Rafael Mendez

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Delon G. Lyren – Rafael Méndez: The Life of a Master Trumpeter Trumpeter (Feb99/4) The International Trumpet Guild (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages pages of this file • Quote fair use passages of this file in not-for-profit not-for-profit research papers as long is the ITGJ, date, and page number are cited as the source. The International Trumpet Guild, prohibits the following without prior written permission:

• Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of pages of this file • Alteration of this file or the data contained contained herein • Placement of this file on any web site, server, or any other database database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholely within an institution. For membership or other information, please contact: David Jones, Treasurer International Trumpet Guild 241 East Main Street #247 Westfield, MA 01086-1633 USA Fax: 413-568-1913 [email protected] www.trumpetguild Please retain this cover sheet with printed document.

Rafael Méndez. (All photos courtesy of the Rafael Méndez Library, Arizona State University, Tempe, Arizona.)

44 ITG ITG Journal Journa Journal l // February, February February, , 1999 1999

© 1999 International Trumpet Guild

Rafael Méndez: The Life of a Master Trumpeter DELON G. L YREN

I

n 1926, when Rafael Méndez (1906-1981) moved to the United States from Mexico, the cornet retained its preeminence as a high brass solo instrument. The cornet virtuoso tradition, with its history of personalities such as Jules Levy, Patrick Gilmore, Walter Rogers, and Herbert L. Clarke made the cornet the popular choice among soloists. The gradual transition in popularity from the cornet to the trumpet was due to trumpet soloists like Rafael Méndez, who performed for thousands throughout the world, dazzling audiences with his technique, brilliant tone quality, and winning personality. Maximino Méndez and The Méndez Family Orchestra

For at least five generations, ancestors of the Méndez family lived in the Michoacan area of Mexico. At age 14, Irene Arceo Galvez married Maximino Méndez Gutiérrez and together they raised 12 children. Although pregnant 19 times, 1 only 12 children lived through the pregnancy and birthing process. Rafael and most of his siblings were born in a home in Jiquilpan, Michoacan, where they remained for most of Rafael’s youth except for a short period of residence in Guadalajara, Jalisco.2 Given the name Rafael Gutiérrez Méndez Arceo, Rafael’s parents named him after his relative, General Gutiérrez of the Mexican Army, and another relative, the Senior Cardinal of Mexico, Rafael Méndez Arceo from Cuernavaca.3 Maximino was a talented musician. He may have received his early training in music fundamentals and composition from a French music teacher.4 In addition, he educated himself with books that his mother brought home from her trips to Mexico City. Maximino became accomplished on violin and cello; and he devoted his entire life to music, playing several other musical instruments, including viola, piano, mandolin, guitar, and horn. Formally trained in solfeggio, composition, and arranging, he earned a living early in his career by performing at parties of rich families and teaching violin and mandolin.5 Maximino directed a community orchestra, which flourished until the arrival in Jiquilpan of another musician who was intent on becoming the town’s most important orchestra leader. The newcomer had more financial backing and paid better wages, and © 1999 International Trumpet Guild

consequently, Maximino began losing musicians to the other man’s orchestra. “Papa Mino,” as his children called him, knew this situation necessitated a change. To provide himself with personnel upon whom he could depend, he began to train his own children.6 Rafael said, “My father didn’t have an orchestra then, and he didn’t have a lot of money, but he had a lot of kids. … So he took us to a farm for three months, handed each of us an instrument and started teaching us.”7 Maximino made learning music fun by teaching each child a short exercise, and when all the children played the exercise together, they discovered that their father had taught them a popular Mexican folk song. The children always looked forward to the day when “Papa Mino” would teach them a new song. At the conclusion of three months, the Méndezes returned to Jiquilpan. Due to his expert teaching and the appeal of a family orchestra, Maximino’s orchestra successfully regained its position as the most prominent in the community.8 Until approximately 1925, the Méndez family orchestra regularly performed for festivals and other community functions.9 Rafael Chooses Trumpet

Even though Rafael preferred to play a stringed instrument, he chose trumpet as his first instrument because the family orchestra lacked a trumpet player. Maximino considered Rafael’s physical build too slight to play the trumpet, but he allowed Rafael to begin lessons. Although only five years old, Rafael immediately fell in love with the instrument and began to focus all of his time and attention on it. His musical talent revealed itself almost immediately. Maximino taught Rafael solfeggio along with many other instruments in addition to trumpet, and young Rafael surprised his father with his quick learning ability. Maximino stressed the fundamentals of music, requiring Rafael to master these essentials before concentrating only on the instrument.10 The first scale Maximino taught Rafael “was the C-sharp scale. And then he was a demon for pedal notes. He had me warm up on pedal notes all the time.” 11 Only the most dedicated students could survive Maximino’s discipline. According to Rafael, “One of my earliest recollections is the daily drill in solfége through which my father put all of his children. If one of us made a mistake, we were rapped soundly for it.”12 February, 1999 / ITG Journal 5

Maximino believed that to play a brass instrument, the person’s body must be large and strong enough to provide the necessary physical support. Because of Rafael’s frail physical build, Maximino attempted to limit his son’s practice, but to no avail. Rafael loved the instrument too much to put it away. He practiced so incessantly that his parents punished him if they caught him practicing in excess. As a result, Rafael discovered a way to practice without being caught. Whenever his parents left the home to go to the market, Rafael paid half of his allowance to one of his younger brothers to stand at the corner of the block and warn him with a whistle when “Mama Nena” or “Papa Mino” approached.13 Because the Méndezes lived in a small house, and Rafael played the only brass instrument in the family, “Mama Nena” always asked Rafael to practice softer so as not to overpower the rest of the household. She always called him the loudest trumpeter she had ever heard. Young Rafael considered this a compliment, and one day decided to show the whole city what an excellent trumpeter he had become. He climbed a small mountain near the Méndez home, and at the top of the hill, played as loud as he could for one full hour. Meanwhile, Rafael posted his brother halfway down the mountain to listen. Rafael described the incident: I was happy in the thought that I might even now be famous with the multitude who must have heard me in the lowlands. I received my first lesson in the effects of wind and space on sound when my brother greeted me with a disappointed, “Why didn’t you play?” After this early frustration, my attitude was subdued and for a year or more I was tabbed by my teacher-father as Pianissimo Méndez.14 Once Maximino became aware that Rafael could play the trumpet without any ill effects on his health, he completely supported Rafael in his efforts, as did the rest of the family. Despite the family’s moral support, they could not afford to purchase a decent instrument, which resulted in a cheap and poorly constructed cornet for Rafael’s first instrument. He frequently had to reattach the trumpet’s braces, because the beeswax that held the braces together melted in Mexico’s intense summer heat. During concerts, Rafael stood behind the contrabass to avoid the heat from the lights.15 Rafael and Pancho Villa

During the Mexican Revolution in the early 1900s, Maximino realized there was a possible market for entertainment of the troops during breaks in the fighting. In approximately 1914, Maximino began traveling with his family orchestra for several weeks

6 ITG Journal / February, 1999

at a time and performing for various encampments of the guerillas and other Mexican troops. During breaks in the fighting, the Méndez family orchestra set up on neutral ground and performed for both sides. Choosing sides would have endangered his family. By 1916, Pancho Villa and other revolutionary troops had reached the peak of their power, looting and killing throughout Mexico. The troops swarmed down on small towns and stole money, grain, cattle, and anything else they desired. Maximino set up his family orchestra and performed for Villa and his men when they arrived at Jiquilpan. They impressed Villa, who demanded that Maximino and the children accompany him as his personal orchestra. They traveled with Villa for three months, performing under a flag of truce between battles, until Maximino received permission from Villa to return to Jiquilpan with all his children except Rafael, who had become Villa’s favorite. Villa wanted to keep Rafael as his trumpeter, but Rafael wanted to leave and perform with the Mexico City Police Band. When Rafael approached Villa with this idea, Villa had other plans. Villa looked at young Rafael. “If you want to leave us, you are a traitor,” he said. “And do you know what we do to traitors? We call the firing squad.” Pancho Villa was only joking with young Rafael, but the boy did not know this. Bravely he watched Villa summon a firing squad. Bravely he let himself be marched across an open area to a wall. Bravely he heard the soldiers click the bolts of their rifles. Then Villa turned to Rafael. “Do you still want to join the Mexico City Police Band?” he asked. The lad stammered, “Well, sir … maybe not that much.” Villa began laughing, and all the men in the firing squad began to laugh, too. It was a great joke on the little trumpet player. After traveling with Villa six months, Rafael returned home. The bandit chief sent along three bodyguards to make sure no harm came to the boy.16 Rafael Prepares for a Career

