“Los tres Juanas (bolero),” B. J. Gutierrez, RCA
23-1072 (1948).
“Luna al amanecer (bolero),” Luis Martínez Griñán,
“Lo que dice usted (son montuno),” Jesús Guerra
Zayas, RCA 23-1105 (1948).
“Dame un besito (son montuno), A. Rodríguez,
“Orgullo inútil (bolero),” Rosendo Ruiz, Jr. RCA
23-1130 (1948).
“Feliz Viaje (bolero),” A. Rodríguez, “No me llores
más (son montuno),” Luis Martínez Griñán, RCA
23-1147 (1949).
“Flor del fango (bolero),” Cristóbal Dorval, “Que
cosas tendrán las mujeres (son montuno),” Luis
Martínez Griñán, RCA 23-1171 (1949).
“En su partir (bolero),” Jacinto Scull, “Pueblo
Nuevo se pasó (guaguancó),” Luis Martínez Griñán,
RCA 23-1180 (1949).
“Llévatelo todo (son montuno),” Luis Martínez
Griñán, “Mírame más (bolero),” Enrique Hernández,
RCA 23-1194 (1949).
“Me boté de guaño (montuno),” Alfredo “Chocolate”
Armenteros, “Es mejor olvidarte (bolero),” René
Scull, RCA 23-1336 (1949).
“El palo tiene curujey (son montuno),” Pascual
Bueno Griñán, “Finaliza un amor (bolero),” Raúl
Díaz, RCA 23-1367 (1949).
“Los Sitios Aceré (guaguancó),” Silvio A. Pino,
“Sagrado amor (bolero),” Lázaro Prieto, RCA 23-1382
(1949).
“Dundunbanza (son montuno),” A. Rodríguez, “Flor de
canela (bolero),” A. Rodríguez, RCA 23-1488 (1949).
“Pero yo no sé (bolero),” Félix Chappottín,
“Juventud de Colón (guaguancó),” Federico Gayle
Suárez, RCA 23-1504 (1950).
“Kila, Quique y Chocolate (son montuno),” I.
Rodríguez, “Vuelvo a la vida (bolero),” A.
Rodríguez, RCA 23-1583 (1950).
“El rumbón de Luyano (guaguancó),” Lázaro Prieto,
“Recuerda aquella noche (bolero),” A. Rodríguez,
RCA 23-1591 (1950).
“El rincón caliente (son),” A. Rodríguez, “Qué
susto (bolero),” A. Rodríguez, RCA 23-1604 (1950).
“La sandunga del son (son montuno),” Raul Díaz,
“Con reciprocidad (bolero),” B. J. Gutiérrez, RCA
23-5205 (1950).
“Anabacoa (guaracha),” J. Ramírez, “Cárdenas
(bolero),” A. Rodríguez, RCA 23-5209 (1950).
“Todo terminó (bolero),” I. Rodríguez, “Juventud de
Cayo Hueso (guaguancó),” A. Rodríguez, RCA 23-5219
(1950).
“Con un amor se borra otro amor (son montuno),” A.
Rodríguez, “Ten valor (bolero),” A. Rodríguez, RCA
23-5237 (1950).
“Ta Benito (afro),” A. Rodríguez, “Aquí como allá
(lamento),” A. Rodríguez, RCA 23-5299 (1950).
“Te mantengo y no quieres (son montuno),” Rafael
Ortíz, “Cree lo que tú quieres (bolero),” J.
Rodríguez, RCA 23-5300 (1950).
“El que no tiene no vale (bolero son),” Félix
Chappottin, “Quizás con los años (bolero),” Lázaro
Prieto, RCA 23-5304 (1950).
“Me dijo que sí y le dije que no (son montuno),” A.
Rodríguez, “A falso desprecio (bolero),” Antonio
Alonso, RCA 23-5365 (1951).
“Murumba (rezo negro),” Félix Chappottín, “Negrita
(guajira son),” Marcelino Guerra, RCA 23-5432
(1951).
“Amores de Verano (guaguancó),” A. Rodríguez, “Te
contaré (bolero),” A. Rodríguez, RCA 23-5461
(1951).
“Amor en cenizas (bolero),” A. Rodríguez, “Mira …
cuidadito (son montuno),” A. Rodríguez, RCA 23-5481
(1951).
“A Graciela (bolero),” A. Rodríguez, “Mira que soy
chambelón (son montuno),” A. Rodríguez, RCA 23-5520
(1951).
“Pobre mi Cuba (lamento guajiro),” A. Rodríguez,
“Guaraguí (son montuno),” A. Rodríguez, RCA 23-5593
(1951).
“Ya se fue (bolero),” Marcelino Guerra, “Amor a mi
patria (lamento),” A. Rodríguez, RCA 23-5624
(1951).
“Esclavo triste (lamento),” A. Rodríguez, “La gente
del Bronx (guaguancó),” A. Rodríguez, Tico 10-040
(c. 1951).
“Mulence (guaguancó),” A. Rodríguez, “Pa’ que gozen
(mambo son),” A. Rodríguez, Tico 10-041 (c. 1951).
