Hall of Fame

2011 – Rubén Fuentes

Monday, July 4th, 2011

Ruben FuentesRubén Fuentes is undoubtedly the most important musical figure in the history of mariachi music. More than any other individual, he is responsible for shaping mariachi music into what it is today.

In 1944, at age 17, Fuentes joined Mariachi Vargas de Tecalitlán as a violinist, and was soon promoted to musical director of the group. From the late 1940s on, his arrangements for Miguel Aceves Mejía, Pedro Infante, José Alfredo Jiménez, Lola Beltrán, Charro Avitia, Amalia Mendoza, Lucha Villa and other artists revolutionized mariachi music and set a standard that remains unsurpassed. It was under Fuentes’ direction that Mariachi Vargas de Tecalitlán became known as “El Mejor Mariachi del Mundo” (“The World’s Greatest Mariachi”).

Although he retired from Mariachi Vargas as a violinist in the late fifties, Fuentes remains the group’s general director. Over 200 of his songs have been recorded by well-known artists, and three times he won Mexico’s coveted Songwriter of the Year award. His songs are featured in over 300 films, over 50 of which he scored. Four of these won awards for best film score of the year. His productions for both Vikki Carr and Linda Ronstadt won Grammy awards, and three of his CDs for Lucero went platinum.

This year, Mariachi Spectacular of Albuquerque proudly inducts Maestro Rubén Fuentes — the most important musical figure in the history of mariachi music — into its illustrious Hall of Fame.

2010 – José “Pepe” Martínez

Tuesday, November 23rd, 2010

Jose Pepe MartinezJosé Martínez Barajas, better known as “Pepe Martínez,” was born in 1941 in Tecalitlán, Jalisco, the birthplace of Mariachi Vargas de Tecalitlán. His father, Blas Martínez, was a harpist who played for a period with Mariachi Vargas. When Pepe was eight years old, the Martínez family moved to Guadalajara, where he began an informal study of all the mariachi instruments. By the age of 10 he was playing for tips on city buses, and at 12 he was playing alongside his father in an official mariachi group of the Mexican Army. The talented boy soon caught the attention of General Bonifacio Salinas, who awarded him a three-year scholarship to study with concert violinist Ignacio Camarena. Before the three years were up, however, the virtuoso terminated their apprenticeship, insisting that young Pepe was already a full-fledged professional violinist and needed no further lessons.

At 15, Pepe left the army group to form his own youth mariachi, Los Tigres de Jalisco, which lasted less than a year. Soon he found himself in Mexico City performing with Mariachi Perla de Occidente, an ensemble that had been the training ground for numerous members of Mariachi Vargas and other famous groups. Here he gained invaluable experience recording with singers such as Javier Solís and performing in venues like the Teatro Blanquita.

In 1961 Pepe returned to Guadalajara to join Mariachi Los Tecolotes, recording his first musical arrangements on an historical album by that group. Later that year he traveled to Southern California, where he remained for five years with Mariachi Águila, one of the two best mariachi groups in the United States at that time. In 1966 he returned to Guadalajara where he formed the legendary Mariachi Nuevo Tecalitlán, one of the most prolific mariachis of all time, in terms of recorded output. It was with this group he cut his teeth as an arranger, recording over 500 original arrangements on over 100 long-playing records.

In 1975 Pepe joined Mariachi Vargas de Tecalitlán as its arranger and musical director, a position he holds to this day. It was with Vargas that his composing and arranging skills reached their pinnacle. His style is the most original of any of that group’s arrangers since Rubén Fuentes, and his influence on the mariachi genre has been immense. Many original Martínez creations, including Cuerdas de Satín, Popurrí Los Gallos, Violín Huapango, Viva Veracruz, La Fiesta del Mariachi, and El Viajero — as well as countless Martínez arrangements of pieces by other authors — have become standards throughout the mariachi world.

2009 – Gustavo A. Santiago

Monday, November 22nd, 2010

Gustavo SantiagoGustavo A. Santiago is one of the most important arrangers in mariachi music. “I was born listening to mariachi music,” says the musician whose father was a long time member of the legendary Mariachi Tapatío de José Marmolejo. Gustavo began his mariachi career playing nights in Plaza Garibaldi while studying during the daytime at schools like the Conservatorio Nacional and the Escuela Nacional de Música. In the mid-1950s, Silvestre Vargas invited Santiago to his second-string Mariachi Guadalajara. A few years later, he became a member of the famous Mariachi Vargas de Tecalitlán.

