Latin America

Oscar D’ León confessions of Oswaldo Ponte by William Briceño

Latinoamerica / Venezuela / Caracas

Part 1

This book narrates the story of the famous singer Oscar D’ León from his birth and his life’s progress to who he is today; it also mentions how the era evolved, not only at a musical level but also regarding the situation of the country, both in Venezuela and other nations.

Before beginning to comment on the biography written by his manager, Oswaldo Ponte: biographies do not only try to remember great men who extend beyond their era. In this way, through this biography, the goal is to spread an idea about the work of the well-known artist “Oscar D’ León,” who has brought greatness to the country, crossing the line of his horizon and extending it toward other latitudes. One could say it is like a novel that not only speaks of successes or already known events, but also tells us about the reality of his life and not just what acquaintances or representatives of the artist think.

Photo1: Oscar D' León — Photo1: Oscar D’ León

The biography begins with the birth of Oscar Emilio León Simosa on July 11, 1943, in Caracas, Venezuela; where not only his family but other friends were present, one of whom ironically mentioned that in the future “he would be a great singer” since his crying was like a symphony. According to his mother, “Carmen Dionisia,” the midwife told her that he was born “enmantillado” (born with a caul), which meant the baby could have a multitude of gifts that he could take advantage of in the future.

It is worth mentioning that at an early age, he had more passion for music than for his studies, and he came to the conclusion that studies were not the best thing for his future; therefore, he dedicated himself to helping at his parents’ business to contribute to the household.

Since he was very young, he enjoyed listening to “Sonora Matancera” in a corner at night, which was the musical group of the era, and he would follow the percussion with his throat. He also listened to jazz orchestras, which led him to the conclusion that music would be his vocation; he was fascinated by listening to his mother hum the hits of 1953 by the Orquesta Aragón and Dámaso Pérez Prado.

Oscar D' León - Photo 1 — Oscar D’ León – Photo 1

Fortunately for the future singer, his family was passionate about music and had close relationships with musicians, singers, and players of all types of instruments even if they were not professionals. This warm, joyful, and above all, musical atmosphere embraced Oscar from the moment he was born. It was even shown that at an early age he had a certain interest in any object that emitted a musical sound, and he longed to learn how to use musical instruments. Despite having a humble family, Oscar himself managed to use various objects to create something that generated a musical sound and to discover his own rhythm, which he enjoyed at that time.

Oscar D' León - Photo 2 — Oscar D’ León – Photo 2

Simosa, which was on July 11, 1943, in Caracas, Venezuela; where not only his family but other friends were present, and ironically one of them mentioned that in the future “he would be a great singer” because his crying was like a symphony. According to his mother, “Carmen Dionisia,” the midwife told her that at birth he was “born with a veil” (enmantillado), which meant the baby could have a multitude of gifts that he could take advantage of in the future.

During his adolescence in Venezuela, many significant political changes were occurring for the population; however, they did not stop celebrating festive seasons with his family even in difficult times. Many “parrandas” (parties) were held, something that Oscar enjoyed very much.

In 1958, he mentions that a phenomenon was occurring with the musical style of “Dámaso Pérez Prado’s Mambo”; also, at the Club Las Fuentes, the Sonora Matancera resonated with “Celia Cruz” alternating with the “Caracas Swing Boys”. A movement of orchestras influenced by foreign rhythms that thrilled Venezuelans began to be observed on a national level, such as Billo’s, which won the precious title of the most popular orchestra in Venezuela. Oscar was not interested in societal events, except for events in Cuba, since Cuban music was what fascinated him.

Photo: Oscar D' León confessions of Oswaldo Ponte by William Briceño — Photo: Oscar D’ León confessions of Oswaldo Ponte by William Briceño

Starting in 1962, he became a father, and marveled by his new life and his firstborn, he dedicated himself to his role as a father, keeping his family supported by working; this caused him to step away from music, and his maturity can be witnessed despite his age.