“Jaguey (son montuno),” A. Rodríguez, “Meta y
guaguancó (guaguancó),” A. Rodríguez, Tico 10-074
(c. 1951).
“Esas no (son montuno),” A. Rodríguez, “Como se
goza en El Barrio (guaguancó),” A. Rodríguez, Tico
10-075 (c. 1951).
“Burundanga (montuno afro),” Félix Chappottín,
“Injusta duda (bolero canción),” Enrique González,
RCA 23-5644 (1952).
“Mi conuco (guajira son),” A. Rodríguez, “Pogolotti
(guaguancó),” Eloy Oliva, RCA 23-5694 (1952).
“Yo soy chambelón (son montuno),” A. Rodríguez,
“Arpegio por Arsenio (solo de tres),” A. Rodríguez,
Tico 10-120 (c. 1952).
“Swing y son (swing-son),” A. Rodríguez, “Maye
santa (son montuno),” A. Rodríguez, 1 Tico 0-121
(c. 1952).
“Oiga mi guaguancó (guaguancó),” A. Rodríguez, “Se
va el comparsa (conga),” A. Rodríguez, Tico 10-122
(c. 1952).
“Oye mi cantar (guajira),” A. Rodríguez, “Ahora
capetillo (son capetillo),” A. Rodríguez, Tico
10-123 (c. 1952).
“No quiero (son capetillo),” I. Rodríguez, “Si me
voy (bolero),” I. Rodríguez, Seeco Ex 20-334
(1952).
“Besarte quisiera (bolero rítmico),” A. Rodríguez,
“Se formó el bochinche (son montuno),” I.
Rodríguez, Seeco Ex 20-335 (1952).
“Sólo fue un sueño (bolero),” Felipe Goyco “Don
Felo,” El dolorcito de mi china (son capetillo),”
I. Rodríguez, Seeco Ex 20-347 (1952).
“Hipocresía (bolero),” I. Rodríguez, “Cambia el
paso (son capetillo),” I. Rodríguez, Seeco Seeco Ex
20-348 (1952).
“Juégame limpio (son capetillo),” A. Rodríguez,
“Vive en el recuerdo (bolero),” A. Rodríguez, Seeco
Ex 20-369 (1952).
“Ya voló (conga), Neno González, “Se ama una vez
(bolero),” A. Rodríguez, Seeco Ex 20-370 (1952).
“Que me mande la niña (son mambo),” I. Rodríguez,
“Pimienta (son capetillo),” I. Rodríguez, Seeco Ex
20-386 (1953).
“Pobre chinito (mambo),” I. Rodríguez, “Baila Simón
(son montuno),” I. Rodríguez, Seeco Ex 20-385
(1953).
“Mambo abacuá (mambo),” A. Rodríguez, “Mi primer
cariño (cha cha chá),” A. Rodríguez, RCA 23-6696
(1955).
“Acerca el oído (bolero),” A. Rodríguez, “Mambo en
la cueva (mambo),” Tata Gutiérrez, RCA 23-6734
(1955).
“Me estoy comiendo un cable (guaracha),” A.
Rodríguez, “Cuba cha cha chá (cha cha chá),”A.
Rodríguez, RCA 23-6811 (1955).
“Sobre el arco iris (cha cha chá),” E.Y. Harburg
and H. Arlen, “Confórmate (guaguancó),”
Rodríguez, 2 RCA 3-6840 (1955).
A.
“Que negra pa’ acelerá (rumba),” A. Rodríguez,
“Graciela, tú lo sabes (cha cha chá),” A.
Rodríguez, RCA 23-6985 (1956).
“Titi, to kundungo quiere papa (cha cha chá),” A.
Rodríguez, “Lo sabía (bolero),” A. Rodríguez, RCA
23-6970 (1956).
“Ayaca de maíz (son pregón),” Silvano Schueg
“Chori,” “Me quedé sin ti (bolero),” A. Rodríguez,
RCA 23-7000 (1956).
“Adios Roncona (columbia matancera), A. Rodríguez,
“Con flores del matadero (guaguancó),” A.
Rodríguez, RCA 23-7120 (1956).
“Triste lucha (bolero),” A. Rodríguez, “Dame to
yoyo Ma Belén (son montuno),” A. Rodríguez, RCA
23-7129 (1956).
“Contigo no soy feliz (bolero),” Jacinto Scull,
“Casera mire que caña (son pregón),” A. Rodríguez,
RCA 23-7140 (1956).
“Curazao (bolero-cha),” A. Rodríguez, “Son montuno
en Curazao (son montuno),” A. Rodríguez,
Grabaciones Angel Job 45-6008 (1960).
LPs 1950-1968
Montunos Cubanos: Estrellas del Ritmo SMC Pro Arte
C-508 (1950).
Palo Congo Sabú L. Martínez. Blue Note LP-1561
(1957).
Sabroso y Caliente con Arsenio Rodríguez y su
Conjunto Puchito 586 (c. 1957).
Primitivo RST-2261 (1958).
Cumbanchando con Arsenio
(Fiesta
en
Harlem)
SMC-1074 (1960).