Concurrent with his performance and musical studies, Gustavo began writing musical arrangements, over five thousand of which have been recorded. Among Mexican artists he has arranged for are Antonio and Pepe Aguilar, Felipe Arriaga, Charro Avitia, Aída Cuevas, Lola Beltrán, Chelo, Cristian Castro, Flor Silvestre, Juan Gabriel, Lucero, Manolo Muñoz, Juan Mendoza, Ángeles Ochoa, Julio Preciado, Cornelio Reyna, Juan Valentín, Alberto Vázquez, Lucha Villa, and Hermanos Záizar.  International artists he has written for include Nat King Cole, Rocío Dúrcal, Raphael, and Camilo Sesto. Mariachis that have recorded his arrangements include Vargas de Tecalitlán, Oro y Plata, and América de Alfredo Serna.

Two Gustavo A. Santiago arrangements were recently chosen as themes for popular Mexican soap operas: “Me Voy a Quitar de en Medio” for La Mentira (sung by Vicente Fernández) and “La Mitad que me Faltaba” for Niña, Amada Mía (sung by Alejandro Fernández). One of his more recent discoveries is vocalist Paquita la del Barrio, for whom he has written all of her mariachi arrangements.

2008 – Juan Pinzón Saldaña

Monday, November 22nd, 2010

Juan Pinzon        Violinist, Vocalist, Arranger, Musical Director

Juan was born in 1930 in the town of Ameca, Jalisco. At the age of 8, ambition motivated him to move to Mexico City, where he lived with his godfather and began studying music in the Plaza Garibaldi. A few years later, young Juanito was playing violin in that plaza with a youth group called Mariachi Los Aztequitas, the first of several groups he would join. From 1951 to 1955, he worked with Mariachi Perla de Occidente, which accompanied Pedro Infante extensively. In 1955, Pepe Villa asked Pinzón to join Mariachi Jalisco, Villa’s second-string group, and in 1958 he graduated to Villa’s famous Mariachi México, where he remained for half a decade.

The most important brake of Pinzón’s musical career came in 1963, when Silvestre Vargas invited him to join the group he had aspired to play with all his life: Mariachi Vargas de Tecalitlán. Juan remained with Mariachi Vargas for three decades, during which time he consummated his talents not only as a violinist and vocalist, both also as an arranger and musical director.

It is with great pride that Mariachi Spectacular Hall of Fame Inducts Juan Pinzón, one of mariachi music’s immortal greats, into its illustrious ranks.

2007 – Pedro Ramírez Velázquez

Monday, November 22nd, 2010

Pedro Ramirez        Pedro Ramírez Velázquez—this year’s Mariachi Hall of Fame inductee—was born in 1939 in the village of Acámbaro, Guanajuato. In 1945, His family moved to Mexico City, where his father, a banda musician, soon found work as a trumpet player in the Plaza Garibaldi.

From a very early age, Pedro demonstrated a fascination for the trumpet. After his father finally put a lock on his instrument case to keep his son’s energetic horn bowing from waking him up each morning, young Pedro turned his attention to a clay toy trumpet exchange for fruits and vegetables.

Acknowledging the boy’s seriousness, Fermín Ramírez bought his son a real trumpet, which allowed Pedro to join his first mariachi. Soon Fermín started his own group in Plaza Garibaldi. Even though virtually no other mariachi of the late 1940s used two trumpets, Fermín had his son play second trumpet next to him, just to keep the boy by his side. Criticized by many while admired by others for its instrumentation, this group remained unknown. During this formative period, Pedro’s uncle taught him to read and write music; and he began studying formally at the Esculea Libre de Música. By his early teens, Pedro was already playing trumpet better than most adult musicians.

The few mariachi recordings in existence by that time that featured two trumpets had met with limited acceptance. In 1953, however, after Pepe Villa’s Mariachi México had a series of two-trumpet instrumental hits, the trumpet duo became the rage in mariachi music. When Miguel Martínez left Mariachi México in 1954, Pepe Villa invited 14-year old prodigy Pedro Ramírez to play second trumpet with the group, Since Ramírez had already been playing in duet with is father for years, he adapted to Villa’s mariachi immediately.

Pedro Ramírez remained with Mariachi México as a trumpet player for two decades, through both that group’s glory years and the Golden Age of mariachi music. By the late 1960s, he was actively writing musical arrangements, and his service in that area were so much in demand that 1974 he left Mariachi México to devote himself to arranging, directing, and producing. In this capacity he has collaborated with Vicente Fernández, Angélica María, Leo Dan, Roberto Carlos, Lorenzo de Monteclaro, Gerardo Reyes, Vikki Carr, Manoella Torres, Rosenda Bernal, Beatriz Adriana, Hermanos Záizar, Pedro Fernández, Alejandro Fernández, and other artists far too numerous to list.

