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to promote communications among trumpet players around the world and to improve the artistic level
of performance, teaching, and literature associated with the trumpet
Rafael Mndez.
(All photos courtesy of the Rafael Mndez Library, Arizona State University, Tempe, Arizona.)
44 ITG
ITG Journal
Journal // February,
February, 1999
1999
Rafael Mndez:
The Life of a Master Trumpeter
DELON G. LYREN
Maximino believed that to play a brass instrument, the persons body must be large and strong
enough to provide the necessary physical support.
Because of Rafaels frail physical build, Maximino
attempted to limit his sons 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 Mndezes 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 Mndez 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 didnt 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 Mndez.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 familys moral
support, they could not afford to purchase a decent
instrument, which resulted in a cheap and poorly
constructed cornet for Rafaels first instrument. He
frequently had to reattach the trumpets braces, because the beeswax that held the braces together
melted in Mexicos 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
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 fathers 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
fathers 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
Mndez 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
Mndez 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 mills 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, Rafaels friends asked him to play
a song for them on his trumpet. Later in his life,
1999 International Trumpet Guild
A Blessing in Disguise
Throughout Mndezs years with MGM, differing
concepts of tone and vibrato caused problems in the
trumpet section. Mndezs 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 Mndez.
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 Linkletters House Party.
Rafael performed the third trumpet part to the Tre
Mndez 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
Mndez 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, Mndez began his solo career.
In New York, for one of his first solo engagements,
Mndez performed a series of concerts at the Paramount Theater with Ella Fitzgerald and Mel Torme.
This time, Mndez 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 Mndez as the worlds 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 Rafaels 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-
because the concerts always received substantial publicity. In many instances, up to 3,000 people attended
a concert in high school gyms.94
The Educator
Hawaii became one of Rafaels favorite touring
places. He consistently returned there to perform
with the University of Hawaii band and local high
school bands. Mndez even wrote Diamond Head
March for a special occasion while in Hawaii.99 The
Hawaiian residents gave the march a favorable reception. In 1960, Mndez performed with a band
consisting of members of the University of Hawaii
band and local Oahu high schools. A review of the
concert said,
Health Problems
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, Mndez 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, Mndez 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: Mndezs 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
Rafaels final performances caused him intense
frustration, and his health severely limited his ability to perform. During Rafaels 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, Mndez performed his
final concert.125
Retirement
From 1975 to 1981, after retiring from his soloist
career, Mndez 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, Its good for my lip. One just cant put the
horn down. I love to play.127
Despite his asthma, these later years in Mndezs
life were filled with happiness. During this period,
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 Mndezs 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
Mndez Institute and the Rafael Mndez Library
honored his many contributions and accomplishments
in the brass world. The Rafael Mndez Library, housed
in two rooms in the Arizona State University School
of Music, contains hundreds of Mndezs recordings,
manuscripts, photographs, instruments, newspaper
clippings, and letters. All of the items are catalogued
in the librarys computer. The library showcases many
of the items and contains a large conference table for
research and discussion. In 1994 Summit Books published Magnificent Mndez, a biography of Mndez's
life. Summit Records has re-issued CDs of Mndezs
Decca recordings as a 12-CD set.
During his career, Mndez 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
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23 July 1950.
Unsigned, Mndez Plays Here Sunday, Saskatoon
(Saskatchewan) Star-Phoenix, 17 October 1962.
Lewis, Rafael Mndez, 14.
Laplace, Rafael Mndez.
Los Angeles Herald-Express, 4 (C).
Rafael Mndez, Trumpeter on a Teaching Tour, 25.
Bill Flaherty, Rafael Mndez Memoriam, Tape recording, Hanover, PA, (date unknown), in the possession of
Delon Lyren.
Mndez Bookings, memorandum to instrumental music
directors for performances during the 1953-54 school
year, held in the Rafael Mndez Library.
Chuck Hendry, intra-company memorandum to Dick
Madden, 30 January 1962, Letter in the possession of
the Rafael Mndez 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 Mndez, Trumpeters Triumph; Mndez Twins
Serenade Europe, Centaurian (Centaurville, CA), 3 November 1954, 2.
Robert Mndez, interview by author, 12 May 1992.
Unsigned, Rafael Mndez, 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 Mndez,
Proyecta Hacer Una Jira Por Europa, Esto Pagina, 12
August 1948, 4.
Unsigned, Ron Potrero Presenta, Excelsior (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 Mndez, interview by author, 12 September 1991.
Unsigned, Mndez, Dies.
Concerts on Film, sales brochure by Mills Picture Corporation.
Rafael Mndez, The Trumpet, Concerts on Film, filmstrip by Mills Picture Corporation, 1956.
Ibid.
Ralph Mndez, interview by author, 12 September 1991.
Austin Faricy, Band in Fine Pitch; Mndez 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 Mndez,
Encino, April 1959, Letter in the possession of the Rafael
Mndez Library.
Albert E. Bonnell, Jr., Muskogee, to Mr. Rafael Mndez,
Encino, April 24, 1959, Letter in the possession of the
Rafael Mndez Library.
Jim Rushton, Muskogee, to Mrs. Rafael Mndez, Encino,
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