Mariachi Coculense de Cirilo Marmolejo – Mexico’s Pioneer Mariachis – Vol.1 (1926 – 1936) / Arhoolie CD-7011

Description

CD 7011

Cirilo Marmolejo – vocals and guitarrón with his mariachi. The Mariachi Coculense de Cirilo Marmolejo arrived in Mexico City in 1920 brought to the capital by a Dr. Luis I. Rodríguez to add “color” to a get-together of important revolutionary politicians. Marmolejo’s group was a tremendous success and these are the group’s rare first electrical recordings made between 1926 and 1936.

Added to this collection are four sones by Cuarteto Coculense recorded acoustically in 1908 which constitute the very first recordings ever made of mariachi music (the last four cuts on the CD).

Includes booklet with historical notes by John Clark photos transcriptions and translations of some of the songs.
1.El Toro
2.La Ensalada
3.El Gavilancillo
4.Las Cuatro Milpas
5.El Suchil
6.El Jilguerillo
7.El Durazno Mariquita
8.El Cuervo
9.La Manzanita
10.Tierna
11.La Chachalaca
12.La Pulquera
13.La Canelera
14.Blanca Palomita (Ando En Busca)
15.El Becerro
16.La Cantinera (Ando Borracho)
17.Las Gaviotas
18.El Torero
19.Lupita
20.El Enamorado
21.La Güerita
Cuarteto Coculense
22.Las Abajeñas
23.El Frijolito
24.El Tecolote
25.La Malagueña

REVIEW

“Today mariachi is synonymous with a large group of musicians beautifully dressed as charros. Standing in a semi-circle around their leader lush violins sweep away in answer to sweet trumpet calls all to support a gloriously trained voice. There are mariachi orchestras all over the globe. That’s now. In the beginning mariachi had its heart in Jalisco. This collection of early recordings show it was once a raw-edged folk style. Don’t buy this disc expecting the golden throat of Vicente. These songs are one of the Mexican answers to hillbilly singing. The earliest show a variety of songs that seem to have withered away-one tune could easily be passed off as a field-recorded tarantella. Today it is a disgrace for a mariachi to be out of tune or rhythm. In the earliest recordings it seemed not uncommon but the enthusiasm of the players makes those false steps of minor importance. Though those who are strictly fond of the modern mariachi may be bewildered by all the `new and strange’ sounds this is a fascinating recording for any person with historical interest in mariachi or Mexican culture.”

(Mary Armstrong — Sing Out!)