By the age of 23, he already knew how to sing and play the bass; over time, he met friends who would influence great changes in his future life. In 1966, he met Kiko Pacheco, who invited him to the group “Los Junior,” where he would begin his professional career. During that same year, salsa was taking off in Venezuela, as it was heard on all the country’s radio stations.

During that era, life was expensive, so he worked hard both in clubs and discotheques or as a taxi driver. On one occasion, Kiko Pacheco asked Oscar to sing in the “Quinteto Los Junior” because their vocalist had to leave; this allowed Oscar to demonstrate his talent, and from that moment on, everyone was enchanted upon hearing him, and his musical profession began. Later, “La Dimensión Latina” was created, which at that time was known as “Dimensión Seis,” founded by Oscar D’ León and Cesar Monge.

The members who formed “La Dimensión Latina” were Oscar de León, Cesar Monge “Albóndiga,” and José Rojas “Rojita” on trombones; José Rodríguez “Joseíto” and Elio Pacheco on percussion; and Enrique “Culebra” Iriarte on piano. A significant event for Oscar was that, during their first rehearsals, he had a premonition of his success when they found the rhythm he wanted to hear and share with the rest of the musical world. This was proven during their first performance, which was a total success, leaving everyone who heard them stunned.

Oscar D' León singing — Oscar D’ León singing

From that moment on, with the debut of La Dimensión Latina, a new concept emerged that would change the landscape of popular Venezuelan music and make history both nationally and internationally with the rise of the legend Oscar D’ León. They began playing for five months at “La Distinción” from Friday to Saturday. On Sundays, after finishing there, they would go to El Junquito to continue the party, gaining so much popularity that some felt they should launch an international career. During that time, singer-songwriter Mireya Delgado hired them after being impressed by seeing them perform on stage.

They played on a cruise ship during a one-week tour through different Caribbean islands and achieved great success despite the inconveniences they faced. They paid these no mind, as they dedicated themselves wholeheartedly to playing for their audience. This caused venues to become packed, captivating their fans who idolized them. From that point forward, many people began wanting to hire them for various events.

Here is the translation of the text into American English:

In that same year, 1972, a dizzying and unstoppable recording career began. This was based on the fact that executive representatives from the TH label heard two tracks: one was “Oye mi canto,” which was a hit for Gran Combo de Puerto Rico, and the other was “Te voy a cortar las patas” by Oscar D’ León. Because this made a great impact and created absolute conviction among the executives that they were witnessing a success, the promoter Mesone, upon hearing them, agreed to carry out a recording. This recording was shared with the Víctor Mendoza Orchestra, one of the TH producers in Venezuela: El Clan de Víctor.

The album featured three tracks by Oscar; he recorded two of them with Dimensión Latina and the other with El Clan de Víctor. However, he does not appear as the author in the credits. The same thing happened with an album in 1991 when recording the album Auténtico. Among the 80 tracks that Oscar wrote, two of them are his immortal classics and of his authorship: “Llorarás” and “Detalles”.

For the first time in Venezuela, Salsa festivals were held that moved everyone. From that moment on, a true proliferation of salsa was witnessed in the country, all thanks to “Pensando en ti,” which had a major impact on the history of Venezuelan popular music.

After the success of his new discography—which contains “La comprita,” “Barranquilla,” and “Barranquilla y Quiéreme,” among others—three important international contracts were signed. Oscar and Dimensión Latina would go to Curaçao, Aruba, and Bonaire; that same year, they would also go to Colombia and Santo Domingo. However, it is worth noting that the period from “Pensando en ti” to “Que bailen to’s” covered the stage that catapulted him internationally.

Here is the translation of the text into American English:

The production of Dimensión Latina’s 1975 discography was the one that left an eternal mark, whose immortality was glimpsed from the very moment of its appearance. Its tracks focused on themes of romantic heartbreak. However, the rhythmic conception of “Llorarás” was the most important conception and structure of Oscar D’ León and Dimensión Latina; in fact, the song “Llorarás” marked the rupture of the old dance empire represented by Billo’s, and Dimensión came to be considered the “Billo’s of Salsa”.

