Rafael Mendez

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Delon G. Lyren – Rafael Méndez: The Life of a Master Trumpeter(Feb99/4)

4 ␣ ␣ ITG Journal / February, 1999 © 1999 International Trumpet Guild

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

4 ␣ ␣ ITG Journal / February, 1999

February, 1999 / ITG Journal ␣ ␣ 5© 1999 International Trumpet Guild

Rafael Méndez:The Life of a Master Trumpeter

DELON G. LYREN

I n 1926, when Rafael Méndez (1906-1981)moved to the United States from Mexico, thecornet 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 amongsoloists. The gradual transition in popularity from thecornet to the trumpet was due to trumpet soloists likeRafael Méndez, who performed for thousands through-out the world, dazzling audiences with his technique,brilliant tone quality, and winning personality.

Maximino Méndezand The Méndez Family Orchestra

For at least five generations, ancestors of theMéndez family lived in the Michoacan area of Mexico.At age 14, Irene Arceo Galvez married MaximinoMéndez Gutiérrez and together they raised 12 chil-dren. Although pregnant 19 times,1 only 12 childrenlived through the pregnancy and birthing process.Rafael and most of his siblings were born in a homein Jiquilpan, Michoacan, where they remained formost of Rafael’s youth except for a short period ofresidence in Guadalajara, Jalisco.2 Given the nameRafael Gutiérrez Méndez Arceo, Rafael’s parentsnamed him after his relative, General Gutiérrez ofthe Mexican Army, and another relative, the SeniorCardinal of Mexico, Rafael Méndez Arceo fromCuernavaca.3

Maximino was a talented musician. He may havereceived his early training in music fundamentalsand composition from a French music teacher.4 Inaddition, he educated himself with books that hismother brought home from her trips to Mexico City.Maximino became accomplished on violin and cello;and he devoted his entire life to music, playing sev-eral other musical instruments, including viola, pi-ano, mandolin, guitar, and horn. Formally trained insolfeggio, composition, and arranging, he earned aliving early in his career by performing at parties ofrich families and teaching violin and mandolin.5

Maximino directed a community orchestra, whichflourished until the arrival in Jiquilpan of anothermusician who was intent on becoming the town’smost important orchestra leader. The newcomer hadmore financial backing and paid better wages, and

consequently, Maximino began losing musicians to theother man’s orchestra. “Papa Mino,” as his childrencalled him, knew this situation necessitated a change.To provide himself with personnel upon whom he coulddepend, he began to train his own children.6 Rafaelsaid, “My father didn’t have an orchestra then, and hedidn’t have a lot of money, but he had a lot of kids.␣ …So he took us to a farm for three months, handed eachof us an instrument and started teaching us.”7

Maximino made learning music fun by teachingeach child a short exercise, and when all the childrenplayed the exercise together, they discovered thattheir father had taught them a popular Mexican folksong. The children always looked forward to the daywhen “Papa Mino” would teach them a new song. Atthe conclusion of three months, the Méndezes re-turned to Jiquilpan. Due to his expert teaching andthe appeal of a family orchestra, Maximino’s orches-tra successfully regained its position as the mostprominent in the community.8 Until approximately1925, the Méndez family orchestra regularly performedfor festivals and other community functions.9

Rafael Chooses Trumpet

Even though Rafael preferred to play a stringedinstrument, he chose trumpet as his first instrumentbecause the family orchestra lacked a trumpet player.Maximino considered Rafael’s physical build too slightto play the trumpet, but he allowed Rafael to beginlessons. Although only five years old, Rafael immedi-ately fell in love with the instrument and began tofocus all of his time and attention on it. His musicaltalent revealed itself almost immediately. Maximinotaught Rafael solfeggio along with many other in-struments in addition to trumpet, and young Rafaelsurprised his father with his quick learning ability.Maximino stressed the fundamentals of music, re-quiring Rafael to master these essentials before con-centrating only on the instrument.10 The first scaleMaximino taught Rafael “was the C-sharp scale. Andthen he was a demon for pedal notes. He had me warmup on pedal notes all the time.”11 Only the most dedi-cated students could survive Maximino’s discipline.According to Rafael, “One of my earliest recollectionsis the daily drill in solfége through which my fatherput all of his children. If one of us made a mistake, wewere rapped soundly for it.”12


Maximino believed that to play a brass instru-ment, the person’s body must be large and strongenough to provide the necessary physical support.Because of Rafael’s frail physical build, Maximinoattempted 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 pun-ished him if they caught him practicing in excess. Asa result, Rafael discovered a way to practice withoutbeing caught. Whenever his parents left the home togo to the market, Rafael paid half of his allowance toone of his younger brothers to stand at the corner ofthe block and warn him with a whistle when “MamaNena” or “Papa Mino” approached.13

Because the Méndezes lived in a small house, andRafael played the only brass instrument in the fam-ily, “Mama Nena” always asked Rafael to practicesofter so as not to overpower the rest of the house-hold. She always called him the loudest trumpetershe had ever heard. Young Rafael considered this acompliment, and one day decided to show the wholecity what an excellent trumpeter he had become. Heclimbed a small mountain near the Méndez home,and at the top of the hill, played as loud as he couldfor one full hour. Meanwhile, Rafael posted his brotherhalfway down the mountain to listen. Rafael describedthe incident:

I was happy in the thought that I might evennow be famous with the multitude who musthave heard me in the lowlands. I received myfirst lesson in the effects of wind and space onsound when my brother greeted me with adisappointed, “Why didn’t you play?” Afterthis early frustration, my attitude was sub-dued and for a year or more I was tabbed bymy teacher-father as Pianissimo Méndez.14

Once Maximino became aware that Rafael couldplay the trumpet without any ill effects on his health,he completely supported Rafael in his efforts, as didthe rest of the family. Despite the family’s moralsupport, they could not afford to purchase a decentinstrument, which resulted in a cheap and poorlyconstructed cornet for Rafael’s first instrument. Hefrequently had to reattach the trumpet’s braces, be-cause the beeswax that held the braces togethermelted in Mexico’s intense summer heat. During con-certs, Rafael stood behind the contrabass to avoid theheat from the lights.15

Rafael and Pancho Villa

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

at a time and performing for various encampments ofthe guerillas and other Mexican troops. During breaksin the fighting, the Méndez family orchestra set upon neutral ground and performed for both sides.Choosing sides would have endangered his family.

By 1916, Pancho Villa and other revolutionarytroops had reached the peak of their power, lootingand killing throughout Mexico. The troops swarmeddown on small towns and stole money, grain, cattle,and anything else they desired. Maximino set up hisfamily orchestra and performed for Villa and his menwhen they arrived at Jiquilpan. They impressed Villa,who demanded that Maximino and the children ac-company him as his personal orchestra. They trav-eled with Villa for three months, performing under aflag of truce between battles, until Maximino re-ceived permission from Villa to return to Jiquilpanwith all his children except Rafael, who had becomeVilla’s favorite. Villa wanted to keep Rafael as histrumpeter, but Rafael wanted to leave and performwith the Mexico City Police Band. When Rafael ap-proached Villa with this idea, Villa had other plans.

Villa looked at young Rafael. “If you want toleave us, you are a traitor,” he said. “And doyou know what we do to traitors? We call thefiring squad.” Pancho Villa was only jokingwith young Rafael, but the boy did not knowthis. Bravely he watched Villa summon afiring squad. Bravely he let himself bemarched across an open area to a wall.Bravely he heard the soldiers click the boltsof their rifles. Then Villa turned to Rafael.“Do you still want to join the Mexico CityPolice Band?” he asked. The lad stammered,“Well, sir … maybe not that much.” Villabegan laughing, and all the men in the firingsquad began to laugh, too. It was a great jokeon the little trumpet player. After travelingwith Villa six months, Rafael returned home.The bandit chief sent along three bodyguardsto make sure no harm came to the boy.16

Rafael Prepares for a Career

By age 15, Rafael had become a very good trum-peter. He managed to find an old Arban’s CompleteConservatory Method for Cornet and practiced itsetudes and exercises diligently, to the point that hememorized most of the book.17

In 1921, Rafael left home to join the army. He wasstationed for several months in Acapulco,18 playingin the army orchestra and living just above the plazain the old part of town. After about one year, whenhis service to the army ended, he returned to hishometown.19 During the early-to-mid-1920s, Rafaelearned a small amount of money by directing an


orchestra, and received a salary based on the earn-ings from each concert.20

Despite his love for music, Rafael took an appren-ticeship with the village shoemaker, but after a shorttime, he gave it up to pursue a career in music. Acircus traveling through Jiquilpan needed anothertrumpeter for their band, so Rafael took the position.He performed with this and other circus bands ontheir Mexican tours, but these bands provedunglamorous and unprofitable. After about two years,he left in 1924 to rejoin his father’s orchestra inJiquilpan.

