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The Golden Age of Cuban Music
Featured Artists:
Orquesta Aragón
Following a decade of memorable voices – Celia Cruz, Beny More – the Orquesta Aragón led a resurgence of instrumental virtuosity in the 1950s and 60s via the goflautist Rafael Egués. Formed in 1939 in Cienfuegos by bassist Orestes Aragón, the group surged in popularity in the 1950s as Cha Cha Cha fervor took over and the group moved to the capital, Havana. The successful group continues playing to this day.
Septeto Nacional
Led by Ignacio Piñeiro, the group brought an infectious energy to son music by adding trumpet to the usual arrangement of vocals, strings and percussion. In the 1928 World Exhibition in Seville, Piñeiro’s son sound gained worldwide notoriety to stay.
Sexteto Habanero
At the turn of the century, the Trio Oriental was formed, playing Afro-Cuban folkloric music in the Oriente province. In the 1920s, after many different variations, the group expanded into the Sexteto Habanero and helped define son as a musical genre. They originally used a large jug-like instrument called a botija before switching to the now-standard double bass. Eventually the group also added a trumpet, forming the sound that would eventually inspire Puerto Rican salsa in the second half of the century.
Trio Matamoros
The trio featured three singers and composers in the trova tradition: Miguel Matamoros and Rafael Cueto on guitar alongside percussionist Siro Rodriguez. The group added the rhythmic complexity of son to romantic boleros. Matamoros’ hit song “Lágrimas Negras.”
Antonio María Romeu
A virtuoso danzón piano player, Romeu joined the group Orquesta Cervantes at the turn of the century. In contrast to the brass-heavy instrumental arrangement of orquestas típicas, Romeu and Orquesta Cervantes emphasized the piano and gave their danzones a lighter sound. In 1910, he formed his own orchestra and gained wider acclaim.
Arcaño Y Sus Maravillas
Founded by flautist Antonio Arcaño in 1937, the Group featured legendary bassist Israel “Cachao” López and Orestes Lopez. Cachao’s compositions helped establish the mambo, a musical form that would become wildly popular in the United States via Pérez Prado. The mambo, originally called the “nuevo ritmo” by Arcaño, evolved out of the danzón, and would become a key component of latin jazz.
Miguelito Valdez Y Casino de la Playa
With his smooth, romantic style, Valdez and arranger/pianist Anselmo Sacasas founded the hugely popular dance band Casino de la Playa in the 1930s. In 1940, Valdez moved to the United States, becoming a featured singer in Xavier Cugat’s big band. Valdez came to be known as Mr. Babalú after a song he popularized by that name.
Conjunto Matamoros
The Trio Matamoros expanded into a big band featuring a fiery brass section. In the 1940s, the group served as the platform for singer Beny Moré.
Don Azpiazu & Havana Casino Orquesta
In 1931, this son group traveled to New York to perform and record their mega-hit “El Manicero” (The Peanut Vendor) on Broadway. With Antonio Machín on vocals and Julio Cueva on trumpet, the song helped propel Cuban music onto the international scene.
Arsenio Rodriguez
He gave prominence to the three-stringed tres as a leading instrument in son ensembles. He developed the son montuno style, which emphasizes improvisation and an uptempo instrumental section to bring the songs to a dramatic conclusion.
Celia Cruz
The “Reina de Cuba”, Celia Cruz achieved international stardom with her powerful voice and electrifying personality. In 1950, she became the singer for the conjunto group Sonora Matancera and stayed with the group for 15 years. In 1960 she came to the USA and soon after began her international solo career. She was famous for shouts of “Azúcar!” and extravagant hairstyles, becoming a national icon.
Beny Moré
A hugely popular tenor singer, he joined the group Conjunto Matamoros in the mid 1940s. In 1948 he began a collaboration with the mambo bandleader Pérez Prado. Known as “El Bárbaro del Ritmo” (The Rhythm Genius/Magnificent Rhythm), he continued to sing until his death in 1963.
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