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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.

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

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):
Recorded at: EGREM Studios (1979)
Collaborators:
Also Read: Luis Conte: The Cuban-American percussionist who fuses Cuban son with global music
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.

Origins and Musical Training
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.

Los Compadres and the Birth of the Name

The Armónico: His Instrumental Contribution
The Buena Vista Social Club Phenomenon

Legacy and Family Continuity
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:
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:
On December 3, 1983, Pantaleón Pérez Prado, an excellent bass player and composer, passed away in Milan, Italy. He was born on December 27, 1926, in Matanzas, Cuba.
Pantaleón’s Beginnings and Career
Pantaleón followed in the footsteps of his famous older brother, Dámaso Pérez Prado. At age 18, he formed his first orchestra, which he left in 1950 to join Dámaso’s group as a double bassist, accompanying him for several years.

The Legal Dispute
In 1956, a dispute between Dámaso Pérez Prado and his younger brother, Pantaleón (1926–1983), led to an unusual legal conflict. Dámaso sued his brother for $500,000, accusing him of impersonation.
In Hispanic culture, it is common for children to receive both parents’ surnames. In this case, the brothers’ birth names were Dámaso Pérez Prado and Pantaleón Pérez Prado, respectively, with Pérez being the father’s surname and Prado the mother’s.
Dámaso initiated legal action that concluded with Pantaleón being prohibited from using the title “Mambo King,” while also being required to use his full name. Some suggest that, beyond the lawsuit, there was a tacit agreement between the two brothers, based on the fact that Dámaso visited Europe infrequently, focusing his activities in the Americas, while Pantaleón permanently settled in Milan.
Name Confusion and The Conflict’s Revival
Originally, RCA credited the recordings to Dámaso Pérez Prado. However, when his records began appearing in the US, the record company shortened his name to the more alliterative Pérez Prado. In 1955, Dámaso dropped his full name and legally changed it to Pérez Prado.
Around that time, Pantaleón, who played bass with his own group, appeared at the Alhambra theater in Paris under the name “Pérez Prado, el Rey del Mambo.” Pantaleón was subsequently restricted by court order from passing himself off as Pérez.

The ensuing lawsuit effectively put Pantaleón out of commission, but the younger brother had a form of posthumous revenge. When Pantaleón died in 1983, a widely circulated obituary was headlined “Mambo King Dies in Milan,” leading many people to (erroneously) believe it was Dámaso who had passed away.
Pantaleón’s Career and Legacy
Pantaleón Pérez Prado performed in Greece and traveled to Iran at the invitation of the Shah himself and his wife, Princess Soraya. He remained active until shortly before his death in 1983.
Dámaso Pérez Prado’s Notable Hits
Dámaso Pérez Prado’s best-known songs include:

Collaboration:
Los Mejores Salseros del Mundo
Also Read: Israel “Cachao” López, a Cuban musician and composer, has been hailed as “the Inventor of Mambo
We are proud to introduce the talented Venezuelans Rebeca Rodríguez and Armando Montiel, who are members of the group La Nota Band, which we will talk about in the following lines.
After thanking us and clarifying that they are both partners and share the direction of the band, they proceeded to tell us a bit about their origins, professions, band, and current careers.

Armando began his story by telling us that, in his case, he has always loved music and enjoyed listening to it live. In his native city of Maracaibo, there were many street concerts featuring national and international artists, which sparked his interest in joining his school’s marching band between the third and fourth grade. This, in turn, led him to participate in some intercollegiate gaita festivals, which are very popular in many cities of the South American country.
This love for music took shape when the young man moved to Caracas and began his percussion lessons to finally have more formal training in this art. However, his parents made him promise to study a “real” career and then do whatever he wished for. He did so and studied civil engineering at Nueva Esparta University, but he has never practiced it, as music has always been his profession.
Rebeca also loved music, and from an early age, was always reciting poems, learning songs, and singing them at full blast. Then, as she grew up, she slowly built her career and made decisions based on that goal. Just as Armando, she participated in her school’s gaita festivals and took singing and dancing lessons, which led her to join bands in Caracas and become a backup singer for great artists.
Like Armando, she also studied a university degree, but in her case it was social communication at Andrés Bello Catholic University. She does not practice it either, although she does use her knowledge in favor of her artistic career.

Armando said with a laugh that he could not mention all the bands and artists he has worked with because there are too many, but the most important ones were Ricardo Montaner, Chino y Nacho, Víctor Muñoz, Elvis Crespo, Guaco, Treo, Mermelada Bunch, and a few others.
Meanwhile, Rebeca pointed out that they met playing for Son Bubalú in Caracas and continued to share experiences in a certain way. While Armando was Chino y Nacho’s percussionist, Rebeca was hired as their backup singer, so they continued to live together and grow as artists in the same environments.
Their professional relationship developed at such a level that they ended up moving to the United States together in 2014 to take advantage of some work opportunities that arose. Among the artists they were able to play with in the United States are Gloria Estefan, Wisin y Yandel, Daddy Yankee, Luis Enrique, José Alberto “El Canario,” and many more.
Already in the year 2016, both realized that they loved collaborating with music greats, but also wanted to start their own business so they would not have to rely on what others wanted for them. That is when La Nota Band was born, with support from family and friends who were willing to help them on this new path.

In addition to being on their own, another thing Rebeca and Armando wanted to do was to offer employment to other musicians who were in the same situation as them years ago. This was the case of Armando’s twin brother, who was about to go to the United States and also devoted himself to music on percussion. Then, he bought a drum set so he could become the band’s drummer and his brother could take his place as a percussionist.
From the beginning, they have always focused on pleasing both Anglo-Saxon and Latin audiences, so they have been working to fill their repertoire with songs in both English and Spanish in order to enliven events where the two cultures come together.
Of all the great artists Rebeca and Armando have been fortunate enough to work with, there are a number of things they have learned and applied to their own careers. One of these was the use of playback, as it is an extremely common and necessary resource in modern music. There are also other elements used to increase the sound quality of their performances.
Similarly, the discipline, professionalism, and perseverance necessary to manage this business are things they have seen in other artists and that have helped them get the place they want in the industry, which they also expect to achieve.
The Venezuelan musicians always keep their eyes and ears open to capture what can work for them and apply it to their own project.

Among the many dreams come true thanks to music, Rebeca and Armando appreciate being able to travel regularly to many countries, even if their professional activities prevent them from sightseeing as they would like. This is something they would not have accomplished with other kinds of work, which they are enormously grateful for.
In addition to that, they are pleased to have been able to perform on big and famous stages such as Crypto.com Arena, formerly known as Staples Center, and Madison Square Garden in New York, something they never would have thought possible in their early years in Venezuela.
And last but not least, their talent and hard work have also led them to perform in important award ceremonies such as the Latin Grammys, Premios Juventud, and Premios Lo Nuestro.
Read also: Colombian dancer and instructor Camila Cepeda takes salsa caleña to Canada