Arsenio Rodríguez y Su Conjunto v. 1 ALP 1337 (c.
1959-1960).
La pachanga Tico Records TRSLP-1092 (1963).
Quindembo: Afro Magic La Magia de Arsenio Rodríguez
CLT 7049 (1963).
¡Viva Arsenio! Arsenio Rodríguez and the AfroCubano Sound BLPS-216 (1966).
Patato y Totico Verve V6-5037 (1967).
Arsenio Dice Tico LP 1175 (1968).
Arsenio Rodríguez with Chano Pozo and Machito
Montunos Cubanos SMC reissued:
Classics TCD017 (1950).
Tumbao
By Pete Nater
Videos:
https://www.youtube.com/watch?v=9qEiWmdTOpQ
https://www.youtube.com/watch?v=Uv3Zkqz43Hk
Cuban
https://www.youtube.com/watch?v=pQid8B53QO8
https://www.youtube.com/watch?v=u4trvtFk4nA
https://www.youtube.com/watch?v=6BkSojS2OcA
https://www.youtube.com/watch?v=-BLDivXX87E
2015
Lost and Found
Composer
Buena Vista Social Club
2012
Leyendas de la Fania, Vol. 2 [2012]
Composer
2012
Saoco! The Bomba and Plena Explosion in
Puerto Rico
Composer
2011
Broken Hearts and Madmen
Gryphon Trio
Composer
2011
John Leguizamo: Ghetto Klown – Music from
My Hood
Composer
2011
Malecón Street
Pitingo
Composer
2011
Selecciones Fania
Orquesta Harlow
Composer
2011
True Hits: Cuba
Composer
2010
Latin Lounge: Havana
Composer
2010
The Complete 78s, Vols. 1-2: 1949-1955
Tito Puente
Composer
2009
Greatest Hits
La Sonora Ponceña
Composer
2009
Simply Latin Party
Primary Artist
2009
The Lusafrica Years
Orquesta Aragón
Composer
2008
Arsenio Rodriguez y Conjunto, Vol. 2
Arsenio Rodríguez
Primary Artist
2008
Artist
Cuba, Vol. 2 [Kubaney]
2008
2008
Cuba: Latin Jazz
El Alma de Cuba
Primary
Primary Artist
Arsenio Rodríguez
Primary Artist
2008
Joe Strummer’s Jukebox
Primary Artist
2008
Salsa One
Joe Strummer
Composer
2008
Salsa: A Musical History
Composer
2008
Salsa: Intro Collection
Primary
Artist
2008
The Complete 78s, Vol. 1
Tito Puente
Composer
2008
Viva Arsenio
Arsenio Rodríguez
Primary Artist
2007
Bailando at the Palladium, Vol. 1
Primary Artist
2007
Experience Cuba
Primary Artist
2007
La Herencia
Papo Lucca
Composer
2007
La Herencia
Ismael Miranda
Composer
2007
Una Noche en La Habana 1947-1957
Primary Artist
2006
A Taste of Cuba, Vol. 1
Primary
Artist
2006
Instant Cuba
Primary Artist
2006
Legends of Cuban Music
Arsenio
Rodríguez
Main Personnel, Primary Artist, Tres
2006
Mastercuts: Nu Yorican Soul
Primary
Artist
2006
Pure Salsa [Metro]
2005
2005
Cafe Latino [Metro]
Primary Artist
Canta Ray Reyes
Charlie Rodriguez
Primary Artist
Primary Artist
2005
Coleccion de Oro: El Inolvidable
Bienvenido Granda
Composer
2005
Cuba [Frank Andrada]
2005
2005
Primary Artist
Cubana Day
Primary Artist
Entire Salsa y Son Con Invitados
Especiales
Son Sabroson
Composer
2005
Romanticos de Cuba
Lino Borges
Composer
2005
Velvet Salsa All Stars
Composer
2004
30 Pegaditas de Cuba
Primary Artist
2004
All Songs Considered: 4 CD Collection
Composer
2004
Como Se Gozaen el Barrio
Arsenio
Rodríguez
Primary Artist
2004
Cubana: Night & Day
Primary Artist
2004
Dundunbanza 1946-1951
Arsenio
Rodríguez
Primary Artist
2004
El Rey del Son Montuño
Arsenio
Rodríguez
Primary Artist
2004
Exitos Romanticos del Jefe
Daniel
Santos
Composer
2004
Joyas Musicales: Coleccion de Oro [#1]
Oscar D’León
Composer
2004
Legendary Sessions 1947-1953
Chano
Pozo
Primary Artist
2004
Montuneando 1946-1950
Rodríguez
Primary Artist
Arsenio
2004
Sabor Popular de Cuba: Grabaciones
Históricas 1955-1996
Primary Artist
2004
Se Va el Caramelero
la Playa
Vocals
Orquesta Casino de
2004
Artist
Simply Salsa [Box Set]
Primary
2004
2004
Sonidos Nuevos
Damon Grant
Composer
Super Salsa [Melodie]
Composer
2004
The Best
Larry Harlow
Composer
2003
24 Exitos Original
Arsenio Rodríguez
Primary Artist
2003
Absolutely the Best of Eddie Palmieri
Eddie Palmieri