An important subject in the world of music tells us in this book that: “salsa singers used phrases worn out by the use of previous generations who popularized them; in contrast, Oscar projected original modifications created by him”.

Oscar D' León in concert — Oscar D’ León in concert

When they traveled to New York, Oscar was very excited by the different stories he had experienced in the music world, and they were even happier to perform for the first time in the impressive metropolis. It was there where that musical genre that transformed them into idols, “Salsa,” was projected.

As time passes, Oscar manages to establish his own style and never changed it while climbing the steps of popularity and fame; the same happened with Dimensión Latina, though without achieving the countless triumphs Oscar D’ León obtained until his departure.

If you wish to know more about the history of Oscar D’ León, we recommend reading “Oscar D’ León: Confessions of Oswaldo Ponte by William Briceño, Editorial Fundación Simón Bolívar” to learn about the continuation, as it is a very broad topic to describe in this first part; likewise, in our next edition, we will conclude our final thoughts on this interesting and extensive biography.

Eduardo Herrera. The Man Behind Every Song – The Story of His Music

Latin America / Puerto Rico / Puerto Rico

“There’s a wide variety of artists, singers, and famous orchestras in different parts of the world, but that doesn’t mean you can’t discover new artists who have the motivation and desire to boost their musical talent. Here, we have as our guest Eduardo Herrera, a salsa and ballad singer.

Eduardo is the son of Puerto Rican parents, raised in New York with a ‘boricua sazón’ (Puerto Rican flavor/style). From a very young age, he fell in love with music, and over time, he gained many musical experiences in different genres with Latin nuances and foreign fusions.

He mentions that when he was younger, he participated in youth choirs on stages and attended concerts of great artists, learning the lyrics of urban music. As time passed, he captivated the perfect school that shaped his unique style; it includes spiritual music, Latin rhythms, and the influence of American styles without abandoning his Puerto Rican roots. He also mentions that he had the opportunity to share and collaborate with very famous artists who influenced him with their exceptional style and talent, even to this day.

Eduardo Herrera comments that his music is a collection of life experiences that many people identify with. It has no age or time; it has ‘sazón,’ Caribbean rhythm, and soulfulness.

It simply identifies what no one else sees or knows in or about you. In fact, his songs tell stories; they tell your life, his, and mine. Each story on a bus or train in New York, each event in family life or with a stranger, the stories of the fans, among others.”

“Eduardo Herrera comments that his music is a collection of life experiences that many people identify with. It has no age or time; it has ‘sazón,’ Caribbean rhythm, and soulfulness.

When you hear the melody, you fall in love; when you pay attention to the lyrics, you are captivated; when you listen to it again, you turn it into something that identifies you, regardless of your age, race, condition, or gender. It simply identifies what no one else sees or knows in or about you. In fact, his songs tell stories; they tell your life, his, and mine. Each story on a bus or train in New York, each event in family life or with a stranger, the stories of the fans, among others.

Eduardo Herrera - El Amor — Eduardo Herrera – El Amor

In the course of his life, he mentions that it was a transition as he went through many positive and negative life experiences, which allowed him to gain different meanings for the emotions he felt, whether real or false. All these experiences helped him help others, such as in personal growth.

In ‘Salsa‘ and ‘Balada,’ he has found his perfect space to express what he carries in his life’s baggage. Hoping that many couples will have a happy life to the rhythm of his music. Eduardo told us, ‘To achieve that emotional catharsis that lifts you up from any tragedy, it is necessary to LOVE YOURSELF BEFORE LOVING SOMEONE.’ So remember that when you listen to Eduardo Herrera’s music: ‘LOVE YOURSELF BEFORE LOVING SOMEONE.’