By age 15, Rafael had become a very good trumpeter. He managed to find an old Arban’s Complete Conservatory Method for Cornet and practiced its etudes and exercises diligently, to the point that he memorized most of the book.17 In 1921, Rafael left home to join the army. He was stationed for several months in Acapulco,18 playing in the army orchestra and living just above the plaza in the old part of town. After about one year, when his service to the army ended, he returned to his hometown.19 During the early-to-mid-1920s, Rafael earned a small amount of money by directing an © 1999 International Trumpet Guild

orchestra, and received a salary based on the earnings from each concert.20 Despite his love for music, Rafael took an apprenticeship with the village shoemaker, but after a short time, he gave it up to pursue a career in music. A circus traveling through Jiquilpan needed another trumpeter for their band, so Rafael took the position. He performed with this and other circus bands on their Mexican tours, but these bands proved unglamorous and unprofitable. After about two years, he left in 1924 to rejoin his father’s orchestra in Jiquilpan. Until this time, Rafael had performed on a poorly constructed cornet, which constantly needed repairs. Soon after his return to Jiquilpan, some of the wealthy community members contributed enough money to purchase a new trumpet and a carrying case for Rafael. Worried about how he could repay his debt to the townspeople, Rafael was assured that the only payment they desired was for him to play their favorite songs, Las Golondrinas and La Paloma, with his father’s band.21 First Years in the United States

By 1926, Rafael realized that he had the potential to accomplish great things as a performer, if only he had the opportunity to perform for larger and more knowledgeable audiences. Because Rafael had heard and liked Dixieland and other forms of American jazz, he decided to move to the United States. 22 His parents supported the move for two reasons. First, Rafael was already an extremely accomplished trumpeter and would find greater opportunities to learn and perform there. Second, from a financial standpoint his parents welcomed one fewer dependent.23 Méndez persuaded a local landowner to loan him enough money for the move, convincing the man that he had the talent to succeed in the United States and the honesty to repay the debt. 24 Méndez crossed the border and passed through United States Customs on June 26, 1926. He had decided to move to Gary, Indiana because one of his cousins and a few friends from Mexico worked there in a steel mill, and he hoped that their presence would help him adjust to life in the United States. He remained in Gary for about four months, working 12hour shifts shoveling coal into the mill’s furnaces,25 and living in a community of Mexicans, most of whom Rafael knew from earlier years. He felt comfortable in this Mexican ghetto, but had little motivation to learn English. The difficult labor and primitive working conditions of the steel mills left minimal time for him to practice music; but one day, while celebrating a Mexican holiday, Rafael’s friends asked him to play a song for them on his trumpet. Later in his life, © 1999 International Trumpet Guild

Rafael and Amor wedding photo.

remembering the event, Rafael said, “My hands were so thick and calloused from working in the mills that I couldn’t play well. Right then, I decided that I must quit that work and devote my life to music.” 26 Soon thereafter, Rafael moved to Flint, Michigan, where there were more musical opportunities. Upon his arrival in Flint, he gained employment at the Buick Company auto plant and organized a group of fellow musicians, who also were employed at the plant, to perform for the other workers. 27 After a few months in Flint, Rafael spent a Sunday afternoon in a park listening to one of the factory bands give a concert. Rafael spoke little English at this point, but on a whim he walked to the bandstand and pointed to a trumpet, asking to play with the band. Everyone in the band laughed at him, and to play a joke, the band members had him sit in on one of the pieces. They pulled up a difficult circus march, and Rafael, knowing the work very well from his past performances with Mexican circus bands, easily performed it. The owner of the plant had attended the concert, and afterwards asked Méndez if he had en joyed performing in the band. When Rafael answered that he did, the owner told Rafael to meet him at his February, 1999 / ITG Journal 7

office the following morning. At that meeting, the owner presented Méndez with a trumpet and asked him to play in the company band full-time. From that point on, Rafael never worked in the factory again. 28 Detroit Years

While in Flint, Méndez heard constantly about the many job prospects in Detroit, and after a short time he decided to try his luck there. He borrowed some money and moved to Detroit, but since he had only lived in the United States a short time, few people knew of Rafael and his talent. The Depression had come into full swing, and he had difficulty finding a job.29 One Saturday afternoon, shortly after moving there, he decided to explore the city. While Rafael stood outside of a music store looking at the new trumpets in the window, an ambitious salesman attempted to sell Rafael a horn. Méndez barely had enough money to live on, so he answered in his best English, “I can play it, but I can’t buy it.” 30 The salesman, still hopeful of a sale, asked him to play. At the same moment, a local bandleader named Russ Morgan exited from the Capitol Theater across the street and happened to hear Rafael. Coincidentally, he needed another trumpeter, so he walked over and asked Rafael if he could read music, which of course he could. Morgan auditioned him on the spot, 31 offered Méndez the job, and loaned him the money for the trumpet.32 The following Monday morning, Méndez arrived at his first rehearsal with the Capitol Theater Orchestra and signed a contract as solo trumpet, for $125 per week. 33 During this and other jobs in the theaters, Méndez learned English by listening to the actors, piecing together what they said, and putting it to use in casual conversations.34 As his reputation spread, opportunities quickly arose for Rafael in the Detroit area. In his first months in Detroit, he performed with Morgan, 35 the Ford Orchestra as needed, and also worked with a Ger-


man oom-pah band for several weeks. After he had lived in town for about three months, he won a job with the Fox Theater Orchestra, which was the largest theater orchestra in Detroit. He played solo trumpet in the Fox Theater Orchestra, often conducting one piece on the Sunday matinee, and soloing with the orchestra during intermissions. Rafael practiced at every opportunity, even if only for a few minutes. He habitually practiced between each of the four one-and-a-half hour shows per day at the Fox Theater, sometimes becoming so insistent about his practice time that he angered the other orchestra members. As his colleagues became progressively more incensed at his constant practice, they decided to play a practical joke. Rafael practiced in the basement of the theater between shows. The orchestra members pulled the plug on the lights, leaving Rafael in total darkness. Thinking they had foiled his attempt to practice, they celebrated their success with uncontrolled laughter, but 10 minutes later they heard him practicing again. He had found a candle to light, and had resumed his diligent work exactly where he had stopped when his friends interrupted him.36 The Lip Injury

Rafael’s career as a musician in Detroit flourished until 1932, when, while playing with the Fox Theater Orchestra, he sustained a major lip injury. The orchestra performed on a rising pit. Méndez’s seat was by the only doorway, so he always entered the pit last. He usually warmed up in the rehearsal room until everyone left, and then took his seat in the pit. One day, a tardy bass player opened a swinging door and hit Rafael’s trumpet while he was warming up, which caused a laceration through the lip, from the epidermis to the mucosa. Despite the cut, he finished the show. He continued to perform for days after the accident, which caused him to form bad habits and prevented the wound from healing. Because of the unavailability of antibiotics and useful therapy, the laceration became infected, and a fistula between the mucosa and skin developed. He continued to play, but the infection worsened, which resulted in great frustration, pain, and impaired performance ability.37 Rafael recounted the incident in an interview with H.M. Lewis: I had six operations and little by little after every operation I just couldn’t get back to my playing. Finally I couldn’t play at all. So I went back to Mexico and first I looked for a lot of teachers from over here, in this country. I went to Schlossberg, to Clarke, to Smith, to Maggio – all the teachers that I knew at the time and I still couldn’t get to play. The wound was already chronic, like I couldn’t © 1999 International Trumpet Guild

think that I would be able to heal. So I went to Mexico and I met a doctor over there who promised he would cure me. He said, “I don’t promise that you will be able to play again, but I will cure you.” So he burned the abscess with an electric drill right in my lip. It was right opposite my nostril. It looked like I had three nostrils. Horrible! Then he told me, “I am going to show it to you but don’t panic. When I saw it I almost fainted. He said, “In a month you won’t see it, you won’t notice what happened.” And it was true. A month later, as he said, it was healed, only it was numb and … I couldn’t play at all. I mean, I couldn’t get a sound for about two or three months. I went back to my father who was my original teacher and he got me back in business.38 After 9 months, he began practicing using different spots of the mouth, and soon developed many different embouchures. Eventually, this ability to use a new embouchure when his lips tired gave him tremendous endurance. Later in his career he amazed his colleagues by his ability to make an embouchure change instantaneously. Returning to Detroit