Composer
2003
Amores Lejanos
Carlos Cuevas
Composer
2003
Coleccion de Oro [2003]
Oscar D’León
Composer
2003
Cuba 1923-1995
Composer, Tres
2003
Live at Birdland
Larry Harlow
Composer
2003
Los Barrios de la Habana
Arsenio
Rodríguez
Primary Artist
2003
Ritmo Cubanos
Composer
2003
Su Majestad el Danzon: Coleccion de Oro
Composer
2003
Viva Velarde
Benny Velarde
Composer
2002
Buena Vista en Guagaunco
Primary
Artist
2002
Colección RCA: 100 Años de Música
Virginia López
Composer
2002
Conjuntos Famosos de Cuba
Artist
2002
Cuban Passport
2002
2002
Cubop City
Machito
Composer
Habana Club: A Cuban Jam Session
Primary
Primary Artist
2002
Homage to Benny More
Primary Artist
X Alphonso
Composer
2002
In the Hall of the Mambo King
Anselmo
Sacasas
Composer
2002
Made in Cuba, Vol. 2
Primary Artist
2002
Masabi
Nilo Menendez
Composer
2002
Perlas de Cuba
Maria Elena Lazo
Composer
2002
Ritmo Caliente
Machito
Composer,
Guitar
2001
3 Leyendas
Cachao
Composer
2001
Afro-Cuban Grooves, Vol. 3 [Wagram]
Composer
2001
Benny More & Perez Prado
Beny Moré
Composer
2001
Bonito Y Sabroso: Antologia Integral, Vol.
4
Beny Moré
Composer
2001
Cugat’s Favorite Rumbas/Mambo at the
Waldorf
Xavier Cugat
Composer
2001
En Vivo Desde la Habana: Trios de Cuba
Composer
2001
Escucha Mi Ritmo
Primary Artist
2001
Global Gumbo
The Baboons
Composer
2001
Grandes Exitos del Ritmo
Composer
2001
2001
Beny Moré
Havana Nights
Gabino Pampini
Composer
In Person: 1940-1942 Radio Broadcasts
Xavier Cugat
Composer
2001
King of Mambo
Tito Puente
2001
Lo Mejor de lo Mejor
Composer
2001
2001
Composer
Beny Moré
Los Mejores Duos de Cuba
Composer
National Geographic: Destination Cuba
Composer
2001
Noches en la Tropicana
Composer
2001
Pare Cochero
Irakere
Composer
2001
Prim
Arsenio Rodríguez
Primary Artist
2001
Roots of Afro-Cuban Jazz
Congas
2001
Roots of the Cuban Dance [Fania]
Composer
2001
Rough Guide to Latin America
Composer
2001
Serenata
Aida
Composer
2001
Son con Guaguanco/La Excitante
Celia
Cruz
Composer
2001
Songs from the Heart of Cuba [Protel]
Performer, Primary Artist
2001
The Very Best of ¡Cubanismo!: ¡Mucho
Gusto!
¡Cubanismo!
Composer
2001
Tribute to Barroco
Orquesta Sensacion
Composer
2000
30 Grandes Exitos, Vol. 2
Carlos
Cuevas
Composer
2000
45 Aniversario
Composer
La Sonora Ponceña
2000
Arsenio Rodriguez y su Conjunto
Conjunto
Primary Artist
Su
2000
Artist
Primary
Asi Nacio la Salsa, Vol. 2
2000
Bim Bam Bum [Musica Latina]
& His Orchestra
Composer
2000
2000
Blen Blen Blen
Boleros de Cuba
Xavier Cugat
Machito
Composer
Carlos Cuevas
Composer
2000
Buena Vista Social Club Presents: Omara
Portuondo
Omara Portuondo
Composer
2000
Cero Faranduleros
Los Jubilados
Composer
2000
Chanchullo
Rubén González
Composer
2000
Coleccion, Vol. 5
Chucho Valdés
Composer
2000
Coleccion, Vol. 7
Chucho Valdés
Composer, Primary Artist
2000
Con su Conjunto y Chano Pozo, Machito &
Orchestra
Arsenio Rodríguez
Composer, Guitar,
Primary Artist, Tres
2000
Cuban Originals
Casino de la Playa
Composer
2000
Cuban Originals
Miguelito Valdés
Composer
2000
Doble Play
Oscar D’León
Composer
2000
El Bolero De Cuba
Composer
2000
Fiesta Latina [Goldies]
Primary
Artist
2000
Gold Series
Beny Moré
Composer
2000
Golden Drops
Fania All-Stars
Composer, Primary Artist
2000
2000
Greetings from Cuba, Pt. 2
Imperdonable
Ignacio Piñeiro
2000
Johnny Pacheco
Composer
Composer
Composer
Johnny Pacheco
2000
Los Grandes Exitos de Isaac Delgado
Issac Delgado
Composer
2000
Los Grandes Temas de Arsenio Rodriguez
Arsenio Rodríguez
Composer, Primary Artist
2000
Magico Acordeon
Beny Moré
Composer
2000
Mambo Mambo
Tito Puente
Composer
2000
Moncho: 1941-1942
Ramón “Moncho” Usera
Composer
2000
Muy Divertido!
