Jorge Aguirre (Havana, 1941) began his career as a producer career, but shortly after, in 1970, he became the director of his own audiovisual work at ICAIC, ICRT and Tele Rebelde’s Cinematographic Studios, in Santiago de Cuba. On the other hand, he also got his Degree in Philology, at Havana University, in 1984.
During all these years, Jorge Aguirre has written and directed over than sixty documentary films and two short motion pictures. He has dealt in them with archeology, history, literature, popular culture, plastic arts, swimming, underwater spelunking and, especially, music. He has produced substantial and valuable titles in the latter.
Some of his documentary films, whose main subject is music in its varied expressions, genres and components, are the following: “Chepin” (Electo Rosell) (1978), dedicated to the musician from Santiago de Cuba, author of danzons and guarachas, like "El Platanal de Bartolo" and “Los Coches” (1983), which deals with the manufacture and use of carriages in Bayamo, with musical themes related to the theme. “Paloma de Mayo” (1984) addressed the composition, rehearsals and premiere of the song "Paloma de Mayo", with lyrics of Jesus Orta-Ruiz, (Indio Nabori), and pianist Frank Fernandez’s music. “Una trompeta en si” (1985), deals with improvisation in jazz and reflects the meeting and joint performances of Dizzy Gillespie and Arturo Sandoval. “La caja secreta” (1986), features the famous “Organo Oriental” and its so-called "cardboard music", where the Organ is played in countryside and popular parties; whereas “Teniente Rey No. 308” (2001), portrays the popular bar of "Bigote de Gato” (Cat’s whiskers), featuring guarachas in Daniel Santos’ voice, which refer to the famous character.
In addition, in “Setenta años después” (2003), Jorge Aguirre addressed the foundation of the female orchestra “Anacaona” and its evolution from septet to jazz band. It is worth-mentioning that Georgia Aguirre, bassist, vocalist and current bandleader, is the filmmaker’s daughter. In 2004, “Setenta años despues” won the Great Prize to Musical Documentary Film, conferred by the CBU (Caribbean Broadcasting Union), in Barbados.
With regard to the relevance of music in Jorge Aguirre’s work, another outstanding title is “Ese que esta ahi” (2006), a biographical sketch of composer Juan Arrondo (1914-1979). It features some of his most famous songs, including "Ese que esta alli", "Fiebre de ti", "Que pena me da", "Si en un final" and "Como lo soño Martí", in Moraima Secada, Benny More, Clara and Mario, and Orlando Vallejo’s voices respectively.
More recently, another remarkable Aguirre’s title, with music as a fundamental discursive element is “Vitrola mia” (My dear jukebox) (2013); in which he managed to portray the sonority environment of Havana, through jukeboxes and slot machines in their golden age; that is, the 1950’s.
“Vitrola mia” is a very enlightening material that includes interviews to Danilo Orozco, Senen Suarez and Adalberto Alvarez. However, the best is its soundtrack, where we can hear renditions of remarkable singers, such as Vicentico Valdes’ “Los aretes de la luna”, Tito Gomez’s “Vereda Tropical”; Rolando Laserie’s “Mentiras tuyas” and "Sabor a mi”; Daniel Santos’ "Dos gardenias", Tejedor and Luis’ "Escandalo", Blanca Rosa Gil’s "Sombras", Celio Gonzalez’s "Total", Ñico Membiela’s “Cuatro vidas" and Alfonsin Quintana’s "Eres sensacional."
Other Jorge Aguirre’s documentary films in which the use of music has also been outstanding are: “Me resisto a morir” (1989), on the vintage cars called "almendrones", where he used the song “Galleguibiri”, from the vernacular theater; as well as another based on Faustino “El Guayabero” Oramas’ famous “Marieta.” “Sigo empeñado en decir” (1997), with Jorge Maleta’s music, is a biographical and literary study on poet Jesus Orta-Ruiz, (Indio Nabori). In “Hombre de teatro” (1999) and “Robreño en Rojo y Azul” (2007), both dedicated to historian and playwright Eduardo Robreño, music is an element that "highlights some spaces of the capital city and the process of “Marti Theater” restoration.”
On the other hand, it is worth-pointing out that “Ya era otoño en Paris” (2005), essentially a docudrama on Wilfredo Lam’s life story and pictorial work. won several prizes in 2006 II National Television Festival, including best documentary film, as well as best music arrangement and original music score.
This fleeting review on Jorge Aguirre’s audiovisual work shows that the author has been extremely careful in the introduction and use of music. He is a member of the UPEC, UNEAC and ADAL (Cuban Branch of Latin America Association of Documentary Filmmakers).
Translated by Pedro A. Fanego