The following awards stand out among the many that Pedro Ramírez has received: Grammy for Best Producer in Mexican-American Performance category, 1985 (Simplemente Mujer, Vikki Carr); Latin Grammy for Best Producer in Ranchero category, 2000(Mi Verdad, Alejandro Fernández); Latin Grammy for Best Producer in Rancher category, 2004 (En Vivo Juntos Por Última Vez, Alejandro Fernández and Vicente Fernández).

Pedro Ramírez is currently the exclusive musical director for both Vicente and Alejandro Fernández, although he occasionally finds time to contribute arrangements for releases by other artists, as he did on the latest Christian Castro CD.

This year, Mariachi Spectacular’s Hall of Fame is proud to induct Pedro Ramírez—one of the most important musicians in the history of mariachi music—into it prestigious ranks.

2005 – Rigoberto Alfaro

Monday, November 22nd, 2010

Rigoberto Alfaro Rigoberto Alfaro, one of the most influential musicians in the history of mariachi music, is the 2005 Mariachi Spectacular International Hall of Fame inductee. If you listen to mariachi music, you have probably heard countless arrangements and recorded performances of his.

Rigoberto Alfaro Rodríguez was born in Yurécuaro, Michoacan on November 1, 1934, the fourth of eight children born to mariachi violinist Guadalupe Alfaro and his wife, Esperanza Rodríguez. When he was nine years old, Rioberto’s family moved to Nuevo Laredo, Tamaulipas, where they remained for five years. From Nuevo Laredo, they moved to Mexico City, where young Alfaro began his musical career as a guitar player in his father’s group, Mariachi Arandense, an ensemble that worked in the famous Plaza Garibaldi.

Mariachi Arandense had many talented musicians, and it wasn’t long before better groups began to recruit them. When this attrition caused his father’s mariachi to disband, Rigoberto took advantage of the respite to enroll in the Escuela Libre de Música y Declamación, where he was introduced to concepts that would later prove useful to him in writing musical arrangements.

Highly sought-after as a mariachi guitarist and vocalist, Alfaro was a member of many of Mexico’s best groups during the 1950s, including Los Mensajeros, Mariachi de Miguel Diaz, Mariachi Perla de Occidente, and Mariachi Jalisciense. As a member of Perla de Occidente, he participated in the first recordings of Javier Solis, and accompanied Pedro Infante on his final tour in 1957. In 1958, Rigoberto joined the greatest mariachi in the world: Mariachi Vargas de Tecalitlán, where he would remain for 13 years.

During his tenure with Mariachi Vargas, Rigoberto Alfaro became leader of what would become known as the world’s greatest mariachi rhythm section, comprised of himself on guitar, Victor Cardenas on vihuela, Natividad Santiago on guitarrón, and Arturo Mendoza on harp. Together, these four musicians redefined the role of the mariachi rhythm section, and introduced countless innovations to mariachi music. 2002 Hall of Fame inductee Victor Cardenas considers himself an Alfaro protégé.

It wasn’t until his third year in Mariachi Vargas that Rigoberto began to write formal musical arrangements, launching the phase of his career for which he is best known today. During the 1960s, his involvement in arrangement and musical direction increased steadily. Though widely considered the greatest mariachi guitarist of all time, he put his beloved instrument aside and left Mariachi Vargas in 1970 to pursue these activities full time.

In his new career, Alfaro became a producer for a number of record companies, including Rex, Gas, Capitol, and Gamma. He was musical director of radio station XEQ’s Festival de la Canción Ranchera y Norteña for three years.

Alfaro has been folkloric director for many popular television programs, including Noches Tapatías, Este México Nuestro, Noche a Noche, El Estudio de Lola Beltrán; México, Magia y Encuentro; Estampas de México, and Siempre en Domingo. For over ten years, he has been musical director for Televisa’s annual Las Manañitas a la Virgen broadcast from the Basílica de Guadalupe. He also wrote original motion picture scores for El Sinaloense, Allá en el Rancho de las Flores, and other films.

Rigoberto’s original arrangements for recording artists include El Rey for José Alfredo Jiménez; Me Caí de La Nube for Cornelio Reyna; La Bikina for Mariachi Vargas de Tecalitlán; ¿De Qué Manera To Olvido? And Por Tu Maldito Amor for Vicente Fernandez; Piel de Niña for Alejandro Fernández; and La Muerte del Palomo for Rocío Dúrcal, just to name a few.