Until this time, Rafael had performed on a poorlyconstructed cornet, which constantly needed repairs.Soon after his return to Jiquilpan, some of the wealthycommunity members contributed enough money topurchase a new trumpet and a carrying case forRafael. Worried about how he could repay his debt tothe townspeople, Rafael was assured that the onlypayment they desired was for him to play their favor-ite songs, Las Golondrinas and La Paloma, with hisfather’s band.21

First Years in the United States

By 1926, Rafael realized that he had the potentialto accomplish great things as a performer, if only hehad the opportunity to perform for larger and moreknowledgeable audiences. Because Rafael had heardand liked Dixieland and other forms of Americanjazz, he decided to move to the United States.22 Hisparents supported the move for two reasons. First,Rafael was already an extremely accomplished trum-peter and would find greater opportunities to learnand perform there. Second, from a financial stand-point his parents welcomed one fewer dependent.23

Méndez persuaded a local landowner to loan himenough money for the move, convincing the man thathe had the talent to succeed in the United States andthe honesty to repay the debt.24

Méndez crossed the border and passed throughUnited States Customs on June 26, 1926. He haddecided to move to Gary, Indiana because one of hiscousins and a few friends from Mexico worked therein a steel mill, and he hoped that their presencewould help him adjust to life in the United States. Heremained in Gary for about four months, working 12-hour shifts shoveling coal into the mill’s furnaces,25

and living in a community of Mexicans, most of whomRafael knew from earlier years. He felt comfortablein this Mexican ghetto, but had little motivation tolearn English. The difficult labor and primitive work-ing conditions of the steel mills left minimal time forhim to practice music; but one day, while celebratinga Mexican holiday, Rafael’s friends asked him to playa song for them on his trumpet. Later in his life,

remembering the event, Rafael said, “My hands wereso thick and calloused from working in the mills thatI couldn’t play well. Right then, I decided that I mustquit that work and devote my life to music.”26 Soonthereafter, Rafael moved to Flint, Michigan, wherethere were more musical opportunities.

Upon his arrival in Flint, he gained employmentat the Buick Company auto plant and organized agroup of fellow musicians, who also were employed atthe plant, to perform for the other workers.27 After afew months in Flint, Rafael spent a Sunday after-noon in a park listening to one of the factory bandsgive a concert. Rafael spoke little English at thispoint, but on a whim he walked to the bandstand andpointed to a trumpet, asking to play with the band.Everyone in the band laughed at him, and to play ajoke, the band members had him sit in on one of thepieces. They pulled up a difficult circus march, andRafael, knowing the work very well from his pastperformances with Mexican circus bands, easily per-formed it. The owner of the plant had attended theconcert, and afterwards asked Méndez if he had en-joyed performing in the band. When Rafael answeredthat he did, the owner told Rafael to meet him at his

Rafael and Amor wedding photo.


office the following morning. At that meeting, theowner presented Méndez with a trumpet and askedhim to play in the company band full-time. From thatpoint on, Rafael never worked in the factory again.28

Detroit Years

While in Flint, Méndez heard constantly about themany job prospects in Detroit, and after a short timehe decided to try his luck there. He borrowed somemoney and moved to Detroit, but since he had onlylived in the United States a short time, few peopleknew of Rafael and his talent. The Depression hadcome into full swing, and he had difficulty finding ajob.29 One Saturday afternoon, shortly after movingthere, he decided to explore the city. While Rafaelstood outside of a music store looking at the newtrumpets in the window, an ambitious salesman at-tempted to sell Rafael a horn. Méndez barely hadenough money to live on, so he answered in his bestEnglish, “I can play it, but I can’t buy it.”30 Thesalesman, still hopeful of a sale, asked him to play.At the same moment, a local bandleader named RussMorgan exited from the Capitol Theater across thestreet and happened to hear Rafael. Coincidentally,he needed another trumpeter, so he walked over andasked Rafael if he could read music, which of coursehe could. Morgan auditioned him on the spot,31 of-fered Méndez the job, and loaned him the money forthe trumpet.32 The following Monday morning,Méndez arrived at his first rehearsal with the Capi-tol Theater Orchestra and signed a contract as solotrumpet, for $125 per week.33 During this and otherjobs in the theaters, Méndez learned English by lis-tening to the actors, piecing together what they said,and putting it to use in casual conversations.34

As his reputation spread, opportunities quicklyarose for Rafael in the Detroit area. In his first monthsin Detroit, he performed with Morgan,35 the FordOrchestra as needed, and also worked with a Ger-

man oom-pah band for several weeks. After he hadlived in town for about three months, he won a jobwith the Fox Theater Orchestra, which was the larg-est theater orchestra in Detroit. He played solo trum-pet in the Fox Theater Orchestra, often conductingone piece on the Sunday matinee, and soloing withthe orchestra during intermissions.

Rafael practiced at every opportunity, even if onlyfor a few minutes. He habitually practiced betweeneach of the four one-and-a-half hour shows per day atthe Fox Theater, sometimes becoming so insistentabout his practice time that he angered the otherorchestra members. As his colleagues became pro-gressively more incensed at his constant practice,they decided to play a practical joke. Rafael practicedin the basement of the theater between shows. Theorchestra members pulled the plug on the lights,leaving Rafael in total darkness. Thinking they hadfoiled his attempt to practice, they celebrated theirsuccess with uncontrolled laughter, but 10 minuteslater they heard him practicing again. He had founda candle to light, and had resumed his diligent workexactly where he had stopped when his friends inter-rupted him.36

The Lip Injury

Rafael’s career as a musician in Detroit flourisheduntil 1932, when, while playing with the Fox TheaterOrchestra, he sustained a major lip injury. The or-chestra performed on a rising pit. Méndez’s seat wasby the only doorway, so he always entered the pit last.He usually warmed up in the rehearsal room untileveryone left, and then took his seat in the pit. Oneday, a tardy bass player opened a swinging door andhit Rafael’s trumpet while he was warming up, whichcaused a laceration through the lip, from the epidermisto 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 preventedthe wound from healing. Because of the unavailabil-ity of antibiotics and useful therapy, the lacerationbecame infected, and a fistula between the mucosaand skin developed. He continued to play, but theinfection worsened, which resulted in great frustra-tion, pain, and impaired performance ability.37 Rafaelrecounted the incident in an interview with H.M. Lewis:

I had six operations and little by little afterevery operation I just couldn’t get back to myplaying. Finally I couldn’t play at all. So Iwent back to Mexico and first I looked for alot of teachers from over here, in this coun-try. I went to Schlossberg, to Clarke, to Smith,to Maggio – all the teachers that I knew atthe time and I still couldn’t get to play. Thewound was already chronic, like I couldn’t


think that I would be able to heal. So I wentto Mexico and I met a doctor over there whopromised he would cure me. He said, “I don’tpromise that you will be able to play again,but I will cure you.” So he burned the abscesswith an electric drill right in my lip. It wasright opposite my nostril. It looked like I hadthree nostrils. Horrible! Then he told me, “Iam going to show it to you but don’t panic.When I saw it I almost fainted. He said, “In amonth you won’t see it, you won’t notice whathappened.” And it was true. A month later,as he said, it was healed, only it was numband … I couldn’t play at all. I mean, I couldn’tget a sound for about two or three months. Iwent back to my father who was my originalteacher and he got me back in business.38

After 9 months, he began practicing using differ-ent spots of the mouth, and soon developed manydifferent embouchures. Eventually, this ability to usea new embouchure when his lips tired gave him tre-mendous endurance. Later in his career he amazedhis colleagues by his ability to make an embouchurechange instantaneously.

Returning to Detroit

After about one year, Rafael returned to Detroitand worked at the Stevens Hotel for his friend CarlosMolina. Eventually, the lip returned to its previousstate. Rafael auditioned for a job and won as solo firsttrumpet at the Michigan Theater in Detroit.39

In the endeavor to develop his embouchure andincrease his range, Méndez took two lessons fromHerbert L. Clarke. The first occurred after Rafael’sembouchure injury in 1932. Méndez could barely geta sound and Clarke could not help him. The secondtime, March 12, 1938, in Long Beach, Rafael playedfor Clarke, looking for pointers. Clarke asked to hearCarnival of Venice and other Arban etudes. Rafaelmust have impressed him, as Clarke said there wasnothing he could teach him. Clarke autographedMéndez’s 1915 edition of Clarke’s Characteristic Stud-ies and wrote, “Hoping to hear you play the contentsof this book.”40 From that point on, Clarke alwaysadmired Rafael and helped promote his career,41 evenadmitting that Méndez’s range, velocity, precision,and breath control would make the world forget “allthe rest of us.”42

Méndez Meets Rudy Vallee

In 1933, Méndez continued his tradition of playingsolos during intermissions at the Michigan Theaterwhere many famous bandleaders of the era, includ-ing Rudy Vallee, heard him perform.43 After attend-

ing a show, Vallee asked Rafael to come to New Yorkand play in the band on his show. Vallee made himan offer he could not refuse, so Rafael and his wife,Amor, prepared to move to New York. After arrivingin New York, Rafael discovered that the musician’sunion rules required a one-year waiting period beforebecoming eligible for a union card. Disappointed bythis setback, Rafael and Amor returned to Detroit.As a token of his good faith and intent to use Rafaelin his band, Vallee sent a monthly check to theMéndezes,44 but Rafael returned each check. Duringthis one-year period, Rafael began to solo with vari-ous orchestras and on popular radio shows.