Recognizing the value of an individual and appreciating their abilities while learning from mistakes, that is what defines every song you will hear from Eduardo. The message will arrive; it’s up to you for the outcome to be happy. Because you learn from the difficulties in the process, the final result depends on how you handle the ‘tests’ to qualify yourself in feelings for the life you choose to live.

If you wish to know more about him:

Facebook: https://www.facebook.com/eduardoherrerasalsa
Instagram: eduardoherrerasalsa
Email: [email protected]
Phone: 787 399 5064

Toña La Negra The Unequaled Velvet Voice of Tropical Song

On November 19, 1982, in Mexico City, Antonia del Carmen Peregrino Álvarez, better known as “Toña La

Toña la Negra, passed away. She was a prominent Mexican singer and actress of African descent, famous for her interpretations of boleros and tropical songs by the composer Agustín Lara, who considered her “the greatest female singer of all time” due to her “highly personal style,” “the power of her expression, and the velvet of her privileged throat.”

Toña La Negra The Unequaled Velvet Voice of Tropical Song

Antonia Peregrino was born in the city of Veracruz, in the La Huaca neighborhood, on November 2, 1912.

Her father, Don Timoteo Peregrino Reyes, played the guitar and worked as a freight opener for the crates arriving at the port; he was also one of the founders of the Veracruz Port Commercial Loaders and Openers Guild.

Her mother, Doña Daría Álvarez Campos, sang at family gatherings.

Her paternal grandfather, Don Severo Peregrino, was Haitian and had emigrated to Mexico in the 19th century.

By 1927, she had married Guillermo Cházaro Ahumada, who took her to Mexico City with their first child, who was only forty days old.

On July 16, 1929, she debuted at the cabaret El Retiro. While performing there, where she was known as La Peregrina, she met Don Emilio Azcárraga Vidaurreta. It was Azcárraga, along with Enrique Contel, who christened her “Toña La Negra.”

On November 19, 1982, in Mexico City, Antonia del Carmen Peregrino Álvarez, better known as “Toña La Negra”, passed away.

She began to gain recognition with her interpretation of the song “Enamorada” (In Love) by Agustín Lara. Lara also produced tracks for her such as “Lamento Jarocho,” “Veracruz,” “Noche Criolla” (Creole Night), “Oración Caribe” (Caribbean Prayer), “Palmera” (Palm Tree), “La Clave Azul” (The Blue Key), and “La Cumbancha.” They presented these together in a musical revue at the Teatro Esperanza in December 1932, achieving such success that they had to extend their performances for a long time.

Her voice tone was rather deep, with a velvety and rounded sound, and impeccable vocal techniquecharacteristics that became her interpretive signature.

Azcárraga added her to the cast of the XEW radio station, where she sometimes performed accompanied by Lara and other times by the Alfredo Girón orchestra.

Shortly thereafter, her spectacular performances began at the Teatro Politeama, across from Las Vizcaínas and next to San Juan de Letrán street.

Her recordings for the RCA Victor label constitute one of the most precious musical legacies in the history of the bolero.

One of the first records she cut for this label contained the song «El Cacahuatero» (The Peanut Vendor); this recording dates back to the 1930s. For RCA Victor, she recorded several long-play albums, including Caleidoscopio musical con Toña la Negra (Musical Kaleidoscope with Toña la Negra), Noche Criolla, vol. II, and La Sensación Jarocha, vol. III (The Jarocha Sensation, vol. III).

In the mid-sixties, she signed an exclusive contract with Discos Orfeón, where she recorded the last albums of her career.