Los Cubanos Postizos
Composer
2000
Oye Como Dice…
Arsenio Rodríguez
Primary Artist
2000
Puro Sabor
La Sonora Ponceña
Composer
2000
Salsa Cubana: Gold Collection
Composer
2000
Salsa: El Disco de Oro
Composer
2000
Seguimos Aqui Chappottineando
Conjunto
Chappottin
Composer
2000
Soneros La Tradicion de Cuba, Vol. 1
Arsenio Rodríguez
Primary Artist
2000
Sones Y Montunos
La Trova Cubana
Primary Artist
2000
The Best Cuban Album in the World Ever
Composer
2000
The Rough Guide to Cuban Son
Composer
2000
2000
The Story of Cuba
Tribute to Benny More
2000
1999
Venga Fiesta
Son 14
Composer
15 Exitos Bailables
La Patrulla 15
Composer
1999
Afro Blue [Blue Note]
Composer
Yakare
Composer
Guitar,
Percussion, Vocals
1999
Afro-Cuban Grooves, Vol. 4 [Melodie]
Guitar
1999
Baila Baila Baila: 1943-1948
Machito
Composer
1999
Boleros Cubanos
Composer
1999
Buena Vista Social Club Presents: Ibrahim
Ferrer
Ibrahim Ferrer
Composer
1999
Canta Miguelito Valdes
Orquesta Casino
de la Playa
Composer
1999
Cuba Si: Pure Cuban Flavor
Composer
1999
Cuba Son
Quinteto Seleccion Latina
Performer, Primary Artist
1999
Cuba Sus Grandes Cantantes
Composer
1999
Cuba, I Am Time, Vol. 3: Bailar con Cuba
Performer, Primary Artist
1999
Cuban Love Dream
Composer
1999
Cuban Salsa [Sony International]
Performer, Primary Artist
1999
Cuban Son
Composer
1999
1999
El Son De Cuba [Globe]
En el Rincon
Chocolate
1999
1999
Havana Cafe
Barbarito Torres
Havana Club: Son Puro Cubano
Composer
1999
Jimmy el Leon Y Su Orquesta
Composer
1999
La Charanga Eterna
Composer
1999
La Cumbancha
Composer
Composer
Composer
Jimmy Leon
Orquesta Aragón
El Son Entero Cuba
Composer
1999
Latin Kings
Mongo Santamaria
Composer
1999
Leyendas de la Musica Cubana
Orquesta
América
Composer
1999
Mambo 5: Great Cuban Songs
Composer, Performer, Primary Artist
1999
Musica Tradicional Cubana, Vol. 2
Composer
1999
Nu Yorica Roots!: The Rise of Latin Music
in New York City in the 1960’s
Primary
Artist
1999
Rough Guide to Salsa Dance
Composer
1999
Sabor a Cuba, Vol. 3
Primary Artist
1999
Son Cubano [Goldies]
Primary Artist
1999
Sounds Cuban
Primary Artist
1999
Tocoloro
Arsenio Rodríguez
Composer,
Guitar, Primary Artist
1999
Toda Cuba Baila con Chucho
Chucho
Valdés
Composer
1999
Tropics for the World, Vol. 1
Composer
1999
Weekend in Havana [Harlequin]
Xavier
Cugat
1998
Composer
Afro Cuban Roots, Vol. 6: Havana After
Hours
1998
Composer
Authentic Salsa
1998
Ay Que Bueno
Composer
Composer
Merceditas Valdés
1998
Best of Cuban Music, Vol. 2
Composer
1998
Classicas de un Sonero
Arsenio
Rodríguez
Primary Artist
1998
Coco Mai Mai
Sierra Maestra
Composer
1998
Coleccion Original
Beny Moré
Composer
1998
Cuba L.A.
Cuba L.A.
