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As I delved into the cultural life of the trios, I found the names of several musicians I already knew because they were also related to other projects. This is what happened when I recently talked about the Trio Fuego de Cuba and spoke with its director Daniel Aparicio, of whom I spoke in a previous article, and with Orgly Rodriguez, a very valuable musician, who in addition to playing the requinto, the tres and the recorder, is in charge of the arrangements of this group. He also has a career worthy of recognition, mainly at the head of his group Ekwé.
He inherited from his father Orlando Rodriguez, the love for music and much of his talent. In the cultural life of Cienfuegos, we find musicians like them, who without being born in Cienfuegos, have devoted much of their creation to the cultural life of this city. Some were passing through and others, captivated, continued to be immersed in its charms.
When talking to Orgly, my question to him was:
What has working together with Trio Fuego de Cuba brought you?
"A lot; it was a dream for me. Since I was a student I listened to the requintistas with all that virtuosity, that amount of chords, to which one is not used to in Art School and I said to myself: My God, if I could play like that someday. I applied everything that the school taught me, to which I am grateful for my academic training. Not that it was easy, but it was feasible when it came to adapting all the chords and the execution of the instrument, which, more than harmony, lies in all that virtuosity that the requintos have, which, by the way, is also empirical. Many of the great requintistas, or to a great extent, were not school musicians, with the exception of fingers or three, who were jazzmen and adapted jazz harmony to the trios, to its base and chordal structure, and it fit perfectly. He also contributed to me in the work of the voices, because from school we bring the choral formation and in the trio one has to think of it not as a choir, but within a harmonic work taken to the three voices, and it is beautiful.
I love working with the trio. I don't like to repeat anything the same. Doing the rare harmony, as some people tell me, has fit very well in the places where we have been and it is something almost exclusive among the trios I have met both in Cuba and elsewhere. You realize that it is somewhat different from the rest of the trios. I like that, I feel satisfaction for the work we have been doing.
In Canada it is very difficult to reach the public through trios and duos. They are not as penetrable in this sense as Latin America is. Our trio reached them in an incredible way and that made me very proud. It seems that this harmony helped a lot to the acceptance we had there. You see the effort made. It is not only the economic issue, it is that where we were, and with the musicians that surrounded us, sometimes it seemed incredible to us.
As for the repertoire, we leaned more towards Cuban music. That's what we played mainly in Canada and they accepted it wonderfully. We would explain the song to them so they could understand it better. We even performed in places where playing there was a challenge. They are places where the audience that sits and makes a total silence, not even the one next to you, is able to say a word. You can even feel your own breathing. They attend to you detail by detail of what you do.
In my case I inserted the interpretation of several string instruments to the trio, that is to say: I play with the Colombian triple, the Venezuelan cuatro, the requinto, so that it comes out a little from the traditional world of this format. For example, I do not play the sones with the requinto, but with the tres; I play some international instrumentals with the recorder. That gives it variety and perhaps this is the secret of the success we have had".
With Orgly Rodriguez we appreciate that the work of the trios is based on details and diverse knowledge. Also search, study and mastery of interpretation, in addition to an adequate repertoire. It shows the talent of the musicians who take on this type of grouping. For this reason, safeguarding these vocal-instrumental formats becomes more urgent every day.
(Taken from 5 de Septiembre)
English version Hector Hdez.