“Este amor salvaje” (This Wild Love), “Por qué negar” (Why Deny It), “Obsesión,” “Mentiras tuyas” (Your Lies), “Y sin embargo te quiero” (And Yet I Love You), “Noche criolla,” “Pesar” (Grief), “Vereda tropical” (Tropical Path), “Cada noche un amor” (A Love Every Night), “Angelitos negros” (Little Black Angels), “Lágrimas de sangre” (Tears of Blood), “Estás equivocado” (You Are Wrong), “De mujer a mujer” (From Woman to Woman), “Como golondrinas” (Like Swallows), “Diez años” (Ten Years), and “Cenizas” (Ashes) are some of her successful titles recorded on over 75 LP records, some of them for the Peerless label. Already famous for many years, she recorded two songs with the legendary Sonora Matancera in 1974.

In her final years, due to some health issues, she gradually withdrew from the stage and recording.

Toña La Negra always maintained a very reserved personal life. With her first husband, the musician Guillermo Cházaro Ahumada, she had three children: Ramón (b. 1932), Guillermo (b. 1933), and Ernesto (1935–1979). Toña and Cházaro Ahumada separated in 1945.

Later, in 1955, she remarried the Veracruz-born bassist Víctor Ruiz Pazos, known as “Vitillo.” This marriage lasted until 1963. In an interview, Ruiz Pazos spoke about Toña’s artistic qualities:

Her commitment, her feeling when she sang, her style, the way she did it, how she expressed things musically; I have lived a long time, I have heard many fabulous singers, but none of them come close to Doña Toña.

The German filmmaker Christian Baudissin made a documentary about Toña La Negra for television in 1993, featuring interviews with her ex-husband, the musician Vitillo (Víctor Ruiz Pazos), and other artists who knew her during her lifetime.

Collaborators:

Los Mejores Salseros del Mundo

Dj. Augusto Felibertt

Also Read: Santa La Salsera and Diva of Mexico with her unique voice and style will continue to conquer us all

Son 14 The History of the Orchestra and the Success of “A Bayamo en Coche”

The Son 14 orchestra was founded in Santiago de Cuba in 1977 by vocalist Eduardo “El Tiburón” Morales (born in Cuba in 1935) and pianist and musical director Adalberto Álvarez.

As the name suggests, it is a 14-member ensemble dedicated to performing son, the national musical genre of Cuba. In 1978, Lázaro Rosabal (born in Santiago de Cuba in 1953) joined the group.

They quickly recorded several albums for the local EGREM label, many of which became bestsellers throughout Latin America, allowing them to undertake extensive tours across the Americas and Europe.

In 1992, co-founder Álvarez left the band to form his own group. Nevertheless, Son 14 continued its journey under the musical direction of Rosabal.

In addition to their continued success in the Latin market, the band began to gain international recognition, first with the song “El Son De La Madrugada,” included on the compilation Cuba – Fully Charged (Earthworks Records, 1993), and later with the release of Son – The BIG SOUND (Tumi Records, 1995), a compilation of their material from the Álvarez era.

After introducing a modern, vibrant version of son and its variations (son montuno, bolero son, etc.) to non-Latin audiences, Tumi Records commissioned a new recording at Cuba’s EGREM studios. Released in 1996 as part of the Cuba Explosion series, the album Cubanía proved that the band had not lost an ounce of its musical talent and energy under Rosabal’s direction. Three years later, the group released La Máquina Musical, which incorporated Colombian tropical rhythms into their sound, promoting the album with a European tour that included a performance at the Cuba Presente Festival at the Barbican Centre in London. (Source: AllMusic)

The Milestone of “A Bayamo en Coche”

The album A Bayamo en Coche (A Bayamo by Carriage) was released in 1979, with its biggest hit being the title track itself. The album’s opening song, composed and arranged by Adalberto Álvarez from Camagüey, instantly transformed him into one of the leading figures in popular Cuban dance music from that year on.

The song “A Bayamo en coche” not only revives traditional son and enriches it with new sounds but also artistically recreates a cherished tradition rooted in Bayamo, the cradle of Cuban nationality. In this city, coches (horse-drawn carriages) are used for pleasure rides and recreation, and the song’s lyrics narrate these moments.