After about one year, Rafael returned to Detroit and worked at the Stevens Hotel for his friend Carlos Molina. Eventually, the lip returned to its previous state. Rafael auditioned for a job and won as solo first trumpet at the Michigan Theater in Detroit. 39 In the endeavor to develop his embouchure and increase his range, Méndez took two lessons from Herbert L. Clarke. The first occurred after Rafael’s embouchure injury in 1932. Méndez could barely get a sound and Clarke could not help him. The second time, March 12, 1938, in Long Beach, Rafael played for Clarke, looking for pointers. Clarke asked to hear Carnival of Venice and other Arban etudes. Rafael must have impressed him, as Clarke said there was nothing he could teach him. Clarke autographed Méndez’s 1915 edition of Clarke’s Characteristic Studies and wrote, “Hoping to hear you play the contents of this book.”40 From that point on, Clarke always admired Rafael and helped promote his career,41 even admitting that Méndez’s range, velocity, precision, and breath control would make the world forget “all the rest of us.”42 Méndez Meets Rudy Vallee

In 1933, Méndez continued his tradition of playing solos during intermissions at the Michigan Theater where many famous bandleaders of the era, including Rudy Vallee, heard him perform. 43 After attend © 1999 International Trumpet Guild

ing a show, Vallee asked Rafael to come to New York and play in the band on his show. Vallee made him an offer he could not refuse, so Rafael and his wife, Amor, prepared to move to New York. After arriving in New York, Rafael discovered that the musician’s union rules required a one-year waiting period before becoming eligible for a union card. Disappointed by this setback, Rafael and Amor returned to Detroit. As a token of his good faith and intent to use Rafael in his band, Vallee sent a monthly check to the Méndezes,44 but Rafael returned each check. During this one-year period, Rafael began to solo with various orchestras and on popular radio shows. After a year, the Méndezes returned to New York, and Rafael performed with Vallee and various pit orchestras in the New York area.45 With Vallee’s band he played first trumpet. Randy Brooks performed the second trumpet solos.46 During the 1930s, Rafael earned upwards of $350 per week and about $17,000 per year. He and Amor lived in Jackson Heights, New York, in an apartment complex area along with many other famous musicians. While in Jackson Heights, Rafael and Amor conceived their only children, the twin sons Ralph (Rafael, Jr.) and Robert. Near the end of 1937, Amor returned to Detroit to be near her family when she gave birth to the twins.47

Freelancing in Los Angeles

While Amor lived in Detroit, Rafael performed with Vallee’s orchestra at the Coconut Grove in Hollywood, California, and fell in love with the area, due to its similarity to the Mexican land of his childhood.48 Rafael decided to remain there, bought a home, and began freelancing.49 Amor moved to Los Angeles to live with Rafael in 1938, when Ralph and Robert were about six months old.50 Rafael first gained employment in Los Angeles on the staff of radio station KHJ, the Mutual Broadcasting System. Don Lee, of MBS, encouraged Rafael to remain in Los Angeles and join his radio network’s orchestra.51 It was during these shows that Méndez praise began to sing from coast to coast. However, his greatest fame, came from the sensational solos he played on the Al Pierce Camel show with the Carl Hoff orchestra. He was also heard on the Union Oil show on Mondays.52 In addition, he worked for other radio shows, recording dates, and nightclub performances prior to moving to MGM Studios.53 Despite his growing reputation, and perhaps due to his embouchure injury, Rafael never felt secure with his ability to perform in the upper register. Ballads and other lyrical passages troubled him as well. In the late 1930s, in an effort to correct these February, 1999 / ITG Journal 9

problems, Méndez began his studies with Louis Maggio. Maggio worked with Méndez on the fundamentals of trumpet performance, concentrating on pedal tones and articulation exercises from Arban’s Complete Conservatory Method for the Cornet .54 In fact, according to Méndez, Maggio based his system of trumpet practice on Méndez’s pedal tone warmups and routines.55 During these lessons, Rafael met and befriended his colleague and future replacement at MGM Studios, Uan Rasey. Rasey and Méndez frequently worked together in Los Angeles, performing at MGM, and recording jingles and soundtracks, including a jingle for Gilmore Oil in 1943. Rafael amazed Rasey with his ability to use solfeggio and to transpose to any key. In 1939, Harold Mitchell, second trumpet with MGM Studios, resigned from MGM. Nat Fenstein, of MGM Studios, hired Méndez to perform second trumpet behind Mannie Klein.56 On July 26, 1940, after 14 years of success and accomplishments, Méndez received his United States citizenship from the Department of Labor in Los Angeles.57 During the 1940s, Méndez recorded albums for Pan American, Azteca, Peleayz Recordings, and Coast Records. Charles Koff arranged many of the songs from the Coast recordings, but he and Rafael disagreed on who had actually arranged some of the songs. This disagreement led to the eventual end of their friendship and working relationship.


Rafael had always harbored feelings of frustration that the trumpet literature lacked legitimate concert solos and did not offer vehicles with which to express the artistic abilities of the instrument. He felt that the trumpet had wrongly been categorized as a supporting instrument, and hoped by strength of his example to reclassify it as a solo instrument, along with the piano and violin. In his attempt to accomplish this, he began to adapt violin solos for trumpet by transcribing or transposing them for trumpet. His first few albums reflected this attempt to legitimize the trumpet.58 A Growing Reputation

In 1941, after Pearl Harbor, Mannie Klein was drafted into military service, and at Klein’s request, Méndez replaced him as the principal trumpet player for MGM Studios. 59 His MGM contract stated he must provide 500 hours per year of service to the studio, but after the initial 500 hours he could work outside the studio as much as he desired. The work at MGM included a substantial amount of nighttime recording work. The studio also featured its up-and-coming stars at Hollywood Bowl concerts, accompanied by studio musicians. A mid-1940s program featured Xavier Cugat, Elenor Powell, Jane Powell, Mario Lonza, and Rafael Méndez. A Decca Records representative © 1999 International Trumpet Guild

Rafael Méndez’s Certificate of Naturalization.

attended the concert and later signed Méndez to a contract for 12 albums. Méndez began recording the albums in the late 1940s. During this time, Méndez continued his work with MGM, but he also performed on many of the nationally broadcast radio programs. His performances included the Bing Crosby Show (1940), two seasons as featured soloist on the Red Skelton and Al Pearce shows,60 and guest appearances on the Horace Height Show and Kay Kayser Show. Around 1946-47, when television became popular in Los Angeles, he performed as a guest soloist on the Spade Cooley Show , Art Linkletter Show, and Ray Noble Show,61 as well as featured spots on Milton Berle’s Texaco Star Theatre and Francis Langford’s Star Time show. Around 1945, Rafael met Caroll Cambern, who represented the music publisher Carl Fischer. Fischer signed him to a contract for his arrangements and compositions, to record the Arban articulation exer © 1999 International Trumpet Guild

cises, and to write a book, Prelude To Brass Playing, about how to play the trumpet. 62 Until this time, Carlos Gastell had acted as Rafael’s agent. When MCA Bookings offered Rafael a contract with its agency, he declined. After much thought, Rafael ended his working relationship with Gastell, and asked Caroll Cambern to be his agent. Cambern had the connections necessary to begin and maintain a successful solo career. The two formed Méndez Bookings, which did business mainly out of the Méndez home.63 In March 1949,64 Rafael became the “first trumpeter to ever present a full symphony concert with the Denver Symphony,”65 and followed this concert with an appearance with the San Diego Symphony Orchestra on April 22, 1949.66 This marked the beginning of many future solo engagements with other major symphonies, including the Los Angeles Symphony and the New York Philharmonic. February, 1999 / ITG Journal 11

A Blessing in Disguise

Throughout Méndez’s years with MGM, differing concepts of tone and vibrato caused problems in the trumpet section. Méndez’s sound and vibrato did not match the style desired by the conductor; and after a ten-year alliance, MGM fired Rafael, replacing him with his close friend Uan Rasey in September of 1949. This sudden turn of events devastated Méndez. His son Robert remembered the event. “I still remember sitting in the living room as my dad discussed the events that led up to the firing and we all shared in his keen sense of disappointment.”67 After leaving MGM Studios in 1949, Rafael continued to appear on numerous television and radio programs as a guest artist. He performed on shows such as the Loretta Young Show, Kraft Music Hall, Red Skelton Show, Art Linkletter Show, Dinah Shore Show, and Pinky Lee Show,68 and later in his career with Radio Belgrano (Argentina, 1957), Ed Sullivan (1960), and the Stan Kenton Show (1970).69 Many times he appeared as a soloist, but often he performed a trumpet trio with his twin sons. In the late 1950s, the three made a guest appearance on the popular television show Art Linkletter’s House Party. Rafael performed the third trumpet part to the Tre Méndez Polka, with Ralph playing first trumpet and Robert on second.70 Beginning a Solo Career

