Founded by Havana-born bassist and vocalist Ignacio Piñero in 1927, the Septeto Nacional De Ignacio Piñero has played an important role in Cuba’s music for more than seven decades.
Pioneers of son, a rhythmic blend of African and Cuban music that evolved into salsa, mambo and Latin jazz, the group was the first son band to incorporate the trumpet as the main instrument.
Ignacio Piñero’s Septeto Nacional gained worldwide recognition with its performance at the 1928 Universal Exposition in Seville, and was reportedly the first group to mention “Salsa” in a song “Echale Salsita” recorded in 1933. The song composed by Piñero, was adapted by George Gershwin for the opening theme of his “Cuban Overture”.
Since Piñero’s death in 1968, after 41 years at the helm of the band, the Septeto Nacional De Ignacio Piñero has been led by a series of leaders.
Guitarist and composer Rafael Ortiz, who took over after Piñero’s death, bequeathed the position to vocalist Carlos Embale in 1982.
After leaving the group due to illness in 1998 Embale’s leadership was inherited by guitarist Richard Aymee Castro. True to their original musical roots, Ignacio Piñero’s Septeto Nacional continues to offer a danceable blend of montano, merengue, bolero, rumba and cha cha cha. Craig Harris.
Ignacio Piñero was one of the Pioneers of Son Cubano
In 1906 he already knew and had assimilated the different toques of the African cabildos that existed in the neighborhood of Pueblo Nuevo, which he later incorporated into some of his creations.
He began his artistic career with the group claves and guaguancó El Timbre de Oro, later he directed Los Roncos de Pueblo Nuevo, in which he developed as a decimist and director, at the same time he took his first steps as a composer.
From this stage are: Cuando tú, tu desengaño veas, Dónde estabas anoche, El Edén de Los Roncos, Mañana te espero, niña. Later he joined the group Renacimiento de Pueblo Nuevo.
To the folkloric values that Piñeiro cultivated in these groups, he contributed a wider melodic-harmonic development and a greater depth and poetic flight.
In 1926 he was one of the founders, together with María Teresa Vera, of the Sexteto Occidente, with which he made his first tour to the United States in order to record an album with this group.
In 1927 he founded the Sexteto Nacional, formed by Ignacio Piñeiro, director and double bass; Alberto Villalón, guitar; Francisco González Solares, tres; Abelardo Barroso, lead vocals; Juan de la Cruz, tenor; Bienvenido León, baritone and maracas, and José Manuel Carrera Incharte (El Chino), bongo; that same year trumpeter Lázaro Herrera joined the group. With this septet he traveled to New York, where he recorded his first works.
In 1929 he participated with the Septeto Nacional in the Fair-Exposition of Seville, Spain; in that country they were hired as exclusive artists by the company SEDECA, and toured other cities of that country: Vigo, La Coruña, Santander, Madrid and Valladolid; in addition, they performed in the theaters Torero, Jovellanos, the Cine-Teatro Grado, and the cabaret Maicú, all in Madrid. In 1930 he was one of the founders of the National Association of Cuban Soneros.
They performed at the Sans-Souci cabaret (1930); in 1931 they performed at the Lavín and CMCG radio stations; in 1932, at the Dos Hermanos Hotel, he premiered Buey viejo; that same year the American composer George Gershwin came to Havana, at the CMCJ radio station he listened to Piñeiro’s son Échale salsita, from which he later used the theme played on the trumpet in his Cuban Overture.
In 1933 he performed at the Fair-Exhibition A Century of Progress, held in Chicago, United States.
In 1934 Piñeiro retired from the septet, which from 1935 was directed by trumpeter Lázaro Herrera. In 1954, Piñeiro reappeared as leader of the septet, with which he appeared on the television program Música de Ayer y de Hoy.
As a composer, Ignacio Piñeiro broke, although he took elements from the form of the oriental son, in which its creators used the quatrain and the tenth; an example of this break is his son Buey viejo, from 1932:
Carretero no maltrates a ese pobre buey tan viejo, que ya doblbla la cabeza por el peso de los tarros, y por senda de guijarros va tirando la carreta, y nunca llega a la meta, término de su dolor.
Piñeiro was one of those synthesis cases that managed to capture, develop and express the full richness of the son.
The structural modifications, the cadence, the rhythm and the use of refined melodies and lyrics, achieved by this creator and interpreted by the Septeto Nacional, make it possible to say that the work of this singular artist, although he did not mark the boundaries of son (which corresponded to the Sexteto Habanero), he did turn it into a son that today we can call classic, which became a model for its further development.
When Ignacio Piñeiro founded the Septeto Nacional, his purpose was to be a high exponent of the Cuban son and its various variants, he himself made use of those variants, composing guajira-son, canción-son, afro-son, so he worked with the elements offered by the oriental son, to which he gave a broader treatment, both musically and literary.
According to Miriam Villa: “If we analyze the organization of the literary text, we observe in his work the formal use of metrically heterogeneous links subjected to rhythm, characterized by the presence of accented and unaccented elements within the system of units that are repeated at intervals between them.
Piñeiro must not have been concerned about the meter in the text as a pattern, since through the rhythm of the composition he achieves the contrast relations, making the change of meter express a change in the thematic movement, either from intermittences or accentuations or sometimes both, which give it different semantic nuances and alternations of tensions and distensions.
And elsewhere Villa states: “Another aspect that in relation to the literary text is reflected in Piñeiro’s creative work is that of the thematic contents; these are shown from a diversification with greater scope in relation to his contemporaries.
His work can be divided into multiple themes among which are love, homeland, philosophical reflection, politics, the bucolic, the infantile, expressed in a variety of forms: satirical, apologetic, humorous and with greater depth than in the sonorous production that preceded him and even with which he shared.
With the Septeto Nacional, Piñeiro appears in the musical short El frutero, and in the film Nosotros la música, by director Rogelio París.
Ignacio Piñeiro Septeto Nacional
El Son de Altura (1998)
Tracks:
- Mayeya – No Juegues Con Los Santos (Son) (I. Piñeiro)
- Bardo (Bolero-son) (I. Piñeiro)
- Lejana Campiña (Guajira-son) (I. Piñeiro)
- Canta La Vueltabajera (Guajira-son) (I. Piñeiro)
- Guanajo Relleno (Guaracha-son) (I. Piñeiro)
- Esas No Son Cubanas (Son) (I. Piñeiro)
- Suavecito (Son) (I. Piñeiro)
- Alma Guajira (Guajira-son) (I. Piñeiro)
- Castigador (Son) (I. Piñeiro)
- Échale Salsita (Son-pregón) (I. Piñeiro)
- EI Viandero (Son-pregón) (Ernesto Muñoz)
- Son De La Loma (Son) (Miguel MGllamoros)
- Trompeta Querida (Boleró-son) (Lózoro Herrera)
- La Mujer De Antonio (Son) (Miguel Matamoros)
- La Cachimba De San Juan (Son) (l. Plñeiro)
- EI Alfiler (Son) (l. Plñeiro)
- Noche De Conga (Son) (l. Plñeiro)
- EI Paralitico (Son) (Miguel Matamoros)
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