Composer
1998
Cuba Today
Composer
1998
Cuba [Declic]
Composer
1998
Cuban Express
Composer, Performer,
Primary Artist
1998
Cuban Gold, Vol. 5: Pa Bailar
Composer
1998
Discover the Rhythms of Cuban Son
Composer
1998
El Rey del Mambo, Vol. 2
Pérez Prado
Composer
1998
El Rumbero del Piano
Eddie Palmieri
Composer
1998
Final Recordings
Merceditas Valdés
Composer
1998
Forbidden Cuba in the 70’s: Legends of
’77
1998
Felix Chappottin
Composer
La Coleccion Cubana
Irakere
1998
1998
Latin Dance Party [Charly]
Machetazo!: 10 Years on the Edge
Santos
1998
Composer
Mega Caraibes
Composer
Composer
John
Composer
1998
Que Rico: Hot Latin Dance Tracks
Composer
1998
Rarities: Forbidden Cuba in the 90’s
Issac Delgado
Composer
1998
Regalo del Ciego (Blindman’s Gift)
Son
de Loma
Composer
1998
Romantic Sound of Xavier Cugat
Xavier
Cugat
Composer
1998
Rough Guide to the Music of Cuba
Composer
1998
Semilla del Son
Composer,
Performer, Primary Artist
1998
Siempre Unica
Claudia DeColombia
Composer
1998
Soul of Cuba
Edesio Alejandro
Composer, Performer, Primary Artist
1998
The Best of Cuba [Arcade]
Primary
Artist
1998
The Prosthetic Cubans
Los Cubanos
Postizos
Composer
1998
Timbalero Tropical
Tito Puente
Composer
1998
Toda Cuba Baila con Irakere
Irakere
Composer
1998
Uno Dos Tres: Latin Jazz Grooves
Guitar
1997
15 Exitos de Beny More
Beny Moré
Composer, Performer, Primary Artist
1997
1997
2 Inolvidables
35th Anniversary
Lino Borges
Composer
El Gran Combo de Puerto
Rico
1997
Composer
Bolero
1997
Sueno
Boleros Con Feeling, Vol. 7: La Vida es un
Composer
Orquesta América
Composer
1997
Canciones Inmortales de Cuba, Vol. 2
Isaac Salinas
Composer
1997
Clasicos de Cuba: Boleros
Composer
1997
Cuba: I Am Time
Performer, Primary
Artist
1997
Cuban Gold, Vol. 4: Fuego Candela (Smokin’
70’s)
Composer
1997
El Gran Benny Moré a Duo Con
Composer
1997
El Son Es Cuba
Composer
1997
ElectroDuro
Charlie Palmieri
Composer
1997
La Unica
Orquesta Sensacion
Composer
1997
Latin Jazz for Lovers: Messidor’s Finest,
Vol. 4
Composer
1997
Malembe
¡Cubanismo!
Composer
1997
Nilo Menendez 1934-1938
Nilo Menendez
Composer
1997
Nostalgia: 100 Anos de Boleros, Vol. 9
Composer
1997
Para Los Bailadores: En Directo Desde
Galapagar [CD 1]
1997
Pianissimo
1997
1997
Septeto Santiaguero
Composer
Chucho Valdés
Composer
Rough Guide to Salsa
Composer
Soneros: La Tradition de Cuba, Vol. 2
Arsenio Rodríguez
Vocals
Guitar, Primary Artist,
1997
Yo Soy del Son a La Salsa
Performer, Primary Artist
1996
1996
Amor, Pasion Y Bolero
Bailables Para Toda Ocasion
Composer,
Composer
Performer, Primary Artist
1996
Cielo Maravilloso
Arsenio Rodríguez
Guitar, Primary Artist, Vocals
1996
Criolla Garabali
Sierra Maestra
Composer
1996
Cuban Sextetos & Conjuntos
Composer
1996
El Bolero, Vol. 3: Fiesta Cubana
Composer, Primary Artist
1996
En Vivo
Ivan Lins
Composer
1996
Epoca de Oro, Vol. 1
Cortijo y Su
Combo
Composer
1996
Eterna Tradition
Grupo Raisón
Composer
1996
Evolucionando
Johnny Almendra & Los
Jovenes del Barrio
Composer
1996
Exitos
Lino Borges
Composer
1996
Freestyle’s Greatest Hits, Vol. 4
[Micmac]
Composer
1996
Guarachas Guajiras Boleros
Fruko
Composer
1996
1996
Igual Que Ayer
Pablo Milanés
Composer
Leyenda Viva, Vol. 2
Oscar D’León
Composer
1996
Me Llamo Son No Me Llamen Salsa
Son Banda
Composer
1996
Palabras
Omara Portuondo
1996
1996
Palacio de la Salsa
Recuerdos de Mi Barrio
Primary Artist
1996
Serious Reggae Business
Super
Composer
Composer
Performer,
Lucky Dube
Producer, Vocals (Background)
1996
Son Cubano Antologia, Vol. 2
Composer, Primary Artist
1996
Tazmania Freestyle, Vol. 7
Editing,
Producer
1996
Tazmania Freestyle, Vol. 8
Producer
1996
The Son, The Future
Elena Burke
Composer
1996
Ti Amo Freestyle Power, Vol. 1
Composer, Producer, Vocals (Background)
1996
Ti Amo’s Freestyle Collection, Vol. 3
Composer
1996
Tres Grandes Figuras
Dimensión Latina
Composer
1996
Venezuela Sonora
Gerardo Rosales
Composer
1996
¡Cubanismo! [Hannibal ]
Jesús Alemañy
Composer
1995
Arsenio Rodriguez
Arsenio Rodríguez
Composer, Guitar, Primary Artist, Vocals
1995
1995
Bailando Asi/Irakere
Irakere
Canta La Musica Cubana, Vol. 2
D’León
1995
Composer
De Cuba: Su Música, Vol. 4
Artist
1995
El Guanajo Relleno
Composer
Oscar
Primary
Sierra Maestra
Composer
1995
Exitos De PM Records, Vol. 1: De Todo Para
