Problems playing these files? See media help. The song features the piano playing of Rubén González, and was the Havana club's "mascot tune" in the 1940s. Both songs were later released on the compilation Lost and Found.
Among the songs left off the album was the classic bolero-son " Lágrimas negras", which was deemed too popular for inclusion, and Compay Segundo's "Macusa". The sessions also produced material for the subsequent release, Introducing.Rubén González, which showcased the work of the Cuban pianist. The album was recorded in just six days and contained fourteen tracks opening with "Chan Chan" written by Compay Segundo, a four-chord son (Dm, F, Gm, A7) that was to become what Cooder described as "the Buena Vista's calling card" and ending with a rendition of "La bayamesa", a traditional Cuban patriotic song (not to be confused with the Cuban national anthem of the same name). Communication between the Spanish and English speakers at the studio was conducted via an interpreter, although Cooder reflected that "musicians understand each other through means other than speaking".
Within three days of the project's birth, Cooder, Gold and de Marcos had organized a large group of performers and arranged for recording sessions to commence at Havana's EGREM Studios, formerly owned by RCA records, where the equipment and atmosphere had remained unchanged since the 1950s. A search for additional musicians led the team to singer Manuel "Puntillita" Licea, pianist Rubén González and octogenarian singer Compay Segundo, who all agreed to record for the project.
Already involved in the African collaboration project were Cuban musicians including bassist Orlando "Cachaito" López, guitarist Eliades Ochoa and musical director Juan de Marcos González, who had himself been organizing a similar project for the Afro-Cuban All Stars. Cooder and Gold changed their plans and decided to record an album of Cuban son music with local musicians. trade and travel embargo against Cuba), it transpired that the musicians from Africa had not received their visas and were unable to travel to Havana. On Cooder's arrival (via Mexico to avoid the ongoing U.S. In 1996, American guitarist Ry Cooder had been invited to Havana by British world music producer Nick Gold of World Circuit Records to record a session where two African highlife musicians from Mali were to collaborate with Cuban musicians. Footage from these dates, together with the recording sessions in Havana, were shown on the Buena Vista Social Club documentary by Wim Wenders, released in 1999. In contrast to A toda Cuba le gusta, which was conceived as a revival of the son conjunto, Buena Vista Social Club was meant to bring back the traditional trova and filin, a mellower take on the Cuban son and bolero, as well as the danzón.Ī critical and commercial success, the album's release was followed by a short concert tour in Amsterdam and New York's Carnegie Hall in 1998. Despite its success, it remains the only standard studio album exclusively credited to the Buena Vista Social Club.īuena Vista Social Club was recorded in parallel with A toda Cuba le gusta by the Afro-Cuban All Stars, a similar project also promoted by World Circuit executive Nick Gold and featuring largely the same lineup. It was recorded at Havana's EGREM studios in March 1996 and released on September 16, 1997, on World Circuit. Son cubano, bolero, descarga, danzón, guajira, criollaīuena Vista Social Club is the debut album by the eponymous ensemble of Cuban musicians directed by Juan de Marcos González and American guitarist Ry Cooder.
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