After a year, the Méndezes returned to New York,and Rafael performed with Vallee and various pitorchestras in the New York area.45 With Vallee’sband he played first trumpet. Randy Brooks per-formed 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 JacksonHeights, New York, in an apartment complex areaalong with many other famous musicians. While inJackson Heights, Rafael and Amor conceived theironly children, the twin sons Ralph (Rafael, Jr.) andRobert. Near the end of 1937, Amor returned to De-troit to be near her family when she gave birth to thetwins.47

Freelancing in Los Angeles

While Amor lived in Detroit, Rafael performedwith Vallee’s orchestra at the Coconut Grove in Hol-lywood, California, and fell in love with the area, dueto its similarity to the Mexican land of his child-hood.48 Rafael decided to remain there, bought ahome, and began freelancing.49 Amor moved to LosAngeles to live with Rafael in 1938, when Ralph andRobert were about six months old.50

Rafael first gained employment in Los Angeles onthe staff of radio station KHJ, the Mutual Broadcast-ing System. Don Lee, of MBS, encouraged Rafael toremain in Los Angeles and join his radio network’sorchestra.51 It was during these shows that Méndezpraise began to sing from coast to coast. However, hisgreatest fame, came from the sensational solos heplayed on the Al Pierce Camel show with the CarlHoff orchestra. He was also heard on the Union Oilshow on Mondays.52 In addition, he worked for otherradio shows, recording dates, and nightclub perfor-mances prior to moving to MGM Studios.53

Despite his growing reputation, and perhaps dueto his embouchure injury, Rafael never felt securewith his ability to perform in the upper register.Ballads and other lyrical passages troubled him aswell. In the late 1930s, in an effort to correct these


problems, Méndez began his studies with LouisMaggio. Maggio worked with Méndez on the funda-mentals of trumpet performance, concentrating onpedal tones and articulation exercises from Arban’sComplete Conservatory Method for the Cornet.54 Infact, according to Méndez, Maggio based his systemof trumpet practice on Méndez’s pedal tone warm-ups and routines.55 During these lessons, Rafael metand befriended his colleague and future replacementat MGM Studios, Uan Rasey. Rasey and Méndezfrequently worked together in Los Angeles, perform-ing at MGM, and recording jingles and soundtracks,including a jingle for Gilmore Oil in 1943. Rafaelamazed Rasey with his ability to use solfeggio and totranspose to any key. In 1939, Harold Mitchell, sec-ond trumpet with MGM Studios, resigned from MGM.Nat Fenstein, of MGM Studios, hired Méndez to per-form second trumpet behind Mannie Klein.56

On July 26, 1940, after 14 years of success andaccomplishments, Méndez received his United Statescitizenship from the Department of Labor in LosAngeles.57

During the 1940s, Méndez recorded albums forPan American, Azteca, Peleayz Recordings, and CoastRecords. Charles Koff arranged many of the songsfrom the Coast recordings, but he and Rafael dis-agreed on who had actually arranged some of thesongs. This disagreement led to the eventual end oftheir friendship and working relationship.

Rafael had always harbored feelings of frustrationthat the trumpet literature lacked legitimate concertsolos and did not offer vehicles with which to expressthe artistic abilities of the instrument. He felt thatthe trumpet had wrongly been categorized as a sup-porting instrument, and hoped by strength of hisexample to reclassify it as a solo instrument, alongwith the piano and violin. In his attempt to accom-plish this, he began to adapt violin solos for trumpetby transcribing or transposing them for trumpet. Hisfirst few albums reflected this attempt to legitimizethe trumpet.58

A Growing Reputation

In 1941, after Pearl Harbor, Mannie Klein wasdrafted into military service, and at Klein’s re-quest, Méndez replaced him as the principal trum-pet player for MGM Studios.59 His MGM contractstated he must provide 500 hours per year of ser-vice to the studio, but after the initial 500 hourshe could work outside the studio as much as hedesired. The work at MGM included a substantialamount of nighttime recording work. The studioalso featured its up-and-coming stars at Holly-wood Bowl concerts, accompanied by studio musi-cians. A mid-1940s program featured Xavier Cugat,Elenor Powell, Jane Powell, Mario Lonza, andRafael Méndez. A Decca Records representative

February, 1999 / ITG Journal␣ ␣ 11© 1999 International Trumpet Guild

attended the concert and later signed Méndez to acontract for 12 albums. Méndez began recordingthe albums in the late 1940s.

During this time, Méndez continued his work withMGM, but he also performed on many of the nation-ally broadcast radio programs. His performances in-cluded the Bing Crosby Show (1940), two seasons asfeatured soloist on the Red Skelton and Al Pearceshows,60 and guest appearances on the Horace HeightShow and Kay Kayser Show. Around 1946-47, whentelevision became popular in Los Angeles, he per-formed as a guest soloist on the Spade Cooley Show,Art Linkletter Show, and Ray Noble Show,61 as wellas featured spots on Milton Berle’s Texaco Star The-atre and Francis Langford’s Star Time show.

Around 1945, Rafael met Caroll Cambern, whorepresented the music publisher Carl Fischer. Fischersigned him to a contract for his arrangements andcompositions, to record the Arban articulation exer-

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’sagent. When MCA Bookings offered Rafael a contractwith its agency, he declined. After much thought,Rafael ended his working relationship with Gastell,and asked Caroll Cambern to be his agent. Cambernhad the connections necessary to begin and maintaina successful solo career. The two formed MéndezBookings, which did business mainly out of theMéndez home.63

In March 1949,64 Rafael became the “first trum-peter to ever present a full symphony concert withthe Denver Symphony,”65 and followed this concertwith an appearance with the San Diego SymphonyOrchestra on April 22, 1949.66 This marked the be-ginning of many future solo engagements with othermajor symphonies, including the Los Angeles Sym-phony and the New York Philharmonic.

Rafael Méndez’s Certificate of Naturalization.


A Blessing in Disguise

Throughout Méndez’s years with MGM, differingconcepts of tone and vibrato caused problems in thetrumpet section. Méndez’s sound and vibrato did notmatch the style desired by the conductor; and after aten-year alliance, MGM fired Rafael, replacing himwith his close friend Uan Rasey in September of1949. This sudden turn of events devastated Méndez.His son Robert remembered the event. “I still re-member sitting in the living room as my dad dis-cussed the events that led up to the firing and we allshared in his keen sense of disappointment.”67

After leaving MGM Studios in 1949, Rafael contin-ued to appear on numerous television and radio pro-grams as a guest artist. He performed on shows suchas the Loretta Young Show, Kraft Music Hall, RedSkelton Show, Art Linkletter Show, Dinah ShoreShow, and Pinky Lee Show,68 and later in his careerwith Radio Belgrano (Argentina, 1957), Ed Sullivan(1960), and the Stan Kenton Show (1970).69 Manytimes he appeared as a soloist, but often he per-formed a trumpet trio with his twin sons. In the late1950s, the three made a guest appearance on thepopular television show Art Linkletter’s House Party.Rafael performed the third trumpet part to the TreMéndez Polka, with Ralph playing first trumpet andRobert on second.70

Beginning a Solo Career

The firing from MGM, combined with the suc-cesses of his recent solo performances, resulted inMéndez beginning a career as a concert soloist.71 Hisrecordings with Coast and Decca already had madeRafael well-known, so with a stellar reputation andsubstantial publicity, Méndez began his solo career.

