Most danceable recordings by Arsenio Rodriguez

salsim said:
Arsenio was a great composer, tres player, bandleader, the previous order sequence has no difference....this song is one of my favorites, take care all

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AguaDulce said:
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i have heard that in these two songs' lyrics, Arsenio was inspired by his personal life, also there are other songs inspired by life events, such as the bolero "La Vida Es Un Sueño" take care all
 
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DJ Yuca said:
Sucu sucu and nengón I think are 2 examples but there are plenty of others. Did these rhythms ever make it to NY? I doubt it.
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Sure they did. As did Pilon and the Dengue. The Filin movement in Cuba was felt by some of the musicians in the U.S., like Tito Rodriguez. They just didn't pop off the way Mambo, Cha-Cha-Cha, Merengue, and, eventually, the Pachanga. Every region either an Afro Cuban musical scene is different. When the U.S. began to recognize the Mambo and it being defined by the brass-oriented orchestras, the consumer market in Cuba was focused on the Charanga Tipicas. In 1947 the CuBop movement was in vogue in the U.S. In Cuba the Cha-Cha-Cha was king.

Look at Timba. That style of music certainly made its way to N.Y. So did Songo. The local N.Y. market majority just wasn't feeling either. And still don't. NY is stuck in a time warp. It's nostalgia music revolved around Son (Montuno, Guaracha, Mambo... and that's it) and either in a conjunto or charanga-styled format. Latin Jazz is the only subgenre where the musicians explore adventurously. And as someone who used to produce and promote "live music" presentations of it, I can tell you that there is ZERO market for that brand of music. You'd think they'd take a stab at what guys like Alain Pérez or CIMAFunk are doing. But no. It's the same ol' same ol' "Palladium Days" and "Our Latin Thing" bull$#!+.


DJ Yuca said:
Did they have their own specific dances? Maybe the most popular did, but if they all did it would have been a hell of a lot of different dances for people to learn.
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I don't think that's ever been an issue. At least in NYC historically. The landscape was such a diverse terrain of communities and cultures people were expose to diversity long before it became a slur by anti-Woke White Supremacist dog whistlers. N.Y. had never been a one trick pony the way these oft-expressed narratives get conveyed. When the Peanut Vendor sold an excess amount of sheet music and the "Rumba" was in vogue (again!), you also had a 2bd Renaissance for the Tango. And the Conga emerged in 1933. By the end of the decade the Brasilian Carioca was the popular dance. This is all simultaneous to the Black Bottom, Fox Trot, Lindy/Swing, etc being popular. I'm pretty sure it was like that in California (Hollywood. Los Angeles, etc) and probably Chicago, which was the other cosmopolitan metropolis of the U.S.

DJ Yuca said:
Most really don't sound that different to other son rhythms and can be danced to with the same moves that can be used for more typical 1950s sones. So no necessity for dancers to learn a different dance for them.
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Exactly. Which goes to show maybe there's something more at work than just a simple dance expression compatibility scenario and more to do with a cultural connection?
 
Richie Blondet said:
Sure they did. As did Pilon and the Dengue. The Filin movement in Cuba was felt by some of the musicians in the U.S., like Tito Rodriguez. They just didn't pop off the way Mambo, Cha-Cha-Cha, Merengue, and, eventually, the Pachanga. Every region either an Afro Cuban musical scene is different. When the U.S. began to recognize the Mambo and it being defined by the brass-oriented orchestras, the consumer market in Cuba was focused on the Charanga Tipicas. In 1947 the CuBop movement was in vogue in the U.S. In Cuba the Cha-Cha-Cha was king.

Look at Timba. That style of music certainly made its way to N.Y. So did Songo. The local N.Y. market majority just wasn't feeling either. And still don't. NY is stuck in a time warp. It's nostalgia music revolved around Son (Montuno, Guaracha, Mambo... and that's it) and either in a conjunto or charanga-styled format. Latin Jazz is the only subgenre where the musicians explore adventurously. And as someone who used to produce and promote "live music" presentations of it, I can tell you that there is ZERO market for that brand of music. You'd think they'd take a stab at what guys like Alain Pérez or CIMAFunk are doing. But no. It's the same ol' same ol' "Palladium Days" and "Our Latin Thing" bull$#!+.



I don't think that's ever been an issue. At least in NYC historically. The landscape was such a diverse terrain of communities and cultures people were expose to diversity long before it became a slur by anti-Woke White Supremacist dog whistlers. N.Y. had never been a one trick pony the way these oft-expressed narratives get conveyed. When the Peanut Vendor sold an excess amount of sheet music and the "Rumba" was in vogue (again!), you also had a 2bd Renaissance for the Tango. And the Conga emerged in 1933. By the end of the decade the Brasilian Carioca was the popular dance. This is all simultaneous to the Black Bottom, Fox Trot, Lindy/Swing, etc being popular. I'm pretty sure it was like that in California (Hollywood. Los Angeles, etc) and probably Chicago, which was the other cosmopolitan metropolis of the U.S.


Exactly. Which goes to show maybe there's something more at work than just a simple dance expression compatibility scenario and more to do with a cultural connection?
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Alainmperezbis annoying to dance to lol.
 
Richie Blondet said:
Look at Timba. That style of music certainly made its way to N.Y. So did Songo. The local N.Y. market majority just wasn't feeling either. And still don't. NY is stuck in a time warp. It's nostalgia music revolved around Son (Montuno, Guaracha, Mambo... and that's it) and either in a conjunto or charanga-styled format. Latin Jazz is the only subgenre where the musicians explore adventurously. And as someone who used to produce and promote "live music" presentations of it, I can tell you that there is ZERO market for that brand of music. You'd think they'd take a stab at what guys like Alain Pérez or CIMAFunk are doing. But no. It's the same ol' same ol' "Palladium Days" and "Our Latin Thing" bull$#!+.
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As someone who doesn't particularly enjoy timba, I can relate. Although in Cali they mix timba with much larger quantities of what you might consider 'nostalgia music', which also works well.
 
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