Spice it up ...

Septeto Nacional De Ignacio Piñeiro
¡Echale Salsita!



01. Echale salsita
02. Las cuatro palomas
03. El carretero emulando
04. La mujer de Antonio
05. Consuélate como yo
06. Noche de conga
07. Don Ramon
08. Donde estabas ancohe
09. Mayeya o No juegues con los santos
10. Songoro Cosongo
11. Coco mai mai
12. Cardenas
13. Es de Oriente el son Compay
14. Trompeta querida
15. Palomo
16. Compay gallo
17. Quién me lo iba a decir camara
18. Suavecito
Ignacio Piñeiro Martínez (Havana, 21 May 1888 – 12 March 1969) was a black Cuban musician and composer whose career started in rumba, and flowered in the rise of the son. He was one of the most important composers of son music; in total he wrote about 327 numbers, mostly sones.

Piñeiro was a brilliant rumbero who worked with musical groups from 1903 onwards. In 1906, was a member of the Timbre de Oro clave y guaguancó vocal group, and later directed Los Roncos guaguancó group. He was taught the double bass by María Teresa Vera, and in 1926 he was a member of her band Sexteto Occidente, which recorded in New York. In 1927 he founded the Sexteto Nacional; its original name was El Sexteto Nacional de Ignacio Piñeiro, and he wrote all its original numbers. Later, adding a trumpet, it became Septeto Nacional.

For financial reasons, he quit the group in 1935, and it was led by the trumpet player Lazaro Herrera until the group disbanded in 1937. Piñeiro became for some years the leader of Los Roncos, a rumba group, for whom he also wrote pieces. The Septeto Nacional was recreated several times from 1954 onwards, initially under Piñeiro's direction. It still exists.

Echale salsita (written on a train to Chicago in 1930, this was the first use of the world "salsa" in son, a term which would alter be used to market a large percentage of Cuban derived music)


At the end of the 19th Century in the sugar cane and coffee plantations of the Cuban 'Oriente' region, two different music styles began to combine: the rhythms of Africa and the songs of Spanish heritage.

The result was a new music: the Son Oriental whose popularity, in the beginning, was limited to the rural areas of its origin. Officially it was classified as frivolous and indecent. However, its fame spread quickly to the urban neighbourhoods of the main cities in the region.

At that time Son was played by small combos composed of three to five musicians. Among the first groups to achieve fame were the Cuarteto Oriental and some years later the famous Trio Matamoros.

At the beginning of the twenties Havana experienced a major influx of orientales (people from 'Oriente') and due to their cultural influence Son became more and more accepted in the Capital. The 'Habaneros' (people from Havana) fell in love with the new rhythm and immediately put their peculiar stamp on it, speeding up the tempo, and playing it with six musicians.

During that period new groups such as the Sexteto Bolona and the Sexteto Occidental were formed and others, like the Cuarteto Orientall becomeing the Sexteto Habanero, adapted to the new conditions.
A young musician named Ignacio Piñeiro still was not satisfied by the existing sound of the Son groups. This sound was mainly based on vocals percussion and strings. Thus in 1927 he created his own group: the 'Septeto Nacional' adding, for the first time in the history of Son, a trumpet as lead instrument.

This completely changed the sound and Son quickly became the most celebrated music in Cuba. Not long after, it also became well known outside the country. When in 1928 Son and Septeto Nacional were the sensation of the World Exposition in Sevilla. Son was here to stay and became the basis for many other music styles. like Mambo and Salsa. Today, after more than seventy years of success, the "Septeto Nacional" is still alive and kicking.

Young gifted talents continue the tradition founded by Ignacio Piñeiro



Жужу said...

Привет, Мигуель! :-)


Miguel said...

You are welcome Жужу ;-)