The firing from MGM, combined with the successes of his recent solo performances, resulted in Méndez beginning a career as a concert soloist.71 His recordings with Coast and Decca already had made Rafael well-known, so with a stellar reputation and substantial publicity, Méndez began his solo career. In New York, for one of his first solo engagements, Méndez performed a series of concerts at the Paramount Theater with Ella Fitzgerald and Mel Torme. This time, Méndez had not achieved the same notoriety on the East Coast that he had on the West. His appearance on the same ticket with Fitzgerald and Torme was an honor, but when the announcer introduced Méndez as “the world’s greatest trumpeter,” the audience laughed. He showed the audience his brilliant technique and proved that he deserved the title.72 Cambern had contacts in the Salt Lake City area and arranged Rafael’s first guest appearance with the Salt Lake City Symphony in 1949. Soon he began to make solo appearances with other small symphony orchestras throughout the United States. About the same time, he began to perform as a soloist with college and university orchestras, and later with university concert bands.73 According to his brother-in-


law Alfonso Rodriguez, “Rafael was never idle. He was always preparing for his next appearance. He had little time away from his music.” 74 In his first year as soloist he played about 20 concerts, the second year he played 50, and by his third and following years he performed over 100 concerts and turned down another 200. Most of the performances involved large high school bands in the Midwest, college bands, and college orchestras. By the end of his solo career he had performed with nearly every major university in the United States, at Carnegie Hall, and in every major concert hall in Europe and Canada.75 Rafael declared, “My goal is to make the trumpet a concert instrument. I’ve transcribed violin concertos in order to make them trumpet pieces.”76 Méndez also believed he could help improve the education and development of the children in our society. He felt that by inspiring children to play a musical instrument, he could instill a sense of discipline in the child’s character: I am sure all superintendents of schools will agree with me that no youngster regularly playing a musical instrument becomes a juvenile delinquent. These children, particularly those playing in bands and orchestras, are receiving discipline which is essential in building character.77 By the early 1950s, Méndez had made a nationwide reputation for himself. As a result of his reputation, Besson, a well-known trumpet manufacturer, competed with F.E. Olds & Son, the largest marketer of trumpets at that time, to hire Méndez as a clinician for their company. Besson offered Rafael a contract to serve as a consultant to the company, along with a $5000 signing bonus. Rafael had already received the check and intended to sign with Besson, but when he returned home he had another surprise. Olds offered Mrs. Méndez a beautiful mink coat and a $10,000 signing bonus. Rafael could not take away the coat from Amor, so he returned the check to Besson and signed with Olds.78 However, as a term of acceptance, Méndez insisted that Olds manufacture a copy of his Besson B-flat trumpet. The contract was signed, and Amor had a new fur coat. 79 The contract with Olds specified that the Méndezes would receive $6000 per year in royalties for the use of the Méndez name on Olds trumpets.80 A Concert Soloist

A typical year for Méndez in the early 1950s until the mid-1960s included weekly performances with various symphonies, university and high school orchestras, and concert bands from January to early June. During these months he performed at between © 1999 International Trumpet Guild

Tre Méndez, Ralph, Rafael, & Robert.

100 and 125 concerts throughout the United States. He enjoyed the performances with high school bands, even though the quality may not have equaled that of the university or professional groups. Usually the band began rehearsing the accompaniments to the Méndez solos one month prior to his arrival. Before Rafael played along with the band he always wanted to make sure the accompaniment knew what he would do, musically, with the solos. He typically arrived the day before the concert and rehearsed with the group for six to eight hours in preparation of four or five solo accompaniments, conducting each phrase and coaching the band until the students felt comfortable with the music. 81 Bill Flaherty, a friend of Méndez, describes a typical day on a Méndez tour: He usually got up at about 7:00 AM and left about 8:00 AM to get to the school by 8:30. Rafael always got in a careful warm-up and then started rehearsing. The rehearsals were unbelievable because of the way he played and directed at the same time. Many times he would be playing and stop the band because he heard a wrong note in the horns. He had an unbelievable ear. They usually re © 1999 International Trumpet Guild

hearsed until it was time for the lunch break. After lunch he would rehearse each piece quickly and make a few finishing touches, followed by a question-answer session for the kids. Rafael had a tremendous sense of humor, and the kids loved him. About 2:30 PM they went back to the hotel, sipped a couple vodka martinis, and talked about all subjects – jokes, religion, etc. Rafael took a nap at about 4:30 PM, woke up and went out for a steak dinner, then to the concert. 82 In the early-to-mid-1950s, for an appearance in the music education field, he charged $350, plus round trip airfare and local expenses. If a school presented two public concerts, his fee was $600, and for one concert plus a student body appearance, the fee was $500. The advertisement brochure that Méndez Bookings sent to prospective high schools stated that if two schools in the same proximity wished to present concerts in close sequence, the schools could divide his airfare.83 Méndez asked that the band schedule two of his solos before intermission and two after, usually in a specific order. He mandated that on a concert day, the rehearsal should begin after 10:00 AM, and fol February, 1999 / ITG Journal 13



lowing this rehearsal, if desired, Méndez would sign one program for each band member.84 He always marveled at the ability of the high school bands to adjust to new ideas so easily. According to J. Robert Menchey, retired owner of Menchey Music Service, “His rehearsal style was just what [was] needed – he inspired the kids to play way beyond their usual level – it was amazing. He also made believers of administrators – some were lukewarm to his appearances, but if they attended a rehearsal, they were sold! He was very easy to work with.”85 On the afternoon of Méndez’s second day at a school, he would present a clinic, inviting students, music educators, and interested community members. These clinics, which he gave wherever he did a solo appearance, made Rafael Méndez a household name with thousands of young musicians throughout the United States. A typical clinic consisted of Méndez performing a few songs, and discussion of typical problems of trumpet playing, including ideas on the improvement of breath control, mouthpiece selection, instrument care and maintenance, tone quality, use of the diaphragm, and tonguing, along with a demonstration of circular breathing. He usually concluded the clinic by stating that the greatest talent in the world cannot develop without hard work and practice.86 Throughout his career, Méndez demonstrated his unusual ability to communicate with and inspire children. In rehearsals and clinics he bridged the gap between himself as a professional and the students: He projected his own enjoyment of music, plus his interest in disciplined and artful playing. When he detected an off-key note he left his director’s chair and intoned the right sound with his trumpet. He teased. He joked. But the students knew Méndez to be exacting – a perfectionist.87 In June, he finished his concert season and began touring in Canada, Europe, and Mexico with his family. Rafael considered this his way of educating his sons by experience. He booked a tour in at least one new country every year to supplement his sons’ educational experiences. The Méndez family toured Europe regularly, beginning in June 1954.88 They spent summers in Italy, France, Spain, Sweden, Denmark, England, France, Mexico, and Canada, and performed regularly with Xavier Cugat and Abbie Lane. In the summers of 1954 and 1955, Robert, Ralph, and Rafael performed 90 concerts in 90 days. Rafael seldom performed in Mexico, but he did play in Mexico City at the Bellas Artes (Palace of the Fine Arts) for President Miguel Aleman Valdez of Mexico. He toured South America once, going to Buenos Aires, Rio de Janeiro, and São Paolo; and he recorded some of his albums in Madrid, Spain. On © 1999 International Trumpet Guild

these summer tours Rafael either performed as the soloist with a few other guest performers, or he served as musical director and soloist. After the summer tours, in September and October, he recorded his albums for Decca Records, and performed on many radio and television shows. By December, Rafael usually needed a vacation, so he would go to Mexico to visit his family and return to California in time for Christmas. Rafael’s trips to Mexico led to meetings with many of the famous and powerful Mexican leaders of the era. He already knew the family of former president Cardenas from his childhood in Jiquilpan. He also met Lazaro, leader of the Partido Revolucionario Institucional, and became friends with the family of General Henrique Guzman, leader of the opposition party. These connections gave him insight into the interesting circles of politicians and military men of Mexico,89 and led to numerous performances for important Mexican politicians. For instance, during the presidency of Lic. Miguel Aleman Valdez, Méndez received a personal invitation to perform in the Palace of the Fine Arts, accompanied by the National Symphony of Mexico. The president presented Rafael with a gift and expressed great admiration for his performance. 90 At the Chinese Palace in Mexico City, Rafael performed in a concert for Musician’s Day. 91 He had several concerts supported by Ron Potrero, a Mexican television show host, in which Robert and Ralph participated in a trio with their father. 92 Méndez’s showmanship became almost as much of a trademark of his performances as his brilliant technique. According to William Shulhan, a music store owner in Saskatoon, Saskatchewan, who attended numerous Méndez concerts, Méndez performances always had great audience appeal: From his snappy walk out on stage to front the band or orchestra – the way in which he would bring the trumpet up to playing position was distinctly Méndez as well as the way in which he withdrew the trumpet from his lips at the conclusion of his number. Mr. Méndez easily found suitable words of expression to his audience for maximum enjoyment.93 The reputation of Méndez and his showmanship spread rapidly, and as he became famous he earned more money; but due to his extravagant spending habits, Amor handled the finances in the Méndez family. When Rafael received a check, he turned it over to Amor and she did with it whatever she felt necessary. Amor spent and invested the money wisely. At the peak of his career, he made over $100,000 per year, plus significantly more from royalties. For concerts, Rafael always had a guarantee to half the house, and seldom played to less than a full house February, 1999 / ITG Journal 15

because the concerts always received substantial publicity. In many instances, up to 3,000 people attended a concert in high school gyms.94

