Son & Trova

In the 1920s the son entered a professional recording and touring circuit. New formats fixed its shape — Sexteto Habanero cut commercial sides in the...

In the 1920s the son entered a professional recording and touring circuit. New formats fixed its shape — Sexteto Habanero cut commercial sides in the mid-1920s; Ignacio Piñeiro's Septeto Nacional added a trumpet; Trío Matamoros made it portable and song-centered, recording "Son de la loma" in 1928. Then it went transnational: in 1929 the Septeto Nacional played the Ibero-American Exposition in Seville and recorded in Madrid. By the late 1930s, in Havana's charangas, Arcaño y sus Maravillas were already loosening the danzón toward something new. The shift here is from courtyard to catalog — the son made legible on record, on stage, and abroad.

Years

1920-1940

In the app

Timeline