In New York, for one of his first solo engagements,Méndez performed a series of concerts at the Para-mount Theater with Ella Fitzgerald and Mel Torme.This time, Méndez had not achieved the same notori-ety on the East Coast that he had on the West. Hisappearance on the same ticket with Fitzgerald andTorme was an honor, but when the announcer intro-duced Méndez as “the world’s greatest trumpeter,”the audience laughed. He showed the audience hisbrilliant technique and proved that he deserved thetitle.72

Cambern had contacts in the Salt Lake City areaand arranged Rafael’s first guest appearance withthe Salt Lake City Symphony in 1949. Soon he beganto make solo appearances with other small symphonyorchestras throughout the United States. About thesame time, he began to perform as a soloist withcollege and university orchestras, and later with uni-versity concert bands.73 According to his brother-in-

law Alfonso Rodriguez, “Rafael was never idle. Hewas always preparing for his next appearance. Hehad little time away from his music.”74

In his first year as soloist he played about 20␣ con-certs, the second year he played 50, and by his thirdand following years he performed over 100 concertsand turned down another 200. Most of the perfor-mances involved large high school bands in the Mid-west, college bands, and college orchestras. By theend of his solo career he had performed with nearlyevery major university in the United States, atCarnegie Hall, and in every major concert hall inEurope and Canada.75 Rafael declared, “My goal is tomake the trumpet a concert instrument. I’ve tran-scribed violin concertos in order to make them trum-pet pieces.”76

Méndez also believed he could help improve theeducation and development of the children in oursociety. He felt that by inspiring children to play amusical instrument, he could instill a sense of disci-pline in the child’s character:

I am sure all superintendents of schools willagree with me that no youngster regularlyplaying a musical instrument becomes a ju-venile delinquent. These children, particu-larly those playing in bands and orchestras,are receiving discipline which is essential inbuilding character.77

By the early 1950s, Méndez had made a nation-wide reputation for himself. As a result of his reputa-tion, Besson, a well-known trumpet manufacturer,competed with F.E. Olds & Son, the largest marketerof trumpets at that time, to hire Méndez as a clini-cian for their company. Besson offered Rafael a con-tract to serve as a consultant to the company, alongwith a $5000 signing bonus. Rafael had already re-ceived 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 anda $10,000 signing bonus. Rafael could not take awaythe coat from Amor, so he returned the check toBesson and signed with Olds.78 However, as a termof acceptance, Méndez insisted that Olds manufac-ture a copy of his Besson B-flat trumpet. The con-tract was signed, and Amor had a new fur coat.79 Thecontract with Olds specified that the Méndezes wouldreceive $6000 per year in royalties for the use of theMéndez name on Olds trumpets.80

A Concert Soloist

A typical year for Méndez in the early 1950s untilthe mid-1960s included weekly performances withvarious symphonies, university and high school or-chestras, and concert bands from January to earlyJune. During these months he performed at between


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 ofthe university or professional groups. Usually theband began rehearsing the accompaniments to theMéndez solos one month prior to his arrival. BeforeRafael played along with the band he always wantedto make sure the accompaniment knew what hewould do, musically, with the solos. He typicallyarrived the day before the concert and rehearsedwith the group for six to eight hours in prepara-tion of four or five solo accompaniments, conduct-ing each phrase and coaching the band until thestudents felt comfortable with the music.81 BillFlaherty, a friend of Méndez, describes a typicalday on a Méndez tour:

He usually got up at about 7:00 AM and leftabout 8:00 AM to get to the school by 8:30.Rafael always got in a careful warm-up andthen started rehearsing. The rehearsals wereunbelievable because of the way he playedand directed at the same time. Many timeshe would be playing and stop the band be-cause he heard a wrong note in the horns. Hehad an unbelievable ear. They usually re-

hearsed until it was time for the lunch break.After lunch he would rehearse each piecequickly and make a few finishing touches,followed by a question-answer session for thekids. Rafael had a tremendous sense of hu-mor, and the kids loved him. About 2:30 PMthey went back to the hotel, sipped a couplevodka martinis, and talked about all subjects– jokes, religion, etc. Rafael took a nap atabout 4:30 PM, woke up and went out for asteak dinner, then to the concert.82

In the early-to-mid-1950s, for an appearance inthe music education field, he charged $350, plus roundtrip airfare and local expenses. If a school presentedtwo public concerts, his fee was $600, and for oneconcert plus a student body appearance, the fee was$500. The advertisement brochure that Méndez Book-ings sent to prospective high schools stated that iftwo schools in the same proximity wished to presentconcerts in close sequence, the schools could dividehis airfare.83

Méndez asked that the band schedule two of hissolos before intermission and two after, usually in aspecific order. He mandated that on a concert day,the rehearsal should begin after 10:00 AM, and fol-

Tre Méndez, Ralph, Rafael, & Robert.

14 ␣ ␣ ITG Journal / February, 1999 © 1999 International Trumpet Guild14 ␣ ␣ ITG Journal / February, 1999


lowing this rehearsal, if desired, Méndez would signone program for each band member.84

He always marveled at the ability of the highschool bands to adjust to new ideas so easily. Accord-ing to J. Robert Menchey, retired owner of MencheyMusic Service, “His rehearsal style was just what[was] needed – he inspired the kids to play waybeyond their usual level – it was amazing. He alsomade believers of administrators – some were luke-warm to his appearances, but if they attended arehearsal, they were sold! He was very easy to workwith.”85

On the afternoon of Méndez’s second day at aschool, he would present a clinic, inviting students,music educators, and interested community mem-bers. These clinics, which he gave wherever he did asolo appearance, made Rafael Méndez a householdname with thousands of young musicians throughoutthe United States. A typical clinic consisted of Méndezperforming a few songs, and discussion of typicalproblems of trumpet playing, including ideas on theimprovement of breath control, mouthpiece selection,instrument care and maintenance, tone quality, use ofthe diaphragm, and tonguing, along with a demonstra-tion of circular breathing. He usually concluded theclinic by stating that the greatest talent in the worldcannot develop without hard work and practice.86

Throughout his career, Méndez demonstrated hisunusual ability to communicate with and inspire chil-dren. In rehearsals and clinics he bridged the gapbetween himself as a professional and the students:

He projected his own enjoyment of music,plus his interest in disciplined and artful play-ing. When he detected an off-key note he lefthis director’s chair and intoned the rightsound 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 begantouring in Canada, Europe, and Mexico with his fam-ily. Rafael considered this his way of educating hissons by experience. He booked a tour in at least onenew country every year to supplement his sons’ edu-cational experiences. The Méndez family toured Eu-rope regularly, beginning in June 1954.88 They spentsummers in Italy, France, Spain, Sweden, Denmark,England, France, Mexico, and Canada, and performedregularly with Xavier Cugat and Abbie Lane. In thesummers of 1954 and 1955, Robert, Ralph, and Rafaelperformed 90 concerts in 90 days.

Rafael seldom performed in Mexico, but he didplay in Mexico City at the Bellas Artes (Palace of theFine Arts) for President Miguel Aleman Valdez ofMexico. He toured South America once, going toBuenos Aires, Rio de Janeiro, and São Paolo; and herecorded some of his albums in Madrid, Spain. On

these summer tours Rafael either performed as thesoloist with a few other guest performers, or he servedas musical director and soloist.

After the summer tours, in September and Octo-ber, he recorded his albums for Decca Records, andperformed on many radio and television shows. ByDecember, Rafael usually needed a vacation, so hewould go to Mexico to visit his family and return toCalifornia in time for Christmas.

Rafael’s trips to Mexico led to meetings with manyof the famous and powerful Mexican leaders of theera. He already knew the family of former presidentCardenas from his childhood in Jiquilpan. He alsomet Lazaro, leader of the Partido RevolucionarioInstitucional, and became friends with the family ofGeneral Henrique Guzman, leader of the oppositionparty. These connections gave him insight into theinteresting circles of politicians and military men ofMexico,89 and led to numerous performances for im-portant Mexican politicians. For instance, during thepresidency of Lic. Miguel Aleman Valdez, Méndezreceived a personal invitation to perform in the Pal-ace of the Fine Arts, accompanied by the NationalSymphony of Mexico. The president presented Rafaelwith a gift and expressed great admiration for hisperformance.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, aMexican television show host, in which Robert andRalph participated in a trio with their father.92

Méndez’s showmanship became almost as much ofa trademark of his performances as his brilliant tech-nique. According to William Shulhan, a music storeowner in Saskatoon, Saskatchewan, who attendednumerous Méndez concerts, Méndez performancesalways had great audience appeal:

From his snappy walk out on stage to frontthe band or orchestra – the way in which hewould bring the trumpet up to playing posi-tion was distinctly Méndez as well as the wayin which he withdrew the trumpet from hislips at the conclusion of his number. Mr.Méndez easily found suitable words of ex-pression to his audience for maximum enjoy-ment.93

The reputation of Méndez and his showmanshipspread rapidly, and as he became famous he earnedmore money; but due to his extravagant spendinghabits, Amor handled the finances in the Méndezfamily. When Rafael received a check, he turned itover to Amor and she did with it whatever she feltnecessary. Amor spent and invested the money wisely.At the peak of his career, he made over $100,000 peryear, plus significantly more from royalties. For con-certs, Rafael always had a guarantee to half thehouse, and seldom played to less than a full house


because the concerts always received substantial pub-licity. In many instances, up to 3,000 people attendeda concert in high school gyms.94

