Arsenio

Lucas van Merwijk & his Cubop City Big Band

Arsenio is the fourth Cubop City Big Band CD and follows in the tradition of the first productions: an ode to a Latin Jazz great. Veteran arranger and pianist Edy Martinez, from Colombian origin, partnered with Lucas van Merwijk during Martinez's extended stay in the Netherlands to deliver the unique and riveting renditions heard on Arsenio.

In the late thirties Arsenio Rodriguez expanded the son sound to reincorpotate and reemphasize many of the African-derived elements from the countryside that had been omitted or simplified by the Sexteto Habanero and the Septeto Nacional, while continuing the Europeanizing trends initiated by  these two groups. Arsenio achieved a synthesis between African- and European- derived musical elements while maintaining the integrity of both.

To the established instrumentation of the son conjunto Arsenio added a campana, a conga drum, a second trumpet and a piano. Stylististcally, Arsenio’s main innovations were to stress the guajeo and incorparate the tumbao- an ostinato repeated melody) pattern resulting from interlocking rhythms played by the bass and conga -: structure horn arrangements and braks around the clave; integrate the rhythm section ( bongo’s, conga, bass, campana, trés, and piano) so as to achieve a melodic-rhythmic unity centered aroundthe clave: expand the role of the trés to a solo as well as acccompanient instrument; reemphasize the importance of the estribillo (chorus); introduce a solo section (montuno) in which trés, piano, or trumpet players could demonstrate their skills; and extend the dunamic range.

Arsenio’s Son Montuno’s have a special meaning for his audience because although many of his texts continued to deal with the traditionally romantic themes of the earlier Sones, he also used texts that philosophically express his sentiments toward Cuba, community life and racial pride.

Another major innovation od Arsenio’s was the cration of the mambo and its introduction into dance halls in 1937.

Mambo was performed using son-conjunto instrumentation. Arsenio’s mambo, his compositions, and his conjunto sound strongly influenced Latin popular music in New York.

In the fifties Machito, Tito Puente and Tito Rodriguez adapted mambo to the big band sound. In the sixties Arsenio’s conjunto sound and many of his compositions were reinterpreted by salsa musicians.

Roberta L. Singer and Robert Friedman, folklorists and ethnomusicaologists.

Liner notes to Caliente-Hot, Puerto Rican and Cuban Musical Expressions in New York. New World Records. 1977.

Dr. Roberta L. Singer ,  musical director of City Lore, New York adds:

“Thanks to the continuous interchange between Habana and New York from the thirties to the fifties, New York became the place for that unique Latin Big Band sound. If not for that, Lucas van Merwijk might never have been in touch with this particular genre of Cuban music.”

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After pickin’-up some timmbale figures from his Antillian and Surinamese colleagues here in the Netherlands in the late ‘70’s, clave had invaded the then twenty-ish conservatory jazz drummer Lucas van Merwijk’s rhythmical essence.

Machito’s presence here during 1981 to 1984 knocked him for  a loop. That Latin New York Big Band sound...”did it.”

A wek-long contact here and analysis of the Latin-trap drumming of Cuban virtuoso Oscarito Valdez of Afro Cuba and the first of several visits to him and other artists in Cuba, followed.

Lucas has been with Jan Laurens Hartong’s acclaimed Latin jazz band Nueva Manteca ever since its inception. 

Despite succes with his adventuresome jazz, soul and funk groups, praise and prize throughout the Benelux countries and Latin-trap drumming teaching tasks at the Conservatory he put the Cubop City Big Band together.

Innovative pianist and arranger Colombian New Yorker Edy Martinez was this hip lowlander’s next major influence.

Otheere artists brought over to perform, teach and record here with the Cubop City Big Band an d Nueva Manteca have been......, 

Chocolate, Nicky Marrero, Orestes Vilató, Juancito Torres, Givanny Hidalgo, Claudio Roditi, John Santos, Luís Conte, Bobby Sanabria, Ralph Irizarry, Armando Peraza and Nelson Gonzalez.

 

After placing the orchestra on the Latin musical map in the United States with the Machito Project, Moré and More and Live in The Hague albums here is now his contribution to the enduring presence of a marker in the music, the main seminal figure of the Mambo Movement, Arsenio Rodriguez.

Robert Farris Thompson, professor of African and African American Artt at Yale universaty, said, that in Black Cuba Mambo, means...”the songs that you sing to the medicines of the gods. Something that energizes, something that will heal you.

Take it from this mambonil and medicine-man, Lucas van Merwijk and the Cubop City Big Band in this recording have concocted up thet mighty potion again!

Ira Goldwasser M.D., psychiatrist, a.k.a. Dr Salsa, radio program !Mambo!,

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