Born August 31, 1911
Güira de Macurije, Matanzas Province, Cuba
Died December 31, 1970 (aged 59)
Los Angeles, California, United States
Genres Son montuno, guaracha, guaguancó, bolero, afro, cha-cha-cha, lamento
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 Afro-Cuban 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, “watered-down.” 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-of-four” (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.
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).
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’ tres-guitarists 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 two-celled. 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.
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”  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”  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 horn-based 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.
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.
“Fuego en el 23”
“Como traigo la yuca”
“La fonda de el bienvenido”
“Mami me gustó”
“El reloj de la Pastora”
“Dame un cachito pa’ huelé”
“Yo no como corazón de chivo”
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 (bolero),” A. Rodríguez, 23-0428 (1945).
“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),” A. Rodríguez, 2 RCA 3-6840 (1955).
“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).
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 Afro-Cubano 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: Tumbao Cuban Classics TCD017 (1950).
By Pete Nater
2015 Lost and Found Buena Vista Social Club Composer
2012 Leyendas de la Fania, Vol. 2  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 Cuba, Vol. 2 [Kubaney] Primary Artist
2008 Cuba: Latin Jazz Primary Artist
2008 El Alma de Cuba Arsenio Rodríguez Primary Artist
2008 Joe Strummer’s Jukebox Joe Strummer Primary Artist
2008 Salsa One 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] Primary Artist
2005 Cafe Latino [Metro] Primary Artist
2005 Canta Ray Reyes Charlie Rodriguez Primary Artist
2005 Coleccion de Oro: El Inolvidable Bienvenido Granda Composer
2005 Cuba [Frank Andrada] Primary Artist
2005 Cubana Day Primary Artist
2005 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 Arsenio Rodríguez Primary Artist
2004 Sabor Popular de Cuba: Grabaciones Históricas 1955-1996 Primary Artist
2004 Se Va el Caramelero Orquesta Casino de la Playa Vocals
2004 Simply Salsa [Box Set] Primary Artist
2004 Sonidos Nuevos Damon Grant Composer
2004 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  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 Primary Artist
2002 Cuban Passport Primary Artist
2002 Cubop City Machito Composer
2002 Habana Club: A Cuban Jam Session Primary Artist
2002 Homage to Benny More 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 Beny Moré Composer
2001 Havana Nights Gabino Pampini Composer
2001 In Person: 1940-1942 Radio Broadcasts Xavier Cugat Composer
2001 King of Mambo Tito Puente Composer
2001 Lo Mejor de lo Mejor Beny Moré Composer
2001 Los Mejores Duos de Cuba Composer
2001 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 La Sonora Ponceña Composer
2000 Arsenio Rodriguez y su Conjunto Su Conjunto Primary Artist
2000 Asi Nacio la Salsa, Vol. 2 Primary Artist
2000 Bim Bam Bum [Musica Latina] Xavier Cugat & His Orchestra Composer
2000 Blen Blen Blen Machito Composer
2000 Boleros de Cuba 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 Greetings from Cuba, Pt. 2 Composer
2000 Imperdonable Ignacio Piñeiro Composer
2000 Johnny Pacheco Johnny Pacheco Composer
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 The Story of Cuba Composer
2000 Tribute to Benny More Yakare Composer
2000 Venga Fiesta Son 14 Composer
1999 15 Exitos Bailables La Patrulla 15 Composer
1999 Afro Blue [Blue Note] 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 El Son De Cuba [Globe] Composer
1999 En el Rincon Chocolate Composer
1999 Havana Cafe Barbarito Torres Composer
1999 Havana Club: Son Puro Cubano Composer
1999 Jimmy el Leon Y Su Orquesta Jimmy Leon Composer
1999 La Charanga Eterna Orquesta Aragón Composer
1999 La Cumbancha 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 Composer
1998 Afro Cuban Roots, Vol. 6: Havana After Hours Composer
1998 Authentic Salsa Composer
1998 Ay Que Bueno Merceditas Valdés Composer
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 Felix Chappottin Composer
1998 La Coleccion Cubana Irakere Composer
1998 Latin Dance Party [Charly] Composer
1998 Machetazo!: 10 Years on the Edge John Santos Composer
1998 Mega Caraibes 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 2 Inolvidables Lino Borges Composer
1997 35th Anniversary El Gran Combo de Puerto Rico Composer
1997 Bolero Orquesta América Composer
1997 Boleros Con Feeling, Vol. 7: La Vida es un Sueno 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] Septeto Santiaguero Composer
1997 Pianissimo Chucho Valdés Composer
1997 Rough Guide to Salsa Composer
1997 Soneros: La Tradition de Cuba, Vol. 2 Arsenio Rodríguez Guitar, Primary Artist, Vocals
1997 Yo Soy del Son a La Salsa Composer, Performer, Primary Artist
1996 Amor, Pasion Y Bolero Composer
1996 Bailables Para Toda Ocasion 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 Igual Que Ayer Pablo Milanés Composer
1996 Leyenda Viva, Vol. 2 Oscar D’León Composer
1996 Me Llamo Son No Me Llamen Salsa Super Son Banda Composer
1996 Palabras Omara Portuondo Composer
1996 Palacio de la Salsa Composer
1996 Recuerdos de Mi Barrio Performer, Primary Artist
1996 Serious Reggae Business 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 Bailando Asi/Irakere Irakere Composer
1995 Canta La Musica Cubana, Vol. 2 Oscar D’León Composer
1995 De Cuba: Su Música, Vol. 4 Primary Artist
1995 El Guanajo Relleno Sierra Maestra Composer
1995 Exitos De PM Records, Vol. 1: De Todo Para Bailar Composer
1995 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 Afro-Cuban 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 Composer
1994 Baila Mi Gente Composer
1994 Cuba Y Su Musica Performer, Primary Artist
1994 El Timbral Tito Puente Composer
1994 Estrellas de La Fania, Vol. 4 Fania All-Stars Composer
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 My Time is Now Mario Bauzá Composer
1992 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 Composer
1975 Echoes of an Era Charlie Palmieri Composer
1974 Live in Quad Orchestra Harlow Composer
1974 Salsa 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 Arsenio Rodríguez Composer, Primary Artist
196? Sabroso y Caliente Arsenio Rodríguez Composer, Guitar, Primary Artist, Vocals
1969 Ahí Na Má!: Put It There! Cortijo y Su Combo Primary Artist
1968 Arsenio Dice Arsenio Rodríguez Composer, Primary Artist
1968 Hacheros Pa’ un Palo La Sonora Ponceña Composer
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 Guitar, Primary Artist, Vocals
1950 Anabacoa Arsenio Rodríguez Guitar, Primary Artist, Vocals
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 Guitar, Primary Artist, Vocals
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 Composer, Primary Artist
De La Raíz a La Salsa 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