Other artists he has arranged for include, Juan Gabriel, Pep Aguilar, Ana Bárbara, Manuela Torres, Pedro Fernández, Alberto Vázquez, Rocío Banquells, Pablo Montero, Carmela y Rafael, Lola Beltrán, Amalia Mendoza, Miguel Aceves Mejía, Maria de Lourdes, Aída and Carlos Cuevas, Guadalupe Pineda, Lucha Villa, “El Piporro,” Rosenda Bernal, José María Napoleón, Juan Torres, Joan Sebastián, and innumerable others. Alfaro remains quite active today as an independent producer and director.

In 1982, Mexco City’s Sindicato Único de Trabajadores de la Música honored Alfaro with the prestigious Lira de Oro award for his distinction as one of Mexico’s most influential arrangers. Last year, Mariachi Vargas de Tecalitlán and the mariachis of Plaza Garibaldi paid formal homage to him in a ceremony on Saint Cecilia’s Day. This year, the Mariachi Spectacular of Albuquerque takes great pride in inducting into its International Hall of Fame one of the most important musicians in the history of mariachi music—maestro Rigoberto Alfaro.

2004 – Natividad “Nati” Santiago (1940-1992)

Monday, November 22nd, 2010

Natividad Santiago	Natividad “Nati” Santiago joined Mariachi Vargas de Tecalitlán as a teenager in 1959 and soon developed speed, precision, tone, and an evenness or register previously unknown to the instrument. He remained with the group for almost 30 years.

In addition to his contributions to the evolution of the guitarrón technique, Nati created some of the most innovative bass lines ever played on the instruments, as countless recordings attest to. As leader of the Mariachi Vargas rhythm section, Nati’s influence extended far beyond the bass part, his musical ideas playing a considerably more important role in the ensemble than is commonly acknowledged.

Yet perhaps Nati’s greatest achievement was in the literally thousands of songs he recorded where the guitarrón doesn’t stand out, but rather stays in the background and allows the vocals and other instruments to shine. One of his greatest virtues was subtlety, and Nati always seemed to play exactly what the song or arrangement required: not a note more or not a note less.

Nati was living, breathing essence of mariachi music. To watch him play was exciting, both musically and visually. He projected rhythm and expression with his entire body, creating an imposing stage presence. Off stage, with friends, he would dance the Vihuela part to any son Jalisciense while playing the guitarrón and singing all the time keeping perfect rhythm.

Nati was a musician’s musician. He was a flawless sight-reader and master improviser; the most folkloric, yet the most modern; the most technical, yet the most soulful of guitarrón players. Classical or folkloric, sight reading or by ear, amplified or un-amplified, under a conductor’s baton or livening up a fiesta—Nati had no peers.

Natividad Santiago was a unique phenomenon in Mariachi music. Although he dies young, Nati’s contributions to his art have already earned him an immortal place in mariachi history. We welcome Natividad Santiago as the 8th member of the International Mariachi Hall of Fame.

2002 – Victor Cardenas Garcia “El Pato”

Monday, November 22nd, 2010

Victor Cardenas “Pato” was born on March 5, 1939 in a pueblo named Concepcion de Buenos Aires in the state of Jalisco, Mexico. He was the youngest of three brothers. He started playing music in 1948 at the age of nine with Señor Elias Contreras with whom he got some experience.

After he discovered his love for music he decided to take classes with Señor Aristeo Garcia Cuevas, an uncle of his whom he as with until he was 13 years old, and who played with Mariachi Concepcion. The next year, in 1953, he arrived in México City where he began to work in the streets to make money to eat. After some time looking for a job in the city he became a member of the Mariachi de Miguel Diaz. He played with them in various places such as restaurants, parties and special events.

In 1958, he left this group and became a member of Mariachi Aguilar where the principle voices were Señor Javier Solis and Señor Felipe Arriaga. The group played in the Azteca Bar in Mexico City and later moved to Amanecer Tapatio, the famous place of the Garibaldi. While “El Pato” was working there, Señor Federico Mendez observed him and recommended him to Señor Silvestre Vargas who was in charge of looking for talent for his mariachi.

Days later, Señor Vargas, accompanied by Señor Heriberto Molina (El Cura) visit the restaurant “Amancer Tapatio” to watch and interview Señor Garcia. During the interview, they invite him to become a member of Mariachi Vargas de Tecalitlán. He accepted, and since 1960 has been a member of the wonderful legend of Mariachi Vargas de Tecalitlán. He has shared the music of Mexico with great pride all over the world. “Pato” forms part of the fourth generation of Mariachi Vargas de Tecalitlán and is considered the best vihuela player in the world.