The album contained other tracks that were hugely popular in Cuba between 1978 and 1980, such as “Calle Enramada” (a son elegy to that main Santiago street), “El Son De La Madrugada” (with a beautiful later version by Omara Portuondo), “Se quema la trocha,” and “Elena la cumbanchera,” which turned the record into a landmark within this genre of Cuban music. Most of the tracks were performed by Tiburón Morales, the group’s lead vocalist.

Tribute to The Gentleman of Son

Recently, Son 14 founder Adalberto Álvarez, known as “El Caballero del Son” (The Gentleman of Son), was honored with a concert at the Karl Marx Theatre. This event celebrated his 46 years in music and the 35th anniversary of his later orchestra, Adalberto Álvarez y su Son.

The concert was a memorable tribute to the work of the composer of “A Bayamo en coche.” Some of his best songs were performed by notable Cuban musicians:

Septeto Santiaguero (Son para un sonero)
Pancho Amat and Alain Pérez (Tu fiel trovador)
Alexander Abreu (Pura imagen)
Paulo F. G. (Fin de semana)

At other points, Frank Fernández performed a duet accompaniment with the voices of Adalberto Álvarez and Jorge Luis Rojas, “Rojitas,” on Santa Cecilia.

Additionally, Rojitas sang with Tania Pantoja (Vivir lo nuestro) and solo (Y qué tú quieres que te den). Robertón and Lele, vocalists from Van Van, performed Agua que cae del cielo, while the orchestra Adalberto Álvarez y su Son took on De Cuba pa’l mundo entero, Son de la madrugada, and Los caminos de Ifá.

En La Sala Show “El Saraito” Adalberto Álvarez (R.I.P) Fundador, Director. Arreglista y Pianista del Son 14 de Cuba, Dj. Augusto Felibertt y Vicente López

That night, Maestro José Luis Cortés highlighted Álvarez’s musical quality, focusing specifically on “A Bayamo en coche,” the song that, in 1979, announced the existence of a great artist to the public. Álvarez was capable of bringing son to Cuban art schools and has defended Cuban son with grace and artistry, all while staying true to the essence of one of the dance music genres that best represents Cuban identity. (Source: Joel del Río, Cibercuba)

“A Bayamo En Coche” Album Details (1980)

No.	Track	Genre	Composer
01.	A Bayamo En Coche	Son	Adalberto Álvarez
02.	El Son De La Madrugada	Son guaguancó	Adalberto Álvarez
03.	Se Fue Mi Amor Y No Lo Vi Partir	Bolero son	Adalberto Álvarez
04.	Calle Enramada	Son	Pedro Gómez
05.	Elena La Cumbanchera	Son	Gerardo Martínez
06.	Se Quema La Trocha	Bachata-Son	Adalberto Álvarez
07.	Tal Vez Vuelvas A Llamarme	Son montuno	Adalberto Álvarez
08.	Gimen Las Rosas Por Una Triste Ilusión	Bolero	Adalberto Álvarez
09.	Vamos, Háblame Ahora	Bachata-son	Adalberto Álvarez

Musicians who participated in the recording (1979):

Director, Acoustic Piano, Keyboards: Adalberto Álvarez
Vocals, Minor Percussion: Eduardo “El Tiburón” Morales, Héctor Wedderbron, Daniel Carmenates
Bass: Jorge Machado
Guitar: Efisio Barroso
Trumpet: Eduardo Sánchez, Guillermo Femández, José Fernández, Dagoberto Rodríguez
Trombone: Lázaro Rosabal
Tumbadora (Conga Drum): Ubaldo Canes
Bongó, Cowbell: Guillermo Viera

Recorded at: EGREM Studios (1979)

Collaborators:

L’Òstia Latin Jazz

Dj. Augusto Felibertt

Also Read: Luis Conte: The Cuban-American percussionist who fuses Cuban son with global music

Compay Segundo The Eternal Patriarch of Cuban Son

Máximo Francisco Repilado Muñoz better known as Compay Segundo (1907-2003) The voice that conquered the world in the nineties.

