Ask any informed bass player in the Latin Jazz world who served as their strongest influence and you are sure to hear a few names several times – Cachao, Andy Gonzalez, and Sal Cuevas for example – but one important bassist will arise again and again – Bobby Rodriguez. A member of the Machito band at the age of 17, Rodriguez spent a lifetime shaping the nature of the New York sound through his ever present and creative tumbao. Rodriguez worked for many of the most important names in salsa and Latin Jazz during his career, including Charlie Palmieri, Tito Rodriguez, the Allegre All-Stars, Cal Tjader, Willie Bobo, and Mongo Santamaria, among many, many others. His most important association lasted through most of his life and carried the massive sound of his tumbao around the world; Rodriguez held down the bottom end in Tito Puente’s band from the 1950s through the 1990s. The classic sound of Puente’s swing owed a great deal to Rodriguez’s playing, and examples exist throughout Puente’s recorded catalog. Legendary Puente albums such as Dance Mania and Cuban Carnival included Rodriguez, as well as later recordings like On Broadway, Mambo Diablo, and Salsa Meets Jazz. Most of Rodriguez’s time in Puente’s band involved a catalog of countless tumbaos, but he occasionally got the opportunity to step into the forefront of the band with a solo – an ear-catching event that exposed a fiercely creative improviser with a broad melodic vocabulary. Rodriguez held the total package, raising his musicianship above the standard bassist and guaranteeing a firm place in Latin music history.

Rodriguez’s work on “Ode To Cachao” from Puente’s 1990 release Goza Mi Timbal found a spot on our list of 7 Unforgettable Latin Jazz Bass Solos, and with good reason – the recording is an in-depth lesson in the fine art of Latin Jazz bass soloing. In several ways, the tune plays out like many other Puente charts with huge horn mambos, catchy coros, and tight percussive writing. This piece differs by putting Rodriguez in the spotlight with a number of solos, melodic bass lines, and impressive technical feats. Rodriguez actually takes three short solos throughout the piece, at measure 25, measure 77, and measure 135. The rest of his performance sits in the arrangement as written parts, but they’re not your standard tumbao. The line directly at the beginning resonates with a melodic integrity while the arpeggiated notes at 109 contribute a distinct rhythmic momentum. The song may be Puente’s tribute to Cachao, but as a performance, its a showcase for Rodriguez’s extensive skills and experience as a bass soloist – an important piece of his playing that every Latin Jazz bassist needs to know well.

Some Points of Interest:
*Rodriguez’s Use Of 8th Note Triplets
The slower tempo of the cha cha cha rhythm allows Rodriguez many liberties to expose his chops and phrase in a slightly different way. He takes several opportunities to play quick runs across the neck that utilize 8th note triplets, which serve to connect ideas. He moves through a G major triad using 8th note triplets at measure 28 and then makes the 8th note triplets part of a ferocious run at measures 136 & 137. The use of triplets adds tension and variety to his lines. He could have simply used a steady stream of 8th notes, but the triplets push the line in a more interesting direction.

*Rodriguez’s Use Of Melodic Embellishments
Rodriguez understood the importance of detail and nuance in his work – an element that made his solos stand apart from the work of his contemporaries. He shaped his improvisations with a generally more melodic and jazz tinged nature, but he also integrated the importance of articulation in his phrases. At several points he smoothes out lines by using slides instead of repeated attacks. Good examples of this technique can be found in measures 85 – 88 and in measures 147 – 148. He also integrates trills at several points to add emphasis into his melodies. This technique pops up in several pieces of his solo, including measures 29 – 30 and measure 83. Once again, Rodriguez was a total musician, and his improvisations reflected his broad concept.

*Rodriguez’s Use Of The Instrument’s Full Range
Rodriguez could rumble the low end with the best of his generation, but he looked beyond that sonic bass satisfaction when building a solo. He understood the importance of telling a story when improvising; making a statement that can’t be missed. Most people don’t tell a story in a monotone voice, and Rodriguez avoided that aspect by traveling through several of his instrument’s registers. He ran melodies that started on the bottom of his lowest string and resolved them near the top of his highest string – you can see a great example of this concept in measures 135 – 142. This variety and strong melodic concept made Rodriguez a bass player to hear.

Don’t forget to check out the recorded version of “Ode To Cachao” on Puente’s Goza Mi Timbal – it’s an exciting track in the middle of a great album. There’s that ethereal nature of the groove in Rodriguez’s work that can’t be described on paper; you just have to hear it to understand. Take the time to play along with Rodriguez and align your notes exactly with his – emulate his rhythmic vocabulary until you internalize it completely. Make sure that you learn the bass line in addition to the solo sections. As a whole, it’s a challenging piece of music – learn this one and your chops will grow.

By the way, this one’s for the bass players – I’m not including transposed parts today. Due to the range of the bass, C, Bb, and Eb parts result in some awkward or unreachable pitches. It didn’t seem particularly practical, but I could be wrong. If you’d like me to provide transposed parts, just get in touch, and I’d be happy to get them to you. Enjoy!

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Check Out These Related Posts:
Cachao Bass Solo On “Descarga Cubana”
David Sanchez Tenor Sax Solo on “Home Cookin’”
John Benitez Bass Solo On “Slowvisor”
Jesus Alemañy & Carlos Alvarez Solos on “Descarga De Hoy”

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