Notes: Enrique Rodríguez

Era

There are two statements about his birthplace: La Plata or Buenos Aires city. Information about Enrique Rodríguez’s musicians are scarce and contradictory. However, the formation is always 4b+4v, with piano and bass, plus occasionally tuba, drums and guitar in some genres other than TVM.

1. 1937-39. Eusebio Giorno piano, bandoneón Felipe Pane, violin Carlos Pampillón, José Alma bass.

2. 1940-44. Eusebio Giorno piano, José Alma bass. Bando and violin leads not sure.

   • When “El Chato” Roberto Flores went solo in early 1940, the whole orquesta followed him. We cannot confirm the truth since there is evidence suggesting otherwise, but at least the pianist and bassist stayed.

   • Giorno witnessed the whole Flores and Moreno eras. He quit playing after leaving Rodríguez in 1944.

3. 1944-46. Armando Cupo piano, Roberto Garza bandoneón, Omar Murtagh bass/cello.

   • Garza and Cupo were in charge of the arrangement and changed the orquesta’s style.

4. 1946-59. Oscar Perri violin. Tuba began to be used in some rhythms.

   • There are several names mentioned regarding the lineup, but not their roles. Difficult to verify.

   • The band returned to the original simplistic, rhythmic style.

5. 1959-71. Oscar Perri violin. Tuba in most cases has replaced the bass.

   • After Rodríguez died, Perri continued performing under the orquesta's name.

Date/Genre/Singer

• La Rumbita Candombé, Tiempos Que Nunca Olvido, Color Punzó, Alegria Morena, and some candombe tracks are listed as Milonga.

• Rodríguez’s “Orquesta de todos los ritmos” is not an orquesta típica. Foxtrot recordings are included as well, in addition to the classic TVM. Amazingly, there are 69 foxtrots, more than milonga and vals combined.

• Aside from “El Chato” Roberto Flores, Enrique Rodríguez prefers a sentimental tone for his singers.

Masters/Pitch/Speed

• The 1961-64 recordings could also have been recorded in stereo, lacking stereo sources as evidence.

• The transition from 435, 440 to 442 Hz for Rodríguez’s orquesta is smooth.

• Rodríguez always keeps a fast tempo except in the mid-1940s.