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Home , Canciones de Mi Padre, Cuarteto, Guitarra de golpe, Mariachi los Camperos, Nati Cano, Regional Mexican

Cal Performances Presents Cast

Sunday, December 21, 2008, 3pm Los Camperos Zellerbach Hall Violin Jesús “Chuy” Guzmán, Raúl Cuellar, Ismael Hernández, Jimmy Kyle Cuellar Fiesta Navidad Guitarrón Juan Jiménez Harp Sergio Alonso Javier Rodríguez, Ariel de la Rosa

Dancers courtesy of Teoctl, Miguel Díaz, Artistic Director.

Fiesta Navidad Production Staff Lighting & Projection Design Matt O’Donnell Audio Design & House Engineer Gilberto “Gil” Morales Producer José Delgado

Pleiades Management manages de Nati Cano. Call (323) 665-8040 for more information.

Booking: Paul Bongiorno, Opus 3 Artists, tel. (212) 556-6804; [email protected], www.opus3artists.com.

starring Mariachi Los Camperos de Nati Cano

Jesús “Chuy” Guzmán, Musical Director Nati Cano, Director

This evening’s program will be announced from the stage.

Cal Peroformances’ 2008–2009 season is sponsored by Wells Fargo Bank.

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Fiesta Navidad they disprove a popular myth that emerged decades beginning in the 1930s. Movies with ranchero Today, the typical mariachi ensemble consists later claiming that the word mariachi derived from (country) themes, like Allá en el Rancho Grande of two , three violins, guitarrón, vihuela In , the month of December is filled with the French mariage. The French occupied Mexico (1936), Jalisco nunca pierde (1937) and Ay, Jalisco, and six-stringed . Themariachi de lujo (deluxe a myriad of regional fiestas. Some trace their roots in the 1860s, and, as the story goes, the musicians no te rajes (1941), featured , and charro mariachi, like Mariachi Vargas and Los Camperos) to the customs of native Indians celebrating their performing for the French imperialists at weddings cantante (singing cowboy) film superstars like Jorge would typically have two trumpets, four or more various winter feast days. Later, Christian dei- (mariages) were given the name “mariachi.” The Negrete and Pedro Infante were accompanied by violins, harp, guitarrón, vihuela and six-string gui- ties replaced Indian deities and some celebrations term mariachi in all likelihood has its roots in one mariachis. Professional songwriters wrote new tar. The latter half of the 20th century saw some evolved into popular traditions. The best known of the Indian languages of the region, possibly in compositions in a música típica, pseudo folk music, further experimentation with other instruments, example is the Fiesta de La Posada, celebrated be- the now extinct language of the Coca people. In his vein, contributing in this way to shaping the media- flutes, for example, by mariachi arrangers, but no tween December 16 and 24. 1908 book Paisajes de Occidente, Enrique Barrios de driven images of rural people and themes. The era further lasting innovations in instrumentation La Posada began in the 16th century as a litur- los Ríos described festivities in the coastal region following the Revolution (1910–1917), particu- have occurred. gical event to celebrate the pilgrimage of Joseph and around Santiago Ixcuintla in the 1890s. He wrote larly the nationalistic regime of President Lázaro Mariachi repertoire also has evolved. The fast- Mary to Bethlehem. Processions were added in the of dance platforms (tarimas) called mariachis, Cárdenas (1934–1940), saw the crafting of images paced, syncopated son, once the main staple of 17th century to involve more people. Participants about one yard wide, two yards long and one-and- evoking national identity, with mariachi music the mariachi repertoire, became relegated to one begin the nine-day ceremony by asking for sym- a-half feet off the ground, placed between stands being one of the most prominent of those im- of many musical genres played by the mariachi. bolic lodging. The involvement of communities of the outdoor market in the town plaza: “All night ages. The radio, recording and cinema industries The canción , with its focus on the vocal serves to enrich the tradition, coloring the festivi- long, and even during the day, people danced lively continued their expansion in the 1940s, and the expression of a solo singer, came to dominate the ties with local and regional characteristics. jarabes to the sound of the harp, or of violin and presence of the mariachi in national life increased. song repertoire in the 1950s. The suavely inter- Organizing and preparing the celebration is vihuela [guitar], or of violin, , cymbals The advent of television in the 1950s further cen- preted, romantic , popular in Mexico since passed from father to son. Families and friends and , in a deafening quartet.” tralized the creation and diffusion of culture. The the 1920s, has been a major category of mariachi decide on a schedule of homes to be visited. The