“The Trumpet” Film

A highlight of his career came in 1956 when Méndez made a 16mm audio-visual presentation for Mills Picture Corporation. The film belonged to part of a series entitled Concerts on Film, in which many of the most famous musicians of the era made presentations for their specific instruments. Musicians who recorded performances in the series included Jascha Heifetz, Gregor Piatigorsky, Artur Rubenstein, Andres Segovia, Marian Anderson, Pablo Casals, and Méndez.95 These films, available for purchase from Mills Picture Corporation, enhanced educational settings, such as high school bands, public libraries, or universities, by making it possible for students to witness many of the great musicians of the twentieth century.96 Méndez’s presentation opens with a performance of his own composition, Scherzo in D Minor , followed by a brief explanation of the history of the trumpet. Méndez then describes his family history and personal background. After a performance of the third movement of Haydn’s Trumpet Concerto, he supplies practice tips, stressing the importance of scales. Méndez performs Flight of the Bumblebee to demonstrate the result of scale practice, then discusses the importance of purity of tone. He says, “Never use more effort to produce a tone than you do in ordinary conversation.”97 He suggests improving breath control by swimming under water, walking, and pushing yourself on the instrument by playing long passages without a breath. He shows his own breath control by performing a 36-second excerpt in one breath, using very fast triple-tonguing articulations. The film ends with a performance of Gypsy Airs and the Tre-Méndez Polka, a trio with his sons.98 All the solos were recorded with orchestral accompaniment.

The Educator

Hawaii became one of Rafael’s favorite touring places. He consistently returned there to perform with the University of Hawaii band and local high school bands. Méndez even wrote Diamond Head March for a special occasion while in Hawaii.99 The Hawaiian residents gave the march a favorable reception. In 1960, Méndez performed with a band consisting of members of the University of Hawaii band and local Oahu high schools. A review of the concert said,


Senor [ sic] Méndez combines showmanship and the virtuoso flair with infectious personal charm, and with such warmth for the boys and girls playing with him that they in turn are ready to play their hearts out for him. The pieces that he played were all dazzlers, including his own “Samba Gitana” and a waltz, his transcriptions of the Gypsy dance from “Carmen” and “The Flight of the Bumblebee,” and his super-variations on the variations on “The Carnival of Venice.” … The program concluded with Méndez delightfully leading the delighted band in his new “Diamond Head March.”100 On this same trip, Rafael gave a clinic for approximately 1,000 young musicians at the Farrington High School auditorium. The children packed the auditorium, and “kept the clinic moving at a fast pace by bobbing up from their chairs to ask questions on everything from breath control to ‘lip development’.”101 During the clinic Méndez demonstrated how to build technique by practicing slow, simple scales, and “fired up the youngsters with an hourlong musical ‘pep talk’.”102 Later that year, on March 12, Méndez performed as guest soloist with the North High band of Phoenix, Arizona. The band director, Charles Craig, referred to Méndez’s technique, tone, and breath control as “the most fantastic thing you’ve ever seen. It will amaze people who are not musicians, and people who are, find it hard to believe.”103 After a concert, the audience and band members often surrounded Rafael, seeking autographs. He always opened himself up to conversations with enthusiastic audience members from the concert, “especially when it concerned his playing or music or people he knew, or other musicians.”104 Harold Higa, a friend of the Méndezes and fellow musician, relates an occurrence following a concert in Hawaii: After a superb concert which inspired a standing ovation, Ralph [Rafael] was back stage surrounded by dozens of student autograph seekers. He was perspiring while literally trapped in a maze of stage props, music stands, and percussion equipment, plus the inevitable backstage clutter. Realizing how tired he must be, I took it upon myself to try to rescue him from the obligatory annoyance required of a celebrity. I thought I was doing him a favor when I called him away from the crowd. When he discovered it was just a ploy to rescue him from the autograph seekers, he was upset. He said, “Oh no, I don’t mind this at all,” and went back into the admiring crowd. To Rafael Méndez, the master musician encouraging students in any way was as much a part of an artistic commitment as was the © 1999 International Trumpet Guild

inspiration that he generated through his performance.105 After an April 10, 1959, concert in Muskogee, Oklahoma, Mrs. Méndez received numerous letters from band members, the school administration, and other community members, describing their appreciation for Rafael’s music and his congenial personality. The following letter, from Caralyn Schilt of Muskogee, Oklahoma, is an example of the impression Méndez made upon the people he met: Tension rose the day he arrived we were all expecting the worst [ sic]; a terribly particular musician who would have no patience with us. Now as I think about the time the band spent with him I can see only a friendly atmosphere. In my opinion, Mr. Méndez is one of the nicest, most sincere persons I have ever met. I have never before been acquainted with such a gracious person. I feel the band as a whole has come to be more mature in their attitude toward their music because of him.106 Another letter from Albert E. Bonnell, Jr., a member of the Board of Education of Muskogee, expresses the appreciation for Méndez’s inspirational concert: Your being here is one of the greatest things that has happened to Muskogee in a musical way. The impact of your performance and the human-like feeling you left with all whom you came in contact will serve as a stimulus and an inspiration to these young people for the rest of their lives. 107 The musical motivation that Méndez gave the students from Muskogee was exactly Rafael’s purpose when he began his solo career. Performing hundreds of concerts every year and leaving the students and community members with an inspired feeling perhaps constituted Méndez’s greatest contribution to the trumpet world. Many students, after hearing a Méndez performance, pursued careers in music, while others considered his performance “an experience that I will never forget.”108 By soloing with hundreds of bands and orchestras every year, Méndez was able to raise the performance level of trumpeters by inspiring them to achieve, through dedicated practice, as much as possible on the instrument. In addition, he achieved his goal of making the trumpet an accepted solo instrument of the concert hall. As much as the students enjoyed Méndez’s presence, Méndez enjoyed the concerts and clinics, and the chance to instill enthusiasm in young men and women even more, as this statement testifies: On my concert tour through schools, colleges and universities each year, I find myself keenly anticipating the clinics and the afterrehearsal-get-togethers where I talk shop with © 1999 International Trumpet Guild

the young musicians. Their enthusiasm is infectious and I get a tremendous lift from the interest they show, both in music, and in raising the standard of their playing. 109 Performing with Roy Rogers

Perhaps the appearances that brought Méndez the most national recognition were his live shows with Roy Rogers and Dale Evans throughout the late 1950s and 60s. Many times Rafael included his sons in the performance. A typical program consisted of the usual Western-style singing act by Rogers and Evans, with appearances by various acrobatic and singing groups. Although sometimes not included on the audience’s programs, possibly due to either lack of space or simply an oversight, Méndez acted as music director, appeared as a guest artist, and wrote much of the music for the show. The Rafael Méndez Library in the Arizona State University music building contains a copy of the Roy Rogers Show Overture, composed by Méndez. In a letter to the Hollywood Historic Trust, Roy Rogers stated that Méndez conducted the orchestra, arranged the music, and was the featured soloist for many years with the Roy Rogers Show. He appeared in front of record crowds at the majority of the state fair arena and stage shows in the United States and Canada, and received standing ovations practically everywhere.110 February, 1999 / ITG Journal 17