“The Trumpet” Film

A highlight of his career came in 1956 when Méndezmade a 16mm audio-visual presentation for MillsPicture Corporation. The film belonged to part of aseries entitled Concerts on Film, in which many ofthe most famous musicians of the era made presenta-tions for their specific instruments. Musicians whorecorded performances in the series included JaschaHeifetz, Gregor Piatigorsky, Artur Rubenstein, AndresSegovia, Marian Anderson, Pablo Casals, andMéndez.95 These films, available for purchase fromMills Picture Corporation, enhanced educational set-tings, such as high school bands, public libraries, oruniversities, by making it possible for students towitness many of the great musicians of the twentiethcentury.96

Méndez’s presentation opens with a performanceof his own composition, Scherzo in D Minor, followedby a brief explanation of the history of the trumpet.Méndez then describes his family history and per-sonal background. After a performance of the thirdmovement of Haydn’s Trumpet Concerto, he suppliespractice tips, stressing the importance of scales.Méndez performs Flight of the Bumblebee to demon-strate the result of scale practice, then discusses theimportance of purity of tone. He says, “Never usemore effort to produce a tone than you do in ordinaryconversation.”97 He suggests improving breath con-trol by swimming under water, walking, and pushingyourself on the instrument by playing long passageswithout a breath. He shows his own breath control byperforming a 36-second excerpt in one breath, usingvery fast triple-tonguing articulations. The film endswith a performance of Gypsy Airs and the Tre-MéndezPolka, a trio with his sons.98 All the solos were re-corded with orchestral accompaniment.

The Educator

Hawaii became one of Rafael’s favorite touringplaces. He consistently returned there to performwith the University of Hawaii band and local highschool bands. Méndez even wrote Diamond HeadMarch for a special occasion while in Hawaii.99 TheHawaiian residents gave the march a favorable re-ception. In 1960, Méndez performed with a bandconsisting of members of the University of Hawaiiband and local Oahu high schools. A review of theconcert said,

Senor [sic] Méndez combines showmanshipand the virtuoso flair with infectious per-sonal charm, and with such warmth for theboys and girls playing with him that they inturn are ready to play their hearts out forhim. The pieces that he played were all daz-zlers, including his own “Samba Gitana” anda waltz, his transcriptions of the Gypsy dancefrom “Carmen” and “The Flight of the Bumble-bee,” and his super-variations on the varia-tions on “The Carnival of Venice.” … Theprogram concluded with Méndez delightfullyleading the delighted band in his new “Dia-mond Head March.”100

On this same trip, Rafael gave a clinic for approxi-mately 1,000 young musicians at the Farrington HighSchool auditorium. The children packed the audito-rium, and “kept the clinic moving at a fast pace bybobbing up from their chairs to ask questions oneverything from breath control to ‘lip develop-ment’.”101 During the clinic Méndez demonstratedhow to build technique by practicing slow, simplescales, and “fired up the youngsters with an hour-long musical ‘pep talk’.”102 Later that year, on March12, Méndez performed as guest soloist with the NorthHigh band of Phoenix, Arizona. The band director,Charles Craig, referred to Méndez’s technique, tone,and breath control as “the most fantastic thing you’veever seen. It will amaze people who are not musi-cians, and people who are, find it hard to believe.”103

After a concert, the audience and band membersoften surrounded Rafael, seeking autographs. He al-ways opened himself up to conversations with enthu-siastic audience members from the concert, “espe-cially when it concerned his playing or music or peoplehe knew, or other musicians.”104 Harold Higa, a friendof the Méndezes and fellow musician, relates an oc-currence following a concert in Hawaii:

After a superb concert which inspired a stand-ing ovation, Ralph [Rafael] was back stagesurrounded by dozens of student autographseekers. He was perspiring while literallytrapped in a maze of stage props, musicstands, and percussion equipment, plus theinevitable backstage clutter. Realizing howtired he must be, I took it upon myself to tryto rescue him from the obligatory annoyancerequired of a celebrity. I thought I was doinghim a favor when I called him away from thecrowd. When he discovered it was just a ployto rescue him from the autograph seekers, hewas upset. He said, “Oh no, I don’t mind thisat all,” and went back into the admiring crowd.To Rafael Méndez, the master musician en-couraging students in any way was as mucha part of an artistic commitment as was the


inspiration that he generated through his per-formance.105

After an April 10, 1959, concert in Muskogee, Okla-homa, Mrs. Méndez received numerous letters fromband members, the school administration, and othercommunity members, describing their appreciationfor Rafael’s music and his congenial personality. Thefollowing letter, from Caralyn Schilt of Muskogee,Oklahoma, is an example of the impression Méndezmade upon the people he met:

Tension rose the day he arrived we were allexpecting the worst [sic]; a terribly particularmusician who would have no patience withus. Now as I think about the time the bandspent with him I can see only a friendly at-mosphere. In my opinion, Mr. Méndez is oneof the nicest, most sincere persons I haveever met. I have never before been acquaintedwith such a gracious person. I feel the bandas a whole has come to be more mature intheir attitude toward their music because ofhim.106

Another letter from Albert E. Bonnell, Jr., a mem-ber of the Board of Education of Muskogee, expressesthe appreciation for Méndez’s inspirational concert:

Your being here is one of the greatest thingsthat has happened to Muskogee in a musicalway. The impact of your performance and thehuman-like feeling you left with all whomyou came in contact will serve as a stimulusand an inspiration to these young people forthe rest of their lives.107

The musical motivation that Méndez gave the stu-dents from Muskogee was exactly Rafael’s purposewhen he began his solo career. Performing hundredsof concerts every year and leaving the students andcommunity members with an inspired feeling per-haps constituted Méndez’s greatest contribution tothe trumpet world. Many students, after hearing aMéndez performance, pursued careers in music, whileothers considered his performance “an experience thatI will never forget.”108 By soloing with hundreds ofbands and orchestras every year, Méndez was able toraise the performance level of trumpeters by inspir-ing them to achieve, through dedicated practice, asmuch as possible on the instrument. In addition, heachieved his goal of making the trumpet an acceptedsolo instrument of the concert hall.

As much as the students enjoyed Méndez’s pres-ence, Méndez enjoyed the concerts and clinics, andthe chance to instill enthusiasm in young men andwomen even more, as this statement testifies:

On my concert tour through schools, collegesand universities each year, I find myselfkeenly anticipating the clinics and the after-rehearsal-get-togethers where I talk shop with

the young musicians. Their enthusiasm isinfectious and I get a tremendous lift fromthe interest they show, both in music, and inraising the standard of their playing.109

Performing with Roy Rogers

Perhaps the appearances that brought Méndez themost national recognition were his live shows withRoy Rogers and Dale Evans throughout the late 1950sand 60s. Many times Rafael included his sons in theperformance. A typical program consisted of the usualWestern-style singing act by Rogers and Evans, withappearances by various acrobatic and singing groups.Although sometimes not included on the audience’sprograms, possibly due to either lack of space orsimply an oversight, Méndez acted as music director,appeared as a guest artist, and wrote much of themusic for the show. The Rafael Méndez Library inthe Arizona State University music building containsa copy of the Roy Rogers Show Overture, composed byMéndez. In a letter to the Hollywood Historic Trust,Roy Rogers stated that Méndez conducted the or-chestra, arranged the music, and was the featuredsoloist for many years with the Roy Rogers Show. Heappeared in front of record crowds at the majority ofthe state fair arena and stage shows in the UnitedStates and Canada, and received standing ovationspractically everywhere.110


Prelude to Brass Playing

At this point in his career, Rafael had composed andarranged hundreds of trumpet solos and trios, many ofwhich were published by Carl Fischer, Inc. Althoughhe had a long association with Fischer, the companydid not always find his work suitable for publication.111

In 1961, Fischer published his book Prelude toBrass Playing. The book covers all aspects of trainingnecessary for beginning brass instrument students;but Méndez intended for parents to read the book aswell, enabling them to assist in the instruction andencouragement of their child. He arranged the bookinto 11 chapters with 4 appendices, an introduction,and a brief summary. Each chapter covers a differentaspect of the brass performance. The following re-view appeared in the Music Educator’s Journal:

Mr. Méndez, throughout, stresses intelligent,concentrated practice upon the part of theambitious student, coupled with the forma-tion of correct habits of playing. The usualproblems attendant upon studying the brassinstruments—proper breathing, correct em-bouchure formation, intonation, tone devel-opment, register control—are treated withpatient and sound advice. Appendices give abrief history of brass instruments, principlesof transposition, and advice relating to pupil,parent, and teacher. The book is written in arather breezy style which high school stu-dents will find attractive. Still, along with itsinformality, Mr. Méndez has significant thingsto say to the student; and teachers of brassinstruments will find this a valuable supple-mentary aid for teaching.112