Twentieth-century Mexico was a time of enor- mariachi, through its adaptation to these revolu- song since the late 1950s. The , inspired hosts and guests recreate Joseph and Mary’s search mous population growth and urbanization. From tionary changes and its inclusion in the products of by the distinctive rhythms, complex violin playing for lodging through song. The guests gather out- 1900 to 2000, Mexico’s population increased eight- popular culture, was able to maintain an identity and falsetto vocal ornaments of the regional folk side the home to request a place to stay and the fold to around 100 million people, and the popula- connected to its rural origins and to the joys, pas- huapango of the Huastecan region in northeastern host’s answer, first by refusing and then welcoming tion of greater Mexico City increased by a factor of sions and problems of everyday people. Mexico, also is an important vehicle of mariachi them, signaling the start of the evening’s fiesta. 40, to over 20 million people, more than a fifth of Over time, urban growth and the electronic song. Polkas, , waltzes, schottisches, melo- Mariachi Los Camperos opens with the tradi- Mexico’s inhabitants. People from the rural areas, media drove a transformation of the rural ma- dies from and Latin American tional petition for lodging (Posada), but the real fiesta musicians included, flocked to the cities in search riachi, evolving from ensembles of three to five folk music traditions, and opera overtures, begins when the curtain raises and the journey is led of opportunity and the conveniences of urban life. musicians emanating from small towns in Jalisco and other forms have been arranged for mariachi. by mariachi master Natividad Cano. In 1905, the four-member mariachi led by Justo and surrounding states, to larger groups of eight More recently, cumbias and merengues from the Villa of the town of Cocula outside of or more musicians based primarily in large cit- Latin Caribbean, as well as North American rap traveled to Mexico City to perform for the birthday ies. Local mariachi instrumentation, particularly music, have been taken up by the mariachi. Mariachi Origins of President Porfirio Díaz, considered to be the first the “lowlands” (Bajío) style with guitarrón (large performance by a mariachi in the capital. Many bass guitar), guitarra de golpe (five-stringed, flat- Daniel Sheehy, Director and Curator, In 1852, Cosme Santa Anna, a priest in Rosamorada other mariachis followed. Growth of the electronic backed guitar) or vihuela (five-stringed guitar with Smithsonian Folkways Recordings parish of the west Mexican community of Santiago media and the commercialization of music also a round, spined back), and violins melded with the Ixcuintla, wrote to the archbishop in Guadalajara marked the 20th century. In the period 1908– “highlands” style that preferred the large harp over to complain of “mariachis”—entertainment with 1909, “all three major American phonograph com- the guitarrón. A single trumpet was added to the The Instruments of Mariachi music, drinking, gambling and loud talk by “men panies—Columbia, Edison and Victor—recorded ensemble in the 1940s, and during the 1950s, two on foot and on horseback”—that occurred on the Coculense in Mexico City.” Cuarteto trumpets became more the standard. From the The original mariachi came from rural Western Holy Saturday in the town plaza in front of the Coculense was the name given to Villa’s group. mid 1950s to the present, the preeminent model for Mexico, primarily the states of Jalisco, Colima, church. This is the first known written record Thanks to Chris Strachwitz and his Arhoolie re- modern mariachi groups has been Mariachi Vargas Michoacan, Nayarit and Sinaloa. The first groups of the word “mariachi” connected to music and cord label, many of these and other early mariachi de Tecalitlán. Originating in 1898 in the town of were string-based ensembles, making the term merrymaking. In 1859, the cleric Ignacio Aguilar recordings are available today. Tecalitlán, Jalisco, the group relocated to Mexico mariachi “band” inappropriate as bands, by defi- wrote that in Tlalchapa, Guerrero he heard a music Radio and cinema brought mariachi music City in the 1930s, and, under the leadership of the nition, emphasize brass and woodwinds. The first called “Mariache, comprised of large harps, violins into the lives of Mexicans in all corners of the na- late Silvestre Vargas (1901–1985), achieved great mariachi instrumentation consisted primarily of and bass drum played without rest.” These histori- tion. The powerful station XEW broadcast ma- success, appearing in over 200 films and making violins and the diatonic harp—a non-pedal and cal references are important to historians, because riachi music throughout the Republic and beyond countless recordings with RCA Victor of Mexico. therefore non-chromatic instrument. The harp