Prelude to Brass Playing

Health Problems

At this point in his career, Rafael had composed and arranged hundreds of trumpet solos and trios, many of which were published by Carl Fischer, Inc. Although he had a long association with Fischer, the company did not always find his work suitable for publication.111 In 1961, Fischer published his book Prelude to Brass Playing. The book covers all aspects of training necessary for beginning brass instrument students; but Méndez intended for parents to read the book as well, enabling them to assist in the instruction and encouragement of their child. He arranged the book into 11 chapters with 4 appendices, an introduction, and a brief summary. Each chapter covers a different aspect of the brass performance. The following review appeared in the Music Educator’s Journal: Mr. Méndez, throughout, stresses intelligent, concentrated practice upon the part of the ambitious student, coupled with the formation of correct habits of playing. The usual problems attendant upon studying the brass instruments—proper breathing, correct embouchure formation, intonation, tone development, register control—are treated with patient and sound advice. Appendices give a brief history of brass instruments, principles of transposition, and advice relating to pupil, parent, and teacher. The book is written in a rather breezy style which high school students will find attractive. Still, along with its informality, Mr. Méndez has significant things to say to the student; and teachers of brass instruments will find this a valuable supplementary aid for teaching.112 Although not all reviews of the book praised it, all reviewers agreed that it contained valid and useful material for most beginning brass students. After criticizing Méndez’s writing style, one reviewer comments on his points about physical development: Its juvenile approach notwithstanding, Prelude to brass playing [ sic] is surprisingly stimulating and thought provoking. This reviewer cannot say that she enjoyed reading it, but she is glad she did. For, whether a “buzzer” or a “nonbuzzer,” Mr. Méndez should make us realize how hastily we jump into the playing and teaching of a brass instrument and how often we neglect the proper physical development of the lungs and lips – a development which in many ways is more easily and properly done before the instrument is actually taken in hand. Just how many youngsters would be willing to spend three weeks breathing and buzzing before ever playing a note is a question, but its answer deserves some serious thought.113

Throughout Méndez’s career until the mid-1950s, Rafael remained in excellent health. However, allergies and hives had occasionally bothered him, and Amor always considered the jalapeño peppers, which she called “Mexican hot stuff,” the cause of Rafael’s hives. “I hope just because the doctor says your [ sic] alright [ sic] you wont [ sic] start drinking that Mexican poison or eating Mexican hot stuff. You know that is something you don’t need.”114 Periodically, when Rafael ate jalapeño peppers the hives became irritating enough to force him temporarily to quit playing the trumpet.115 He had severe allergic reactions to pollens and molds, for which he took antihistamines. During a performance in Chicago, Rafael had a severe allergic attack and asked Ralph to play La Virgen de La Macarena while Rafael conducted. By 1956, the intensity of his reactions had worsened, which caused breathing problems and affected his trumpet performance. He still traveled often, and performed and recorded constantly; but occasionally the allergies would force Méndez to postpone a performance or find a substitute. Now in his early 50s, Méndez frequently contracted upper respiratory infections and gradually became more tired. Although he certainly did not need to work, he would not turn down a request for a performance or other appearance; and at about age 54 (ca. 1960) he caught a severe respiratory infection while at a concert in the Midwest. The illness forced him to postpone a portion of his concert tour. In 1962 he went to San Francisco to solo with the San Francisco Opera Orchestra. Robert and Ralph saw him and thought he looked very tired; so they recommended that he slow down and maybe give up some of his concert dates. However, Rafael refused, saying he had a hard time declining concert dates or other requests. That night he performed with the orchestra, but following the concert became ill, so his sons took him home to Encino. He developed chronic bronchitis, which eventually led to bronchial asthma. Rafael visited many specialists, and after several differing opinions, the diagnosis was allergic bronchitis and allergic asthma. The doctors wanted to put him on steroids to lessen the effects of the illnesses. Rafael refused at first, but he began to have extremely bad attacks, almost to the point of death. By 1964 Rafael’s health necessitated a change in lifestyle. The asthma occasionally became so acute that it required hospitalization. Several doctors saw him, including pulmonary specialists from the University of California at San Francisco, the Mayo Clinic, and specialists from Los Angeles, but none of the doctors had any useful recourse for the asthma. Since it began to dramatically affect his trumpet playing,



he consented to the steroids. The steroid therapy lasted until his death and completely changed his physical appearance, causing him to gain weight, develop vertebrae collapses, a buffalo hump, and osteoporosis, which forced him to bend over and appear shorter. He also formed a pot belly and steroid face. Later in 1964, his illness forced Rafael to retire temporarily from concertizing. During this time requests kept coming. In spite of his illness, he desperately wanted to continue performing, so the Méndez family tried to get him to cultivate other interests. He enjoyed conducting, but missed the stage and the soloist spotlight. He tried teaching, but found it extremely boring and did not like it. In Los Angeles, he never taught anyone consistently for more than two months except for Henry Miranda. In 1966, he decided to return to the concert soloist stage. 116

Amor & Rafael Méndez.

Méndez’s Final Performances Fulfilling the Decca Records Contract

Despite succeeding in his return to a solo career, Méndez had numerous obstacles to overcome. The recording of many of the Decca Records albums took place after Méndez contracted asthma, in the mid1960s. Decca asked Charles (“Bud”) Dant to produce the additional albums with Rafael, beginning in 1964, and complete them as soon as possible. When Méndez and Dant met to discuss the recordings, Rafael explained that he could not complete the contract due to the breathing problems caused by his serious asthmatic condition. Dant, excited about the project, asked Méndez if he would attempt to record despite his health. Thus, with the help of a multi-track tape recorder, they completed the album, Rafael Méndez and Laurindo Almeida: Together , which became one of Méndez’s best selling albums. A reviewer called the album “ten bands of unimpeachable perfection,”117 and described the recording as one of the best he had heard in years: “It’s more than words can describe. Simply everything about this album takes off … with more precision, range, delicacy, technique, and velocity than I’ve ever heard assembled on one recording in many years.”118 Following the album with Almeida, Méndez and Dant completed Concerto for Méndez, using symphony orchestras from South America and Madrid for background music. This album contained a Concertino written for Méndez by the South American composer A. Mazzarelli Gilardi to showcase Méndez’s brilliant technique.119 In 1967, Rafael and Amor, along with Dant, traveled to Spain to finish the recording contract with Decca Records. Using members of the Madrid Symphony, they recorded the last few albums in a ten-day period. Despite his failing health, Rafael had fulfilled his Decca contract for twelve albums.120 © 1999 International Trumpet Guild

Rafael performed with the band from Bill Flaherty’s hometown, Hanover, Pennsylvania, for the final time in 1968. He played A Trumpeter’s Lullaby by Leroy Anderson, and Bill could tell something was wrong. He remembered how distraught Rafael had become because the asthma would not allow him the breath control necessary to play the trumpet as well as he could in earlier years: At intermission Rafael called for me to come backstage and said, ‘Bill, I’m having an asthma attack and I can hardly breathe. I don’t know what to do about it.’ He asked me to bring him his trumpet case. He had some 100 proof vodka in it and took a big swallow to gulp it down. This opened his breathing passages and he was able to continue playing. The next morning at breakfast he asked me why this was happening to him. He said, ‘My father is ninety-two years old and still teaches at two schools in Mexico City. He is now certain that he can’t do what he once could, but he still has something to give to those kids. Now I’m sixty-two years old and I can still do things that nobody ever knew I could do on trumpet. There are things that some people said I could do that I never could do on trumpet. But my point is, I know what I can and can’t do, and I know I still have something to give to those kids. Now why does the Lord take this away from me?’ … For a man with his fantastic breath control it was tragic for him to have this ailment.121 The asthma attacks affected his performance ability in two different ways. First, he needed to rephrase passages that he performed easily in previous years. Second, the asthma caused him to worry about the performances, at times resulting in stage fright. February, 1999 / ITG Journal 19

Despite these setbacks, he continued his performances, making necessary alterations in the music. For instance, occasionally the asthma caused him to play flat in the upper register, due to his lack of air support.122 During the early 1970s, Méndez cut his appearances down to a maximum of 30 per year, and started playing fewer solos on each concert, letting the band fill in between solos. Despite his health, he continued performing the same difficult works he always had. Refusing to give in to the asthma, he kept in shape by practicing three hours per day, in half-hour segments.123 Until about 1975, Méndez continued performing as a soloist and television guest artist, but during this time he felt that his performance level lacked the brilliance of his earlier career. At times, during a concert he still showed the amazing technique of his previous years. A performance in Longmont, Colorado received good reviews, although perhaps not equal to the many rave reviews from earlier in his career: “Méndez’s interaction with the audience was delightful, proving that he enjoys people and performing. Again he delighted everyone with his onefinger fast ‘Carnival of Venice’ encore as well as his brief introductions to each piece.”124 Rafael’s final performances caused him intense frustration, and his health severely limited his ability to perform. During Rafael’s last few years of concertizing he always carried an inhaler, although his lungs remained in good shape despite the bronchial problems. His health caused him to worry before each performance; and sometimes he resorted to alcohol to help calm himself, since a couple of drinks before a performance seemed to calm his nerves. At other times, if he felt that a cadenza might prove too difficult he changed it at the last minute to enable himself to perform it. In 1975, Méndez performed his final concert.125 Retirement