Although not all reviews of the book praised it, allreviewers agreed that it contained valid and usefulmaterial for most beginning brass students. Aftercriticizing Méndez’s writing style, one reviewer com-ments on his points about physical development:

Its juvenile approach notwithstanding, Preludeto brass playing [sic] is surprisingly stimulat-ing and thought provoking. This reviewer can-not say that she enjoyed reading it, but she isglad she did. For, whether a “buzzer” or a “non-buzzer,” Mr. Méndez should make us realizehow hastily we jump into the playing and teach-ing of a brass instrument and how often weneglect the proper physical development of thelungs and lips – a development which in manyways is more easily and properly done beforethe instrument is actually taken in hand. Justhow many youngsters would be willing to spendthree weeks breathing and buzzing before everplaying a note is a question, but its answerdeserves some serious thought.113

Health Problems

Throughout Méndez’s career until the mid-1950s,Rafael remained in excellent health. However, aller-gies and hives had occasionally bothered him, andAmor always considered the jalapeño peppers, whichshe called “Mexican hot stuff,” the cause of Rafael’shives. “I hope just because the doctor says your [sic]alright [sic] you wont [sic] start drinking that Mexi-can poison or eating Mexican hot stuff. You knowthat is something you don’t need.”114 Periodically,when Rafael ate jalapeño peppers the hives becameirritating enough to force him temporarily to quitplaying the trumpet.115 He had severe allergic reac-tions to pollens and molds, for which he took antihis-tamines. During a performance in Chicago, Rafaelhad a severe allergic attack and asked Ralph to playLa Virgen de La Macarena while Rafael conducted.

By 1956, the intensity of his reactions had wors-ened, which caused breathing problems and affectedhis trumpet performance. He still traveled often, andperformed and recorded constantly; but occasionallythe allergies would force Méndez to postpone a per-formance or find a substitute.

Now in his early 50s, Méndez frequently contractedupper respiratory infections and gradually becamemore tired. Although he certainly did not need towork, he would not turn down a request for a perfor-mance or other appearance; and at about age 54 (ca.1960) he caught a severe respiratory infection while ata concert in the Midwest. The illness forced him topostpone a portion of his concert tour.

In 1962 he went to San Francisco to solo with theSan Francisco Opera Orchestra. Robert and Ralphsaw him and thought he looked very tired; so theyrecommended that he slow down and maybe give upsome of his concert dates. However, Rafael refused,saying he had a hard time declining concert dates orother requests. That night he performed with theorchestra, but following the concert became ill, so hissons took him home to Encino. He developed chronicbronchitis, which eventually led to bronchial asthma.Rafael visited many specialists, and after severaldiffering opinions, the diagnosis was allergic bron-chitis and allergic asthma. The doctors wanted to puthim on steroids to lessen the effects of the illnesses.Rafael refused at first, but he began to have ex-tremely bad attacks, almost to the point of death.

By 1964 Rafael’s health necessitated a change inlifestyle. The asthma occasionally became so acutethat it required hospitalization. Several doctors sawhim, including pulmonary specialists from the Uni-versity of California at San Francisco, the Mayo Clinic,and specialists from Los Angeles, but none of thedoctors had any useful recourse for the asthma. Sinceit began to dramatically affect his trumpet playing,


he consented to the steroids. The steroid therapylasted until his death and completely changed hisphysical appearance, causing him to gain weight,develop vertebrae collapses, a buffalo hump, and os-teoporosis, which forced him to bend over and appearshorter. He also formed a pot belly and steroid face.

Later in 1964, his illness forced Rafael to retiretemporarily from concertizing. During this time re-quests kept coming. In spite of his illness, he desper-ately wanted to continue performing, so the Méndezfamily tried to get him to cultivate other interests.He enjoyed conducting, but missed the stage and thesoloist spotlight. He tried teaching, but found it ex-tremely boring and did not like it. In Los Angeles, henever taught anyone consistently for more than twomonths except for Henry Miranda. In 1966, he de-cided to return to the concert soloist stage.116

Fulfilling the Decca Records Contract

Despite succeeding in his return to a solo career,Méndez had numerous obstacles to overcome. Therecording of many of the Decca Records albums tookplace after Méndez contracted asthma, in the mid-1960s. Decca asked Charles (“Bud”) Dant to producethe additional albums with Rafael, beginning in 1964,and complete them as soon as possible. When Méndezand Dant met to discuss the recordings, Rafael ex-plained that he could not complete the contract dueto the breathing problems caused by his serious asth-matic condition. Dant, excited about the project, askedMéndez if he would attempt to record despite hishealth. Thus, with the help of a multi-track taperecorder, they completed the album, Rafael Méndezand Laurindo Almeida: Together, which became oneof Méndez’s best selling albums. A reviewer calledthe album “ten bands of unimpeachable perfection,”117

and described the recording as one of the best he hadheard in years: “It’s more than words can describe.Simply everything about this album takes off … withmore precision, range, delicacy, technique, and veloc-ity than I’ve ever heard assembled on one recordingin many years.”118

Following the album with Almeida, Méndez andDant completed Concerto for Méndez, using symphonyorchestras from South America and Madrid for back-ground music. This album contained a Concertinowritten for Méndez by the South American composerA. Mazzarelli Gilardi to showcase Méndez’s brillianttechnique.119 In 1967, Rafael and Amor, along withDant, traveled to Spain to finish the recording con-tract with Decca Records. Using members of theMadrid Symphony, they recorded the last few al-bums in a ten-day period. Despite his failing health,Rafael had fulfilled his Decca contract for twelvealbums.120

Méndez’s Final Performances

Rafael performed with the band from Bill Flaherty’shometown, Hanover, Pennsylvania, for the final timein 1968. He played A Trumpeter’s Lullaby by LeroyAnderson, and Bill could tell something was wrong.He remembered how distraught Rafael had becomebecause the asthma would not allow him the breathcontrol necessary to play the trumpet as well as hecould in earlier years:

At intermission Rafael called for me to comebackstage and said, ‘Bill, I’m having anasthma attack and I can hardly breathe. Idon’t know what to do about it.’ He asked meto bring him his trumpet case. He had some100 proof vodka in it and took a big swallowto gulp it down. This opened his breathingpassages and he was able to continue play-ing. The next morning at breakfast he askedme why this was happening to him. He said,‘My father is ninety-two years old and stillteaches at two schools in Mexico City. He isnow certain that he can’t do what he oncecould, but he still has something to give tothose kids. Now I’m sixty-two years old and Ican still do things that nobody ever knew Icould do on trumpet. There are things thatsome people said I could do that I never coulddo on trumpet. But my point is, I know what Ican and can’t do, and I know I still havesomething to give to those kids. Now whydoes the Lord take this away from me?’ …For a man with his fantastic breath control itwas tragic for him to have this ailment.121

The asthma attacks affected his performance abil-ity in two different ways. First, he needed to re-phrase passages that he performed easily in previousyears. Second, the asthma caused him to worry aboutthe performances, at times resulting in stage fright.

Amor & Rafael Méndez.


Despite these setbacks, he continued his perfor-mances, making necessary alterations in the music.For instance, occasionally the asthma caused him toplay flat in the upper register, due to his lack of airsupport.122

During the early 1970s, Méndez cut his appear-ances down to a maximum of 30 per year, and startedplaying fewer solos on each concert, letting the bandfill in between solos. Despite his health, he continuedperforming the same difficult works he always had.Refusing to give in to the asthma, he kept in shape bypracticing three hours per day, in half-hour seg-ments.123

Until about 1975, Méndez continued performingas a soloist and television guest artist, but duringthis time he felt that his performance level lacked thebrilliance of his earlier career. At times, during aconcert he still showed the amazing technique of hisprevious years. A performance in Longmont, Colo-rado received good reviews, although perhaps notequal to the many rave reviews from earlier in hiscareer: “Méndez’s interaction with the audience wasdelightful, proving that he enjoys people and per-forming. Again he delighted everyone with his one-finger fast ‘Carnival of Venice’ encore as well as hisbrief introductions to each piece.”124

Rafael’s final performances caused him intensefrustration, and his health severely limited his abil-ity to perform. During Rafael’s last few years of con-certizing he always carried an inhaler, although hislungs remained in good shape despite the bronchialproblems. His health caused him to worry beforeeach performance; and sometimes he resorted to al-cohol to help calm himself, since a couple of drinksbefore a performance seemed to calm his nerves. Atother times, if he felt that a cadenza might prove toodifficult he changed it at the last minute to enablehimself to perform it. In 1975, Méndez performed hisfinal concert.125