Bailar
1995
Composer
Exitos de PM Records: Vol. 1: De Todo Para
Bailar
Composer
1995
Golden Classics
Xavier Cugat & His
Orchestra
Composer
1995
Los Arsenio Rodriguez y Su Conjunto: Afro
Cuban Classic
Arsenio Rodríguez
Composer,
Guitar, Primary Artist, Vocals
1995
More Than the Mambo: Introduction to AfroCuban Jazz
Composer
1995
Nueva Trova Cubana
Performer,
Primary Artist
1995
Orquesta Casino de La Playa
Orquesta
Casino de la Playa
Composer
1995
Oye Lo Que Trae Rumbavana
Rumbavana
Composer
1995
Quindembo
Arsenio Rodríguez
Composer,
Guitar, Primary Artist, Vocals
1995
Sorpresa La Flauta
Andy Harlow
Composer
1994
1938-1940
Miguelito Valdés
Composer
1994
30 Exitos [Sony International]
La Sonora
Matancera
Composer
1994
Afro Cubano Con Sabor, Vol. 1
Composer
1994
Ayer Y Hoy
Emiliano Salvador
1994
1994
Baila Mi Gente
Cuba Y Su Musica
Artist
1994
El Timbral
1994
Stars
Estrellas de La Fania, Vol. 4
Composer
Composer
Composer
Performer, Primary
Tito Puente
Composer
Fania All-
1994
Fania 1964-1994: 30 Great Years, Vol. 1
Fania All-Stars
Composer
1994
Fania Records 1964 – 1994: 30 Great Years,
Vol. 2
Composer
1994
Latin Dance Party, Vol. 2 [Polygram]
Composer, Performer, Primary Artist
1994
Leyendas
Tito Rodriguez
Composer
1994
Lo Mejor
La Sonora Ponceña
Composer
1994
New York Latin Sounds of ’60s
Composer
1994
Original Rumbas: The Peanut Vendor &
Others
Composer
1994
Para Bailar el Son
Performer,
Primary Artist
1994
Salsa Caliente
Adalberto Álvarez
Composer
1994
Solo Para Bailar
Composer
1994
Xavier Cugat and His Orchestra
Xavier
Cugat
Composer
1993
20 De Coleccion
Claudia DeColombia
Composer
1993
Arsenio Dice/La Pachanga
Arsenio
Rodríguez
Composer, Primary Artist
1993
Bailables Inolvidables, Vol. 1
Composer
1993
Everybody Cha Cha Cha
Composer
1993
Fiesta Cubana: El Bolero [Artex]
Composer
1993
1992
My Time is Now
Mario Bauzá
Composer
A Todos Los Barrios
Arsenio Rodríguez
Guitar, Primary Artist, Vocals
1992
Boleros Clasicos, Vol. 1
Composer
1992
Boleros Solamente Boleros
Composer
1992
Cuba Baila [Artex]
Composer
1992
Cuban Counterpoint: History of the Son
Montuno
Composer, Guitar, Performer,
Primary Artist, Vocals
1992
En Su Tiempo Siempre
Junior Gonzalez
Composer
1992
Rinde Homenaje a Abelardo Barroso
Papaito
Composer
1992
Salseando [Artex]
Malena Burke
Composer, Performer
1992
Sueño Contigo
José “El Canario”
Alberto
Composer
1991
15 Exitos Originales
Lino Borges
Composer
1991
A Luaka Bop: Roots, Rock and Rhythm
Composer
1991
Don Baretto, Vol. 1 (1932-1935)
Don
Barreto & His Orchestra
Composer
1991
Mucho Macho: Machito & His Afro-Cuban
Salseros
Machito
Composer
1991
To Scratch That Itch: Luaka Bop Roots, Rock
& Rhythm
Composer
1990
65 Aniversario
La Sonora Matancera
Composer
1990
Canta Sus Exitos
Andy Montañez
Composer
1990
Routes of Rhythm, Vol. 1: Carnival of
Cuba
Composer, Performer, Primary Artist
1989
Origen de La Salsa
Trio Matamoros
Composer
1988
Cuba Classics, Vol. 2: Dancing with the
Enemy
Composer
1988
Solo Boleros
Oscar D’León
Composer
1985
30th Anniversary, Vol. 1
La Sonora
Ponceña
Composer
1983
De Nuevo Los Compadres
Johnny Pacheco
Composer
1983
Ritmo, Sonido, Y Estilo
Manny Oquendo
Composer
1982
Que Viva La Musica
Ray Barretto
Composer
1978
En Las Vegas
El Gran Combo de Puerto
Rico
Composer
1977
El Jardinero del Amor
Larry Harlow
Composer
1977
Energy to Burn
Ray Barretto
Composer
1976
Eddie’s Concerto
Eddie Palmieri
Composer
1976
The Best of Orchestra Harlow & Ismael
Miranda
Ismael Miranda
1975
Echoes of an Era
Composer
1974
Live in Quad
Composer
1974
Salsa
Composer
Charlie Palmieri
Orchestra Harlow
Larry Harlow
Composer
1974
The Best of Eddie Palmieri: Lo Mejor de
Eddie Palmieri
Eddie Palmieri
Composer
1974
Tipico
Louie Ramirez
Composer
1973
Asi Se Compone un Son
Ismael Miranda
Composer
1973
Tipica 73
Tipica ’73
Composer
1973
Tres de Café y Dos de Azúcar
Johnny
Pacheco
Composer
1972
Roberto Roena y su Apollo Sound, Vol. 3
Roberto Roena
Composer
1971
At the University of Puerto Rico
Eddie
Palmieri
Composer
1971
De Punta a Punta
El Gran Combo de Puerto
Rico
Composer
1971
Presenta a Noraida
Tito Puente
Composer
1971
Tribute to Arsenio Rodriguez
Larry
Harlow
Composer, Tributee
1970
Something to Remember
Ray Barretto
Composer
1970
Tony Pabon y sus Estrellas
Tony Pabon
Composer
196?