From 1975 to 1981, after retiring from his soloist career, Méndez still enjoyed the chance to perform on the trumpet, and socialize with other musicians whenever possible. He continued to play the trumpet in his own studio and regularly sat in with the Los Angeles Police Band, enjoying the chance to relax, talk to other musicians, and play third trumpet. 126 Although not a regular, he rehearsed every Monday night with the Monterey Park Concert Band. When asked why he enjoyed rehearsing with this band, he answered, “It’s good for my lip. One just can’t put the horn down. I love to play.” 127 Despite his asthma, these later years in Méndez’s life were filled with happiness. During this period,


Amor and Rafael continued to travel frequently to the places where they had made friends throughout the years, including Argentina, Mexico, Hawaii, and throughout the United States. Whenever Méndez returned to Mexico, he enjoyed sitting in with the trumpet section of local Mexican bands. Rafael usually remained very happy, but occasionally became depressed when his illnesses became more frequent and severe.128 Composition and recording remained an important aspect of Méndez’s life in his later years. He continued to arrange and rearrange old and new songs for various ensembles. His studio contained up-to-date recording equipment that he used to record many of his arrangements. Méndez played the various instruments required for each number, and overdubbed them with as many as eight tracks to make a quality recording. Some of these recordings included Méndez performing on a variety of instruments – trumpet, guitar, stringed bass, and mandolin. Occasionally he even recorded the vocals. Also during this period, he continued his tradition of writing a song for a special event in the life of a family member. In March 1979, on Rafael’s 73rd birthday, many of his friends from the Los Angeles area gave him a surprise party. The party took place in Studio City, California at the Sportsman’s Lodge, and 527 registered trumpeters attended the celebration. When he walked into the room they all played Happy Birthday on their trumpets. During the party, the International Trumpet Guild presented Méndez with a lifetime achievement award and plaque for his contributions to the trumpet world as a performer, composer, and educator. Many famous trumpeters and other Hollywood personalities, including Rudy Vallee, attended the event, and paid tribute to their friend and colleague. Rafael was very moved, 129 remembering the experience as “the most beautiful and most tremendous surprise and pleasure that I have ever experienced in my life.”130 On September 15, 1981, he swam for a while, went for a walk, and used an exercise bike. That day his blood pressure and pulse were very high. Since he also had shortness of breath, he took a few whiffs from an inhaler and may have had too much. Rafael got up in the middle of the night, lay down on the couch in his studio, and died quietly. Amor discovered him there the next morning. He died of either an arrhythmia (irregular heart rate) or cerebrovascular accident (stroke).131 Recognition of an Extraordinary Career

Posthumously, Méndez has received numerous honors, including a star on the Walk of Fame on Hollywood Boulevard in Hollywood, California. The star, © 1999 International Trumpet Guild

Rafael’s 73rd birthday party. (Photo by Nelson Hatt)

located in front of the Hollywood Wax Museum, documents his musical contributions to both classical and commercial mediums. To be awarded a star, the person must receive nominations from numerous celebrities. Celebrities who supported Méndez’s nomination included Roy Rogers, Dale Evans, Henry Mancini, Harry James, Ricardo Montalban, and David Rose. On March 2, 1983, Amor, Robert, Ralph, other family members, and friends attended the induction ceremony, sponsored by the Hollywood Chamber of Commerce. Amor and her sons were presented with a plaque to commemorate the occasion. In 1993, the establishment of both the Rafael Méndez Institute and the Rafael Méndez Library honored his many contributions and accomplishments in the brass world. The Rafael Méndez Library, housed in two rooms in the Arizona State University School of Music, contains hundreds of Méndez’s recordings, manuscripts, photographs, instruments, newspaper clippings, and letters. All of the items are catalogued in the library’s computer. The library showcases many of the items and contains a large conference table for research and discussion. In 1994 Summit Books published Magnificent Méndez, a biography of Méndez's life. Summit Records has re-issued CDs of Méndez’s Decca recordings as a 12-CD set. During his career, Méndez performed for thousands of people in concert halls around the world. These concerts proved that trumpeters could perform with the same virtuosity and musicality that violin © 1999 International Trumpet Guild

February, 1999 / ITG Journal 21

ists, pianists, and other solo instrumentalists had exhibited for many years. In doing this, Méndez achieved his goal of making the trumpet a recognized concert instrument. Notes 1

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Robert Méndez, interview by author, 12 May 1992, Los Angeles, tape recording, transcript in the possession of Delon Lyren. Consuelo Méndez, Mexico City, to Delon Lyren, Mesa, 18 November 1991, letter in the possession of Delon Lyren. Robert Méndez, interview by author, 14 September 1991, Los Angeles, tape recording, transcript in the possession of Delon Lyren. Ralph Méndez, interview by author, 12 September 1991. Ralph Méndez, interview by author, 12 September 1991. David Larson and George Sotter, “Rafael Méndez – From Pancho Villa to Paganini,” The Instrumentalist 27 (December 1972):26. Barbara Elliott, “‘I Just Blow’, Declares Concert Guest Trumpeter,” The Aberdeen (WA) Daily World, 2 December 1953. Ibid. Ralph Méndez, interview by author, 12 September 1991. Robert Méndez, interview by author, 12 May 1992. H .M . Le wi s , “R a fa el M é nd e z: Tr u mp e te r Extraordinaire,” International Trumpet Guild Newletter (May 1979):16. Rafael Méndez, “Trumpeter on a Teaching Tour,” Music Journal 10 (September 1952):50. Robert Méndez, interview by author, 12 May 1992. Rafael Méndez, “Prelude To Brass,” Music Journal 23 (January 1965):39. Ibid. Unsigned, “The Boy and the Bandit,” Walt Disney’s Magazine 4, No. 6 (1964):42-43. Robert Méndez, interview by author, 12 May 1992. Ralph Méndez, interview by author, 14 September 1991, Los Angeles, tape recording, transcript in the possession of Delon Lyren. Robert Méndez, interview by author, 12 May 1992. Consuelo Méndez Letter, 18 November 1991. J. M. Tort, “La Nueva Era de la Trompeta,” Mañana, 66, article located in Rafael Méndez Library, Arizona State University, Tempe, Arizona. Robert Méndez, interview by author, 14 September 1991. Ralph Méndez, interview by author, 12 September 1991. Lewis, “Rafael Méndez,” 13. Ralph Méndez, interview by author, 12 September 1991. Elliot, “‘I Just Blow.’” Roy S. Skaggs, “Rafael Méndez,” Swing 3, No. 5 (November 1940):38. Lewis, “Rafael Méndez,” 13. Larson and Sotter, “Rafael Méndez,” 28. Barry Westgate, “Nightside; Quirk Of Fate Started Great Trumpet Career,” The Edmonton Journal, 3 October 1966, 39. Ibid. Larson and Sotter, “Rafael Méndez,” 28. Tort, “La Nueva Era,” 66. Bill Flaherty, telephone interview by author, 10 Febru-