2000 – Arturo Mendoza

Monday, November 22nd, 2010

Arturo Mendoza The Dean of Mariachi Harpists

The harp tradition of the sleepy, southern Jalisco village of Zapotiltic goes back to at least the 19th Century. Native José Mendoza (1903-1990) was among the finest practitioners of the instrument that town was famous for. In 1934, Don José joined a mariachi led by Silvestre Vargas in the neighboring town of Tecalitlán, and he was a member of that now-famous group when it moved its home base to Mexico City. Although José returned to Zapotiltic less than a year later, the left-hand bass octave technique that he introduced during his brief tenure with Vargas has been fundamental for every guitarrón and harp player who succeeded him in Mariachi Vargas.

The only musician of 18 children born to Jose and Filomena Mendoza was Arturo, a boy who learned his father’s craft exceedingly well. In 1945, the 15-year-old harp prodigy—like his father before him—was invited to join Mariachi Vargas.

“I took him (to Mexico City) on the train,” recalled José Mendoza. “We arrived on Thursday of Easter week, and there was a program on XEW (radio) with the Hermanas Ruelas. They sang Jalisco and Cocula, both in the key of G. He didn’t miss a note! Gaspar(father of Silvestre Vargas, and guitarist with the mariachi) said: ‘this kid’s going to be good, you’ll see!’”

Arturo remained with the world’s most famous mariachi for over 50 years, witnessing the rise, fall, and subsequent rebirth of mariachi music, and becoming a major contributor to its evolution. In conjunction with three generations of guitarrón players—Gonzalo Meza, Nati Santiago, and Enrique Santiago—Mendoza continued the precedent set by his father in defining the mariachi bass line as we know it today.

In 1957 Arturo married Silvestre Vargas’ daughter, Estela, with whom he has five children. When Vargas was forced to limit his activities due to health problems in 1959, Mendoza took over the group’s administration from his father-in-law. Mendoza remained Coordinator of Mariachi Vargas de Tecalitlán until he retired from the group in 1996.

Arturo and Estela Mendoza currently reside in Zapotiltic. Their son, Enrique—continuing the tradition established by his father and grandfather—plays harp with Mariachi Vargas today.

1998 – Manuel Esperon Gonzalez

Monday, November 22nd, 2010

Manuel Esperon Born in Mexico City, Manuel Experón Gonzales graduated in music from the Escuela Superior de Música in that nation’s capital. He began his musical career in the 1920s as a pianist for leading vocalists of the day, as well as accompanist for silent films.

The 1933 motion picture La Mujer del Puerto was the first film Esperón scored a soundtrack and composition. His subsequent movie credits include Ay Jalisco no te Rajes, Allá en El Rancho Grande, El Penon de las Animas, Los Tres Garcia, Nosotros Los Pobres, Ustedes Los Ricos, Pepe el Toro, and nearly 6000 other Mexican films.

Esperón’s 95 hit songs composed for cinema include Arandas, Amorcito Corazón, Esos Altos de Jalisco, Serenata Tapatía, Cocula, Traigo un Amor, Noche Plateada, Me he de Comer esa Tuna, No Volveré, Tequila con Limón, Mi Cariñito, Flor de Azalea, Yo So Méxicano, and El Corrido de Jorge Torres.

Maestro Esperón was musical director and principle songwriter for two of the greatest interpreters of Mexican song: Jorge Negrete and Pedro Infante, during their entire careers.

Esperón served as musical director for over 30 years for such television series as Ella y El, Noches Tapatías, and Así es mi Tierra, which featured famous ranchera singers, mariachis, trios, and orquestras. He directed Vicente Fernández and Alberto Vásquez in their television premieres.

Other recording artists he directed in films include Libertad Lamarque, Luis Aguilar, Pedro Vargas, Miguel Aceves Mejía, María Félix, Lola Beltrán, Silvia Pinal, Joaquín Pardavé, Antonio Badú, Ramon Armengod, Emilio Tuero, Carmen Sevilla, Manuel Capetillo, “Charro” Avitia, Flor Silvestre, Antonio Aguilar, Trio Las Calaveras, German Valdez “Tin Tan,” Mario Moreno “Cantinflas,” Javier Solís, and Lucha Villa, Many of his earlier hits have been recorded in recent years by such artists as Julio Iglesias, Plácido Domingo, Yuri, José Luis “El Puma,” Thalia, Tania Libertad, and Armando Manzanero.

Maestro Esperón set a precedent in 1941 when he mounted his arrangement of Cocula with Mariachi Vargas de Tecalitlán, to accompany singer Jorge Negrete, Since the, musical arrangements have become a necessity for mariachi groups.


Copyright © 2010 Mariachi Spectacular de Albuquerque. Web Development Karen Arnold Design