Primitivo
Primary Artist
Arsenio Rodríguez
Composer,
196?
Sabroso y Caliente
Arsenio Rodríguez
Composer, Guitar, Primary Artist, Vocals
1969
Combo
Ahí Na Má!: Put It There!
Primary Artist
Cortijo y Su
1968
Arsenio Dice
Arsenio Rodríguez
Composer, Primary Artist
1968
Hacheros Pa’ un Palo
Composer
La Sonora Ponceña
1967
Patato & Totico
Patato y Totico
Additional Personnel, Guitar
1966
Son con Guaguanco
Celia Cruz
Composer
1964
Manhattan Latin
Dave Pike
Composer
1963
La Pachanga
Arsenio Rodríguez
Composer, Primary Artist
1962
Son Pachanga
Arsenio Rodríguez
Guitar, Primary Artist, Vocals
1961
Pachanga at the Caravana Club
Charlie
Palmieri
Composer
1958
Baile con Cortijo y Su Combo
Cortijo y
Su Combo
Composer
1958
El Alma de un Pueblo
Cortijo y Su
Combo
Composer
1958
Tribilin Cantore
Arsenio Rodríguez
Guitar, Primary Artist, Vocals
1957
Buenavista en Guaguanco, Carraguao Alante
Arsenio Rodríguez
Guitar, Primary Artist,
Vocals
1957
Palo Congo
Sabu Martinez
Congas,
Guitar, Vocals
1956
Mambo en la Cueva
Arsenio Rodríguez
Guitar, Primary Artist, Vocals
1952
Pa Que Gocen, Jaguey
Arsenio Rodríguez
Guitar, Primary Artist, Vocals
1951
Caminante y Labori, Mira Que Soy
Chambelon
Arsenio Rodríguez
Artist, Vocals
Guitar, Primary
1950
Anabacoa
Arsenio Rodríguez
Primary Artist, Vocals
Guitar,
1949
Palo Tiene Curey, El
Arsenio Rodríguez
Guitar, Primary Artist, Vocals
1948
El Cerro, Tiene la Llave, No Vuelvo a
Moron
Arsenio Rodríguez
Guitar, Primary
Artist, Vocals
1948
Esa China Tiene Coimbre, a Belen Le Toca
Ahora
Arsenio Rodríguez
Guitar, Primary
Artist, Vocals
1948
Rumba Palo Cucuye, Tintoere Ya Llego
Arsenio Rodríguez
Guitar, Primary Artist,
Vocals
1948
Yo No Engano a Las Nenas, Tecoloro
Arsenio Rodríguez
Guitar, Primary Artist,
Vocals
1947
Los Dicen Todos: La Vida Es un Sueño
Arsenio Rodríguez
Guitar, Primary Artist,
Vocals
1947
Serenede
Arsenio Rodríguez
Guitar,
Primary Artist, Vocals
1946
Dame un Cachito Pa Huelle, Congrejo Fue a
Estudiar
Arsenio Rodríguez
Artist, Vocals
Guitar, Primary
1946
Semilla de Cana Brava
Arsenio
Rodríguez
Guitar, Primary Artist, Vocals
Anthology
La Sonora Ponceña
Composer
Arsenio Rodriguez, Vol. 2
Arsenio Rodríguez
Guitar, Primary Artist, Vocals
Arsenio Says…
Arsenio Dice
Artist
De La Raíz a La Salsa
Composer, Primary
Jesús Cepeda y Su Grupo
ABC
Composer
El Gigante Sureño
La Sonora Ponceña
Composer
El Padre Del Mambo
Arsenio Rodriguez
Primary
Artist
Greatest Hits
Bebo Valdés
Composer
Johnny Rodriguez Y Su Trio, Vols. 1 & 2
Johnny
Rodriguez
Composer
Rhumba with Cugat
Xavier Cugat
Composer
Saoco!, Vol. 2: Bomba, Plena & The Roots of Salsa
In Puerto Rico 1955-1967
Composer
Selecciones Fania
La Sonora Ponceña
Composer
Selecciones Fania The Best Of…
Composer
Source:
http://en.wikipedia.org/wiki/Arsenio_Rodr%C3%ADguez