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ary 1993, Hanover, PA, transcript in the possession of Delon Lyren. Skaggs, “Rafael Méndez.” Ralph Méndez, interview by author, 12 September 1991. Robert Méndez, interview by author, 14 September 1991. Lewis, “Rafael Méndez,” 15. Robert Méndez, interview by author, 14 September 1991. Herbert L. Clarke, autograph of Rafael Méndez’s copy of Clarke’s Characteristic Studies, ed. 1915, 12 March 1932, held in Rafael Méndez Library. Robert Méndez, interview by author, 12 May 1992. Herbert L. Clarke, from liner notes of Rafael Méndez and Laurindo Almeida Together, DL 74921. Skaggs, “Rafael Méndez.” Lewis, “Rafael Méndez,” 13. Ralph Méndez, interview by author, 12 September 1991. Michel Laplace, “Rafael Méndez,” Brass Bulletin, No. 75 (1991):48- 51. Ralph Méndez, interview by author, 12 September 1991. Lewis, “Rafael Méndez,” 14. Ralph Méndez, interview by author, 12 September 1991. Alfonso Rodriguez, to Delon Lyren, 8 July 1992, letter in the possession of Delon Lyren. Unsigned, “Rafael Méndez, Famed Trumpet-Player, Dies,” Overture (published by Local 47 of Los Angeles American Federation of Musicians) 61, No. 7 (November 1981):13. Skaggs, “Rafael Méndez.” Ralph Méndez, interview by author, 12 September 1991. J.B. Arban, Me th od fo r Tromb on e an d Ba ri to ne , autographed by Louis Maggio, 13 May 1937, held in Rafael Méndez Library. Rafael Méndez, Interview by various Los Angeles trumpet players, videotape i n Rafael Méndez Library. Uan Rasey, telephone interview by author, 30 December 1992, Transcript in the possession of Delon Lyren. Certificate of Naturalization #497412 - Pet, #69143, naturalized in Los Angeles by Department of Labor, 26 July 1940, held in Rafael Méndez Library. Robert Méndez, interview by author, 12 May 1992. Laplace, “Rafael Méndez.” Unsigned, “‘Heifetz of Trumpet’ To Perform at Col-Hi,” The Columbia Basin News (Richland, WA), 12 March 1954, 12. Robert Méndez, interview by author, 12 May 1992. Unsigned, “‘Heifetz of Trumpet.’” Ralph Méndez, interview by author, 12 September 1991. Unsigned, “Soloists’ Symposium,” International Musician 47 (April 1949):34. Ned Powers, “For Rafael Méndez, a trumpet is never far away,” Saskatoon Star-Phoenix, 5 November 1968, 14. Unsigned, “Soloists’ Symposium.” Jane W. Hickman and Delon Lyren, Magnificent Méndez, (Tempe, AZ: Summit Records, 1994):58. Robert Méndez, interview by author, 12 May 1992. Laplace, “Rafael Méndez.” Rafael Méndez, performance on Art Linkletter ’s House Party, videotape in Rafael Méndez Library. Rasey Telephone Interview, 30 December 1992. Rafael Méndez, interview with Los Angeles trumpeters. Robert Méndez, interview by author, 12 May 1992. Alfonso Rodriguez Letter, 8 July 1992. Ralph Méndez, interview by author, 12 September 1991. Laplace, “Rafael Méndez,” from The American Weekly,


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89 90

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92 93 94 95 96 97 98 99 100 101 102 103 104 105 106

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23 July 1950. Unsigned, “Méndez Plays Here Sunday,” Saskatoon (Saskatchewan) Star-Phoenix, 17 October 1962. Lewis, “Rafael Méndez,” 14. Laplace, “Rafael Méndez.” Los Angeles Herald-Expres s, 4 (C). Rafael Méndez, “Trumpeter on a Teaching Tour,” 25. Bill Flaherty, Rafael Méndez Memoriam, Tape recording, Hanover, PA, (date unknown), in the possession of Delon Lyren. Méndez Bookings, memorandum to instrumental music directors for performances during the 1953-54 school year, held in the Rafael Méndez Library. Chuck Hendry, intra-company memorandum to Dick Madden, 30 January 1962, Letter in the possession of the Rafael Méndez Library. J. Robert Menchey, Hanover, to Delon Lyren, Mesa, 23 November 1991, Letter in the possession of Delon Lyren. Mickey Mowbray, “Trumpet Virtuoso Wins Plaudits Of Audience,” Prince Albert (Saskatchewan) Daily Herald, 18 October 1962, 5. Dolores Fetcko, “Loves to Share Musical Wealth With Youngsters,” Sunday Post-Tribune Panorama (Gary, Indiana), 7 May 1967, 8. Ralph Méndez, “Trumpeters Triumph; Méndez Twins Serenade Europe,” Centaurian (Centaurville, CA), 3 November 1954, 2. Robert Méndez, interview by author, 12 May 1992. Unsigned, “Rafael Méndez, Famed Trumpet-Player, Dies,” Overture (published by Local 47 of Los Angeles American Federation of Musicians), 61, No. 7 (November 1981):13. Unsigned, “El Gran Trompetista Rafael Méndez, Proyecta Hacer Una Jira Por Europa,” Esto Pagina, 12 August 1948, 4. Unsigned, “Ron Potrero Presenta,” Excelsio r (Mexico City), 17 July 1953, 11-A. William Shulhan, Saskatoon, to Delon Lyren, Mesa, 16 December 1991, Letter in the possession of Delon Lyren. Ralph Méndez, interview by author, 12 September 1991. Unsigned, “Méndez, Dies.” Concerts on Film, sales brochure by Mills Picture Corporation. Rafael Méndez, “The Trumpet,” Concerts on Film, filmstrip by Mills Picture Corporation, 1956. Ibid. Ralph Méndez, interview by author, 12 September 1991. Austin Faricy, “Band in Fine Pitch; Méndez Dazzles Crowd,” Honolulu Star-Bulletin, 16 June 1960. Robert Monahan, “‘Greatest’ Trumpeter Thrills Youngsters,” Honolulu Advertiser, 13 January 1960. Ibid. Unsigned, “Virtuoso On Trumpet To Play Here,” Phoenix Gazette, 3 March 1960. Alfonso Rodriguez Letter, 8 July 1992. Harold Higa, Honolulu, to Delon Lyren, Mesa, 27 December 1991, Letter in the possession of Delon Lyren. Caralyn Schilt, Muskogee, to Mrs. Rafael Méndez, Encino, April 1959, Letter in the possession of the Rafael Méndez Library. Albert E. Bonnell, Jr., Muskogee, to Mr. Rafael Méndez, Encino, April 24, 1959, Letter in the possession of the Rafael Méndez Library. Jim Rushton, Muskogee, to Mrs. Rafael Méndez, Encino,


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April 17, 1959, Letter in the possession of the Rafael Méndez Library. Rafael Méndez, “Successful Trumpet Playing; A talk with Rafael Méndez,” Internati onal Musician 58 (October 1959):18. Roy Rogers and Dale Evans Rogers, Los Angeles, to Hollywood Historic Trust, Hollywood, 12 June 1982, Letter in the possession of the Rafael Méndez Library. Alicia P. Hevesi, New York City, to Rafael Méndez, Encino, 17 July 1958, Letter in the possession of the Rafael Méndez Library. Review of Prelude To Brass Playing, by Rafael Méndez, in Music Educator’s Journal 49, No. 2 (1962):124. Review of Prelude To Brass Playing, by Rafael Méndez, in Brass Quarterly :165-66. Amor Méndez, Detroit, to Rafael Méndez, Los Angeles, 9 November 1937. Letter in the possession of Ralph Méndez. Alfonso Rodriguez Letter, 8 July 1992. Robert Méndez, interview by author, 14 September 1991. Rex Reed, “Trumpet/Guitar Duets: Ten Bands of Perfection,” HIF I/Stere o R eview 20 (April 1968):78. Ibid. Bill Rumfelt, “Easy Listening,” Rocky Mount, N.C. Tele gram, 16 February 1969. Charles (“Bud”) Dant, Kailua-Kona, to Delon Lyren, Mesa, 4 March 1992, Letter in the possession of Delon Lyren. Ibid. Flaherty Phone Interview, 10 February 1993. Larson and Sotter, “Rafael Méndez,” 29. Marjorie McAllister, “Fun, Fast Concert Brings Spring into Longmont Sky,” Longmont (Colorado) Daily-Times Call, 24 April 1974, 6. Robert Méndez, interview by author, 14 September 1991. Robert Méndez, interview by author, 12 May 1992. Ray Babcock, “Trumpet Legend Plays In Band,” Monterey Park Californian 28, No. 87 (18 January 1979):1. Robert Méndez, interview by author, 12 May 1992. Robert Méndez, interview by author, 14 September 1991. Lewis, “Rafael Méndez,” 16. Robert Méndez, interview by author, 14 September 1991.

Selected Reference Materials

Jane W. Hickman and Delon Lyren, Magnificent Méndez, Summit Books, 1994. H.M. Lewis, “Rafael Méndez: Trumpeter Extraordinaire,” International Trumpet Guild Newletter (May 1979):16. The Méndez Collection, music, Carl Fischer. Rafael Méndez, 12-CD set, Summit Records. About the Author: This article has been adapted from Rafael Méndez (1906-1981): A Study of His Life and Influence in the Trumpet World, by Delon G. Lyren, DMA dissertation, Arizona State University, 1994. Lyren is assistant professor of high brass at Bemidji State University and serves as the ITG Membership and Retention Coordinator. February, 1999 / ITG Journal 23

Rafael Mendez

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