Retirement

From 1975 to 1981, after retiring from his soloistcareer, Méndez still enjoyed the chance to perform onthe trumpet, and socialize with other musicians when-ever possible. He continued to play the trumpet inhis own studio and regularly sat in with the LosAngeles Police Band, enjoying the chance to relax,talk to other musicians, and play third trumpet.126

Although not a regular, he rehearsed every Mondaynight with the Monterey Park Concert Band. Whenasked why he enjoyed rehearsing with this band, heanswered, “It’s good for my lip. One just can’t put thehorn down. I love to play.”127

Despite his asthma, these later years in Méndez’slife were filled with happiness. During this period,

Amor and Rafael continued to travel frequently tothe places where they had made friends throughoutthe years, including Argentina, Mexico, Hawaii, andthroughout the United States. Whenever Méndez re-turned to Mexico, he enjoyed sitting in with the trum-pet section of local Mexican bands. Rafael usuallyremained very happy, but occasionally became de-pressed when his illnesses became more frequentand severe.128

Composition and recording remained an impor-tant aspect of Méndez’s life in his later years. Hecontinued to arrange and rearrange old and newsongs for various ensembles. His studio containedup-to-date recording equipment that he used to recordmany of his arrangements. Méndez played the vari-ous instruments required for each number, and over-dubbed them with as many as eight tracks to make aquality recording. Some of these recordings includedMéndez performing on a variety of instruments –trumpet, guitar, stringed bass, and mandolin. Occa-sionally he even recorded the vocals. Also during thisperiod, he continued his tradition of writing a songfor a special event in the life of a family member.

In March 1979, on Rafael’s 73rd birthday, many ofhis friends from the Los Angeles area gave him asurprise party. The party took place in Studio City,California at the Sportsman’s Lodge, and 527 regis-tered trumpeters attended the celebration. When hewalked into the room they all played Happy Birthdayon their trumpets. During the party, the Interna-tional Trumpet Guild presented Méndez with a life-time achievement award and plaque for his contribu-tions to the trumpet world as a performer, composer,and educator. Many famous trumpeters and otherHollywood personalities, including Rudy Vallee, at-tended the event, and paid tribute to their friend andcolleague. Rafael was very moved,129 rememberingthe experience as “the most beautiful and most tre-mendous surprise and pleasure that I have ever ex-perienced in my life.”130

On September 15, 1981, he swam for a while, wentfor a walk, and used an exercise bike. That day hisblood pressure and pulse were very high. Since healso had shortness of breath, he took a few whiffsfrom an inhaler and may have had too much. Rafaelgot up in the middle of the night, lay down on thecouch in his studio, and died quietly. Amor discov-ered him there the next morning. He died of either anarrhythmia (irregular heart rate) or cerebrovascularaccident (stroke).131

Recognition of an Extraordinary Career

Posthumously, Méndez has received numerous hon-ors, including a star on the Walk of Fame on Holly-wood Boulevard in Hollywood, California. The star,


located in front of the Hollywood Wax Museum, docu-ments his musical contributions to both classical andcommercial mediums. To be awarded a star, the per-son must receive nominations from numerous celeb-rities. Celebrities who supported Méndez’s nomina-tion included Roy Rogers, Dale Evans, Henry Mancini,Harry James, Ricardo Montalban, and David Rose.On March 2, 1983, Amor, Robert, Ralph, other familymembers, and friends attended the induction cer-emony, sponsored by the Hollywood Chamber of Com-merce. Amor and her sons were presented with aplaque to commemorate the occasion.

In 1993, the establishment of both the RafaelMéndez Institute and the Rafael Méndez Libraryhonored his many contributions and accomplishmentsin the brass world. The Rafael Méndez Library, housedin two rooms in the Arizona State University Schoolof Music, contains hundreds of Méndez’s recordings,manuscripts, photographs, instruments, newspaperclippings, and letters. All of the items are cataloguedin the library’s computer. The library showcases manyof the items and contains a large conference table forresearch and discussion. In 1994 Summit Books pub-lished Magnificent Méndez, a biography of Méndez'slife. Summit Records has re-issued CDs of Méndez’sDecca recordings as a 12-CD set.

During his career, Méndez performed for thou-sands of people in concert halls around the world.These concerts proved that trumpeters could performwith the same virtuosity and musicality that violin-

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


ists, pianists, and other solo instrumentalists hadexhibited for many years. In doing this, Méndezachieved his goal of making the trumpet a recognizedconcert instrument.

Notes

1 Robert Méndez, interview by author, 12 May 1992, LosAngeles, tape recording, transcript in the possession ofDelon Lyren.

2 Consuelo Méndez, Mexico City, to Delon Lyren, Mesa,18 November 1991, letter in the possession of DelonLyren.

3 Robert Méndez, interview by author, 14 September 1991,Los Angeles, tape recording, transcript in the posses-sion of Delon Lyren.

4 Ralph Méndez, interview by author, 12 September 1991.5 Ralph Méndez, interview by author, 12 September 1991.6 David Larson and George Sotter, “Rafael Méndez – From

Pancho Villa to Paganini,” The Instrumentalist 27 (De-cember 1972):26.

7 Barbara Elliott, “‘I Just Blow’, Declares Concert GuestTrumpeter,” The Aberdeen (WA) Daily World, 2 Decem-ber 1953.

8 Ibid.9 Ralph Méndez, interview by author, 12 September 1991.10 Robert Méndez, interview by author, 12 May 1992.11 H.M. Lewis, “Rafael Méndez: Trumpeter

Extraordinaire,” International Trumpet Guild Newletter(May 1979):16.

12 Rafael Méndez, “Trumpeter on a Teaching Tour,” MusicJournal 10 (September 1952):50.

13 Robert Méndez, interview by author, 12 May 1992.14 Rafael Méndez, “Prelude To Brass,” Music Journal 23

(January 1965):39.15 Ibid.16 Unsigned, “The Boy and the Bandit,” Walt Disney’s

Magazine 4, No. 6 (1964):42-43.17 Robert Méndez, interview by author, 12 May 1992.18 Ralph Méndez, interview by author, 14 September 1991,

Los Angeles, tape recording, transcript in the posses-sion of Delon Lyren.

19 Robert Méndez, interview by author, 12 May 1992.20 Consuelo Méndez Letter, 18 November 1991.21 J. M. Tort, “La Nueva Era de la Trompeta,” Mañana, 66,

article located in Rafael Méndez Library, Arizona StateUniversity, Tempe, Arizona.

22 Robert Méndez, interview by author, 14 September 1991.23 Ralph Méndez, interview by author, 12 September 1991.24 Lewis, “Rafael Méndez,” 13.25 Ralph Méndez, interview by author, 12 September 1991.26 Elliot, “‘I Just Blow.’”27 Roy S. Skaggs, “Rafael Méndez,” Swing 3, No. 5 (No-

vember 1940):38.28 Lewis, “Rafael Méndez,” 13.29 Larson and Sotter, “Rafael Méndez,” 28.30 Barry Westgate, “Nightside; Quirk Of Fate Started Great

Trumpet Career,” The Edmonton Journal, 3 October1966, 39.

31 Ibid.32 Larson and Sotter, “Rafael Méndez,” 28.33 Tort, “La Nueva Era,” 66.34 Bill Flaherty, telephone interview by author, 10 Febru-

ary 1993, Hanover, PA, transcript in the possession ofDelon Lyren.

35 Skaggs, “Rafael Méndez.”36 Ralph Méndez, interview by author, 12 September 1991.37 Robert Méndez, interview by author, 14 September 1991.38 Lewis, “Rafael Méndez,” 15.39 Robert Méndez, interview by author, 14 September 1991.40 Herbert L. Clarke, autograph of Rafael Méndez’s copy

of Clarke’s Characteristic Studies, ed. 1915, 12 March1932, held in Rafael Méndez Library.

41 Robert Méndez, interview by author, 12 May 1992.42 Herbert L. Clarke, from liner notes of Rafael Méndez

and Laurindo Almeida Together, DL 74921.43 Skaggs, “Rafael Méndez.”44 Lewis, “Rafael Méndez,” 13.45 Ralph Méndez, interview by author, 12 September 1991.46 Michel Laplace, “Rafael Méndez,” Brass Bulletin, No.

75 (1991):48- 51.47 Ralph Méndez, interview by author, 12 September 1991.48 Lewis, “Rafael Méndez,” 14.49 Ralph Méndez, interview by author, 12 September 1991.50 Alfonso Rodriguez, to Delon Lyren, 8 July 1992, letter

in the possession of Delon Lyren.51 Unsigned, “Rafael Méndez, Famed Trumpet-Player,

Dies,” Overture (published by Local 47 of Los AngelesAmerican Federation of Musicians) 61, No. 7 (Novem-ber 1981):13.