Máximo Francisco Repilado Muñoz, globally known as Compay Segundo, is one of the most emblematic and essential figures in traditional Cuban music.

Born on November 18, 1907, in Siboney, Santiago de Cuba, his life was a dedication to music that culminated in a late, but well-deserved, global fame before his passing in Havana on July 13, 2003.

Máximo Francisco Repilado Muñoz, known worldwide as Compay Segundo

Origins and Musical Training

Compay Segundo was raised in a highly musical and manual environment. His father, Máximo Repilado, was a bricklayer and a great lover of traditional santiaguera music, while his mother, Caridad Muñoz, provided a strong cultural influence.

Coming from a large family, his brother Lorenzo Repilado was also an active figure in the Santiago music scene.

His beginnings were typical for the era. Compay started his career as a clarinetist in the Santiago Municipal Band, consolidating his training by later joining the Army Band. In the 1930s, he migrated to Havana, a crucial step that fully integrated him into the capital’s professional circuit.

Compay Segundo se crio en un ambiente musical y manual

Los Compadres and the Birth of the Name

The stage that would give him his artistic name and national fame was the formation of the Dúo Los Compadres in the 1940s alongside Lorenzo Hierrezuelo.

The Nickname: The name “Compay Segundo” (Second Compadre) arose because Máximo Repilado always sang the low harmonic or “second” voice (segundo) in the song, while Hierrezuelo performed the main voice. Hence, the affectionate Cuban diminutive “Compay” (short for compadre) plus “Segundo” (Second).
National Success: The duo became a sensation throughout Cuba, leaving behind unforgettable classics of son oriental such as “Macusa,” “Mi Son Orientál,” and the early version of what would become his most famous song: “Chan Chan.”

Compay created the armónico, a hybrid between a Spanish guitar and a Cuban tres, with 7 strings

The Armónico: His Instrumental Contribution

One of Compay’s most unique contributions was the invention of the “armónico,” an instrument he designed himself. It is a seven-string hybrid, halfway between the traditional Spanish guitar and the Cuban tres. This instrument allowed him to simultaneously execute bass lines, harmony, and melody, creating a unique sound that became the foundation of his style.

The Buena Vista Social Club Phenomenon

When it seemed Compay’s career was waning, destiny reserved the most glorious stage for him. In 1997, at the age of 90, he was invited by American musician Ry Cooder to participate in the recording of the album “Buena Vista Social Club.”

Global Fame: The success of the album and the subsequent documentary directed by Wim Wenders catapulted him to worldwide fame.
The Anthem: His unmistakable voice and the magical rendition of the song “Chan Chan” turned him into an international superstar, leading him to perform on the world’s most prestigious stages and bringing Cuban son to audiences of all ages.

Legacy and Family Continuity

Compay Segundo left behind a repertoire of songs considered national treasures. His most prominent tracks include “Chan Chan,” “Sarandonga,” “Las Flores de la Vida,” “Orgullecida,” and the popular bolero “Veinte Años,” which he popularized.

Compay was a father to at least nine children. His musical legacy not only lives on through his recordings but also through the activity of his descendants:

Basilio Repilado (1954–2012): Founder and arranger of the Grupo Compay Segundo.
Salvador Repilado: Upright bass player and current director of the Grupo Compay Segundo, the official international touring ensemble.

Furthermore, the younger generations (grandchildren and great-grandchildren) such as Yohel, Alejandro, and Yurisley Repilado continue the tradition in Havana with the ensemble “Los Herederos de Compay Segundo” (The Heirs of Compay Segundo), ensuring that the unmistakable sound of the Patriarch of Cuban Son continues to resonate in Cuba and the world.

Collaboration:

Sr. Eduardo Guilarte

Also Read: Son Cubano is one of the most popular musical styles in Cuba and Kiki Valera is one of its leading exponents