"In my humble opinion, the greatest living real band in the world."
"...a cornerstone in the evolution of Afro-Cuban music. A national treasure..."
The New York Times:
"Cuban musical pioneers...There's no antiquarian duest on Septeto Nacional. Its Cuban son, and its rumbas and boleros, are music of transparency, tensile strength and phantom drive. "The son is the most sublime expression of the soul's delight," "Raspa" sang in "Suavecito," and there was no arguement about that from the dance floor."
The Independant (London-Canada):
"balances antiquity and youth, playing richly voiced arrangements in the traditional catchy rhythms with superior pace and energy."
Yoshi's San Francisco:
Septeto Nacional Ignacio Piñeiro are paragon interpreters of son, Cuba's national music genre par excellence. Decades before the Buena Vista Social Club, the septet performed the compositions of its namesake, transforming them into international standards of the son tradition.
Proclama del Consejo de la Ciudad de Nueva York: Nosotros, los miembros del Consejo con gratitud rendimos honor al grupo insigne del Son cubano SEPTETO NACIONAL IGNACIO PIæ#8217;EIRO de CUBA "Por su extraordinaria contribución a la música del mundo" (15 de noviembre 2013)
SEPTETO NACIONAL DE CUBA was founded in 1927 by the wildly prolific Cuban bassist and composer IGNACIO PIæ#8217;EIRO MARTÍNEZ (1888-1969), who was known as "El Poeta del Son" ("The Poet of Son"). Since then, the group has seen an array of Cuban musical superstars pass through its ranks, including Abelardo Barroso, Miguelito Valdés, Bienvenido Granda and Carlos Embale. Today, Eugenio "Raspa" Rodríguez and Francisco "El Matador" Oropesa carry Piñeiro's musical torch as leaders of the group, keeping the original son and rumba sound, while also incorporating elements of contemporary harmonization, wider rhythmic concepts, and an exceptional repertoire that includes the most important Cuban hits with many of them written by Piñeiro himself. Cuban son combines elements of Spanish music with African rhythms and percussion. It gained immense popularity around the turn of the 20th century, continuing through the 1940s. The history of the genre is closely tied to Piñeiro, whose band was originally called Sexteto National. Piñeiro wrote hundreds of sones for the sextet, which soon became a septet with the addition of cornet player Lazaro Herrera. Piñeiro's innovation was to add trumpet to the guitars, percussion and voices of previous son groups and to feature songs with ever-changing countermelody. After performing throughout Havana, Septeto Nacional made its first recording in New York in 1927 and became an international phenomenon. In 1929, the group received the Gold Medal from the Ibero-American Fair in Seville, Spain and was named Ambassador of Cuban Folklore in Europe. When George Gershwin traveled to Cuba in 1932 and heard the music of Septeto Nacional, he befriended Piñeiro, whose song "Echale Salsita" ("Puta Little Sauce On It") can be heard as an influence in Gershwin's Cuban Overture. In the 1930s, Piñeiro wrote many songs that have become Latin classics, including "Esas no Son Cubanas" and "Suavecito", which with their unique poetic lyrics and distinctive musical style laid a foundation for the music now known as salsa.Septeto Nacional is recognized as having some of Cuba's finest instrumentalists and soneros, is hailed as Patrimonio Nacional de la Cultra Cubana (National Treasure of Cuban Culture) and in 2004 their album Poetas del Son received a Traditional Tropical Music Grammy nomination. The album ¡Sin Rumba No Hay Son! was released in 2009 and in 2012 they received a Latin Grammy award nomination for La Habana Tiene su Son, which commemorated the group's 85th anniversary. In 2013, the Council of the City of New York honored Septeto Nacional de Cuba Ignacio Piñeiro with a proclamation in recognition of their extraordinary musical achievements and their album El Final no Ilegará was released in 2014. Septeto Nacional's latest recording El Mas Grande y Universal is due to be released in early 2016.
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