322:, all except for Arcaño himself. 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. Nonetheless, this allowed the group to learn their trade and became particularly prolific: one year they performed a record 404 shows in total. 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. The brothers Cachao and Orestes would compose new danzones regularly, totalling thousands over the years. Many of these were dedicated to the venues they performed in, such as "
318:, Antonio Arcaño studied music with Armando Romeu Sr., playing cornet and clarinet and later learned the flute from his cousin José Antonio Díaz. He later joined Armando Valdespí's group and Orquesta Gris. In 1936, he joined La Maravilla del Siglo, directed by singer Fernando Collazo. The members of this band became the core of Arcaño's new band in November 1937: La Maravilla de Arcaño. This charanga was composed of
42:
369:. This style, created by the López brothers, added an improvised section to the end of the danzón structure. 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. New genres would later emerge from this section, such as the fast-paced mambo and the slower chachachá, both of which became
303:
396:, which was the end for his playing career. He continued as director and hired his cousin and former teacher José Antonio Díaz as flautist, who was later replaced by Eulogio Ortiz. It was Ortiz who recorded the 1951 version of "Mambo". Cachao left the group by the end of the decade (being replaced by his nephew
427:(these were his first recordings). 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. The final recording of the original band, and the only one for Gema Records, was "
408:. Both Cachao and Orestes were playing in Havana's Philharmonic Orchestra at the same time as they were members of the Maravillas. In fact, many of their compositions were arrangements of classical pieces, and even film scores, such as Cachao's "África viva", which quotes "
259:, featuring many of the members of Collazo's group. Collazo himself complained about the similarity in the name, so by 1939 it was changed to Arcaño y sus Maravillas. By then the band had become popular across the island due to hits such as "
275:. He continued as director and hired his cousin José Antonio Díaz as flautist, who was later replaced by Eulogio Ortiz. Cachao left the group by the end of the decade (being replaced by his nephew
244:, a violinist who started his career in the Maravillas. Other important musicians in the Maravillas were pianist Jesús López (unrelated to Orestes and Israel), timbalero
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in the 1950s. 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
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Antonio Arcaño, former member of singer
Fernando Collazo's La Maravilla del Siglo, founded his orchestra in November 1937 under the name
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Several reunions of the group occurred in the 1970s and 1980s featuring some of the original members. These were released on two LPs by
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271:(The Monarch of Danzón). However, Arcaño had to stop playing in 1945 due to lip problems preventing him from maintaining his
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The original members of Arcaño y sus
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Most of the group's RCA Victor singles (1940–1951) have never been released on LP or CD.
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652:(in Spanish). Sociedad General de Autores y Editores. 2000. p. 154.
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377:, sponsored by Gravi toothpaste and Dermos soap. This group was known as
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228:(bass). Such upbeat version of the danzón served as a precursor of the
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orchestras in Cuba, particularly due to the development of the
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Cuba and Its Music: From the First Drums to the Mambo
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697:. Chicago, IL: Chicago Review Press. p. 495.
342:" (in Pueblo Nuevo, Havana), "Avance Juvenil" (in
582:Encyclopedic Discography of Cuban Music 1925-1960
8:
584:. Florida International University Libraries
720:"Un cubano con "filin": Frank Emilio Flynn"
614:. Lanham, MD: Scarecrow Press. p. 71.
109:, Corona, Verne, Kubaney, Maype, Modiner,
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649:Calle 54: una película de Fernando Trueba
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635:Entrevista con Israel López "Cachao"
535:. Bath, UK: Tumi Music. p. 17.
357:The band's first big hit came with "
573:Díaz Ayala, Cristóbal (Fall 2013).
795:Musical groups established in 1937
718:González, Eric E. (14 June 2001).
460:Danzones de ayer, de hoy y siempre
365:, or as it would be called later,
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757:Orquesta Arcaño y sus Maravillas
488:Orquesta Arcaño y sus Maravillas
330:) "Club Social de Marianao" (in
18:Antonio Arcaño y sus Maravillas
575:"Orquesta Maravilla de Arcaño"
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346:), "Centro San Agustín" (in
252:and flautist Eulogio Ortiz.
208:founded in 1937 by flautist
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306:Arcaño y sus Maravillas at
162:Antonio Sánchez "Musiquita"
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410:Somewhere over the Rainbow
467:Pita Arcaño, dale Dermos
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744:Sublette (2004). p. 451.
398:Orlando "Cachaíto" López
350:) and "Bella Unión" (in
340:Juventud de Pueblo Nuevo
277:Orlando "Cachaíto" López
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763:Arcaño y sus Maravillas
532:Cuban Music from A to Z
481:Arcaño y sus Maravillas
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202:Arcaño y sus Maravillas
34:Arcaño y sus Maravillas
691:Sublette, Ned (2004).
529:Orovio, Helio (2004).
385:'s conjunto it formed
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257:La Maravilla de Arcaño
52:Background information
363:danzón de nuevo ritmo
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269:El Monarca del Danzón
226:Israel López "Cachao"
139:Israel López "Cachao"
790:Cuban musical groups
678:Latin Style Magazine
608:Miller, Sue (2013).
423:) and blind pianist
336:Redención Sport Club
771:. RateYourMusic.com
637:. 2003. In Spanish.
680:(37–42): 30. 2000.
425:Frank Emilio Flynn
328:Buenavista, Havana
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183:Frank Emilio Flynn
389:(The Big Three).
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218:danzón-mambo
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193:René Álvarez
187:Rafael Ortiz
144:Ulpiano Díaz
122:Past members
90:Years active
80:danzón-mambo
443:Discography
437:Oye cómo va
433:Tito Puente
320:Afro-Cubans
250:Félix Reina
240:created by
234:Pérez Prado
165:Elio Valdés
158:Félix Reina
151:Raúl Valdés
148:Jesús López
779:Categories
512:References
429:Chanchullo
402:Chanchullo
394:embouchure
281:Chanchullo
273:embouchure
103:RCA Victor
730:7 October
469:(Modiner)
455:(Kubaney)
308:Radio CMQ
238:chachachá
94:1937–1958
674:"Cachao"
495:See also
483:(Areito)
476:(Areito)
406:Alquízar
348:Alquízar
332:Marianao
285:Alquízar
206:charanga
462:(Maype)
298:History
785:Danzón
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486:1996:
479:1980:
472:1976:
465:1959:
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417:Panart
352:Güines
326:" (in
316:Havana
292:Areito
214:danzón
107:Panart
99:Labels
75:Danzón
68:Genres
63:, Cuba
61:Havana
57:Origin
578:(PDF)
361:", a
359:Mambo
261:Mambo
230:mambo
111:EGREM
732:2018
699:ISBN
654:ISBN
616:ISBN
590:2018
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