26 CAL PERFORMANCES CAL PERFORMANCES 27 Program Notes About the Artists provided rhythmic and harmonic support while used four or five gut strings; eventually the instru- Mariachi Los Camperos de Nati Cano has a recording as a guest artist with the prestigious the violins played the melodic lines. ment became standardized with six nylon strings, existed for 47 years and is noted for demanding Mariachi Vargas de Tecalitlan. Mr. Guzman also As the mariachi ensemble developed, a small, giving it sufficient volume to support the bass. musical arrangements that highlight the individ- toured and recorded with on her generally five-stringed flat-back guitar, called a Because it is capable of modulating to different ual skills and voices of the players. The ensemble Grammy Award-winning , Canciones de quinta or guitarra de golpe, was added to support keys (and easier to carry), the guitarrón eventually employs the finest musicians from Mexico and the Mi Padre, and has appeared in several Hollywood the rhythm. In the area around Cocula, for reasons replaced the harp in most ensembles. United States and has performed for audiences films, includingMi Familia, starring Jimmy Smitts not completely understood, a rounded-back set of In the early 1930s, when the ensembles began throughout the United States and Canada. and Edward James Olmos, Jerry Maguire, starring instruments was used instead. The five-stringed to think in terms of arrangements and commercial Mariachi Los Camperos was one of four mari- Tom Cruise, and Sex and the City. vihuela, a rounded-back instrument, along with possibilities, a trumpet was added, the rationale achis that collaborated on Linda Ronstadt’s album, the more recent addition of the guitar, provides the being that it would create a better, more penetrat- (“Songs of My Father”). Both a traditionalist and a visionary, Natividad underlying rhythm essential for the musical sound ing sound for radio broadcasts. In later years, two In 1988–1989, the group worked on the promo- Cano has both mirrored and shaped the history of of every mariachi ensemble. trumpets have become a standard part of mariachi tion of the album, including national television mariachi music. He was born in 1933 into a fam- The guitarrón, a larger rounded-back instru- ensembles, although it is not uncommon to find appearances on programs including The Tonight ily of mariachi musicians of Ahuisculco, Jalisco, a ment, plays the bass line. The original guitarrón three or more in some of today’s groups. Show with Johnny Carson and the Grammy small, rural town much like the many other west Awards. They also appear on Linda Ronstadt’sMas Mexican communities that gave life to maria- Canciones. In 2005, they shared a Grammy with chi tradition. His career took him first to nearby other artists that recorded a tribute album honor- Guadalajara, Mexico’s second-largest city, and ing Ella Jenkins, titled cELLAbration. then farther away to , one of the most Los Camperos have been featured in three PBS populous and influential cities of “greater Mexico.” specials, including Americanos, Mariachi, the Spirit In Los Angeles, he and the group he founded of Mexico and Fiesta Mexicana. and directed nearly 45 years ago, Los Camperos, The ensemble has recorded 10 , includ- emerged as a major driving force of the mariachi ing Puro Mariachi (Indigo, 1961), North of the music tradition in the United States and, to a cer- Border (RCA/Carino, 1965), El Super Mariachi, tain extent, in Mexico as well. Los Camperos (Latin International, 1968), Valses de Amor (La Fonda, 1973), Canciones de Siempre (PolyGram Latino, 1993), Sounds of Mariachi (Delfin, 1996),Fiesta Navidad (Delfin, 1997),Viva el Mariachi (Smithsonian Folkways, 2003) and Llegaron Los Camperos (Smithsonian Folkways, 2004). Their latest recording, Amor, Dolor y Lagrimas (Smithsonian Folkways, 2008), was re- leased in May.

Jesus “Chuy” Guzman (Musical Director) joined Mariachi Los Camperos in 1989. Widely rec- ognized as an arranger, director, instructor and musician in the genre, he is the musical director of the ensemble and master of numerous tradi- tional mariachi instruments: trumpet, vihuela, guitarrón, guitar and violin. Over the last decade, Mr. Guzman has served as head instructor for over 55 international mariachi festivals in the United States and Mexico and continues as the instruc- tor for Ethnomusicology 91K, , at UCLA. His career highlights include collabo- Nati Cano ration on the orchestration and musical arrange- “I first heard Los Camperos in 1968 at La Fonda, ments for the Symphony Orchestra of Jalisco and the restaurant they had opened that same year at

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2501 Wilshire Boulevard in Los Angeles. I was a (country songs) held the greatest attraction. The student at UCLA, where I had joined the student pieces in the popular music vein seemed like an mariachi ensemble, a ‘world music’ performance encroachment of commercial interests on the older class of the Institute of Ethnomusicology. For me repertoire that made mariachi music special. Little and my fellow student mariachi enthusiasts, a trip did we know that this blending of old and new to La Fonda was akin to visiting a sacred temple of mariachi sounds was part of Nati Cano’s musical mariachi music, and Nati Cano was its Saint Peter. and social agenda. His life goal has been to bring The repertoire Los Camperos played during the greater acceptance, understanding, and respect early years of La Fonda was a mix of older rhythms to the mariachi tradition as a whole, and to reach of the , songs from the 1950s and ear- the widest possible audience with his music. His lier, and contemporary pieces marked by the more uncompromising position has been to preserve complex harmonies of American and Mexican the essential ‘mariachi sound,’ in his words, as the commercial popular music. For us young ethno- baseline of the tradition. I know that many would musicologists, the enduring, hard-driving sones agree that in this, he has succeeded.” and the emotion-packed canciones and Daniel Sheehy

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