52 Skaggs, “Rafael Méndez.”53 Ralph Méndez, interview by author, 12 September 1991.54 J.B. Arban, Method for Trombone and Baritone,

autographed by Louis Maggio, 13 May 1937, held inRafael Méndez Library.

55 Rafael Méndez, Interview by various Los Angeles trum-pet players, videotape in Rafael Méndez Library.

56 Uan Rasey, telephone interview by author, 30 Decem-ber 1992, Transcript in the possession of Delon Lyren.

57 Certificate of Naturalization #497412 - Pet, #69143,naturalized in Los Angeles by Department of Labor, 26July 1940, held in Rafael Méndez Library.

58 Robert Méndez, interview by author, 12 May 1992.59 Laplace, “Rafael Méndez.”60 Unsigned, “‘Heifetz of Trumpet’ To Perform at Col-Hi,”

The Columbia Basin News (Richland, WA), 12 March1954, 12.

61 Robert Méndez, interview by author, 12 May 1992.62 Unsigned, “‘Heifetz of Trumpet.’”63 Ralph Méndez, interview by author, 12 September 1991.64 Unsigned, “Soloists’ Symposium,” International Musi-

cian 47 (April 1949):34.65 Ned Powers, “For Rafael Méndez, a trumpet is never far

away,” Saskatoon Star-Phoenix, 5 November 1968, 14.66 Unsigned, “Soloists’ Symposium.”67 Jane W. Hickman and Delon Lyren, Magnificent Méndez,

(Tempe, AZ: Summit Records, 1994):58.68 Robert Méndez, interview by author, 12 May 1992.69 Laplace, “Rafael Méndez.”70 Rafael Méndez, performance on Art Linkletter’s House

Party, videotape in Rafael Méndez Library.71 Rasey Telephone Interview, 30 December 1992.72 Rafael Méndez, interview with Los Angeles trumpeters.73 Robert Méndez, interview by author, 12 May 1992.74 Alfonso Rodriguez Letter, 8 July 1992.75 Ralph Méndez, interview by author, 12 September 1991.76 Laplace, “Rafael Méndez,” from The American Weekly,


23 July 1950.77 Unsigned, “Méndez Plays Here Sunday,” Saskatoon

(Saskatchewan) Star-Phoenix, 17 October 1962.78 Lewis, “Rafael Méndez,” 14.79 Laplace, “Rafael Méndez.”80 Los Angeles Herald-Express, 4 (C).81 Rafael Méndez, “Trumpeter on a Teaching Tour,” 25.82 Bill Flaherty, Rafael Méndez Memoriam, Tape record-

ing, Hanover, PA, (date unknown), in the possession ofDelon Lyren.

83 Méndez Bookings, memorandum to instrumental musicdirectors for performances during the 1953-54 schoolyear, held in the Rafael Méndez Library.

84 Chuck Hendry, intra-company memorandum to DickMadden, 30 January 1962, Letter in the possession ofthe Rafael Méndez Library.

85 J. Robert Menchey, Hanover, to Delon Lyren, Mesa, 23November 1991, Letter in the possession of Delon Lyren.

86 Mickey Mowbray, “Trumpet Virtuoso Wins Plaudits OfAudience,” Prince Albert (Saskatchewan) Daily Herald,18 October 1962, 5.

87 Dolores Fetcko, “Loves to Share Musical Wealth WithYoungsters,” Sunday Post-Tribune Panorama (Gary, In-diana), 7 May 1967, 8.

88 Ralph Méndez, “Trumpeters Triumph; Méndez TwinsSerenade Europe,” Centaurian (Centaurville, CA), 3 No-vember 1954, 2.

89 Robert Méndez, interview by author, 12 May 1992.90 Unsigned, “Rafael Méndez, Famed Trumpet-Player,

Dies,” Overture (published by Local 47 of Los AngelesAmerican Federation of Musicians), 61, No. 7 (Novem-ber 1981):13.

91 Unsigned, “El Gran Trompetista Rafael Méndez,Proyecta Hacer Una Jira Por Europa,” Esto Pagina, 12August 1948, 4.

92 Unsigned, “Ron Potrero Presenta,” Excelsior (MexicoCity), 17 July 1953, 11-A.

93 William Shulhan, Saskatoon, to Delon Lyren, Mesa, 16December 1991, Letter in the possession of Delon Lyren.

94 Ralph Méndez, interview by author, 12 September 1991.95 Unsigned, “Méndez, Dies.”96 Concerts on Film, sales brochure by Mills Picture Cor-

poration.97 Rafael Méndez, “The Trumpet,” Concerts on Film, film-

strip by Mills Picture Corporation, 1956.98 Ibid.99 Ralph Méndez, interview by author, 12 September 1991.100 Austin Faricy, “Band in Fine Pitch; Méndez Dazzles

Crowd,” Honolulu Star-Bulletin, 16 June 1960.101 Robert Monahan, “‘Greatest’ Trumpeter Thrills Young-

sters,” Honolulu Advertiser, 13 January 1960.102 Ibid.103 Unsigned, “Virtuoso On Trumpet To Play Here,” Phoe-

nix Gazette, 3 March 1960.104 Alfonso Rodriguez Letter, 8 July 1992.105 Harold Higa, Honolulu, to Delon Lyren, Mesa, 27 De-

cember 1991, Letter in the possession of Delon Lyren.106 Caralyn Schilt, Muskogee, to Mrs. Rafael Méndez,

Encino, April 1959, Letter in the possession of the RafaelMéndez Library.

107 Albert E. Bonnell, Jr., Muskogee, to Mr. Rafael Méndez,Encino, April 24, 1959, Letter in the possession of theRafael Méndez Library.

108 Jim Rushton, Muskogee, to Mrs. Rafael Méndez, Encino,

April 17, 1959, Letter in the possession of the RafaelMéndez Library.

109 Rafael Méndez, “Successful Trumpet Playing; A talk withRafael Méndez,” International Musician 58 (October1959):18.

110 Roy Rogers and Dale Evans Rogers, Los Angeles, to Hol-lywood Historic Trust, Hollywood, 12 June 1982, Letterin the possession of the Rafael Méndez Library.

111 Alicia P. Hevesi, New York City, to Rafael Méndez,Encino, 17 July 1958, Letter in the possession of theRafael Méndez Library.

112 Review of Prelude To Brass Playing, by Rafael Méndez,in Music Educator’s Journal 49, No. 2 (1962):124.

113 Review of Prelude To Brass Playing, by Rafael Méndez,in Brass Quarterly :165-66.

114 Amor Méndez, Detroit, to Rafael Méndez, Los Angeles,9 November 1937. Letter in the possession of RalphMéndez.

115 Alfonso Rodriguez Letter, 8 July 1992.116 Robert Méndez, interview by author, 14 September 1991.117 Rex Reed, “Trumpet/Guitar Duets: Ten Bands of Per-

fection,” HIFI/Stereo Review 20 (April 1968):78.118 Ibid.119 Bill Rumfelt, “Easy Listening,” Rocky Mount, N.C. Tele-

gram, 16 February 1969.120 Charles (“Bud”) Dant, Kailua-Kona, to Delon Lyren,

Mesa, 4 March 1992, Letter in the possession of DelonLyren.

121 Ibid.122 Flaherty Phone Interview, 10 February 1993.123 Larson and Sotter, “Rafael Méndez,” 29.124 Marjorie McAllister, “Fun, Fast Concert Brings Spring

into Longmont Sky,” Longmont (Colorado) Daily-TimesCall, 24 April 1974, 6.

125 Robert Méndez, interview by author, 14 September 1991.126 Robert Méndez, interview by author, 12 May 1992.127 Ray Babcock, “Trumpet Legend Plays In Band,” Monterey

Park Californian 28, No. 87 (18 January 1979):1.128 Robert Méndez, interview by author, 12 May 1992.129 Robert Méndez, interview by author, 14 September 1991.130 Lewis, “Rafael Méndez,” 16.131 Robert Méndez, interview by author, 14 September 1991.

Selected Reference Materials

Jane W. Hickman and Delon Lyren, MagnificentMéndez, Summit Books, 1994.

H.M. Lewis, “Rafael Méndez: Trumpeter Extraordi-naire,” 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 adaptedfrom Rafael Méndez (1906-1981): A Study of His Lifeand Influence in the Trumpet World, by Delon G.Lyren, DMA dissertation, Arizona State University,1994. Lyren is assistant professor of high brass atBemidji State University and serves as the ITG Mem-bership and Retention Coordinator.

Documents

Rafael Mendez