Orquesta Buena Vista Social Club
| Buena Vista Social Club | |
|---|---|
| Genres | Son, bolero, guajira, danzón |
| Years active | 1996–present |
| Labels | World Circuit/Nonesuch/Elektra Records |
| Members | Luis Barzaga (backing vocals) Joachim Cooder (drums) Ry Cooder (guitar) Juan de Marcos González (guitar, vocals, percussion) Carlos González (bongos) Manuel "Guajiro" Mirabal (trumpet) Eliades Ochoa (vocals, guitar) Julienne Oviedo Sanchez (timbales) Omara Portuondo (vocals) Barbarito Torres (laúd) Amadito Valdés (percussion) Alberto "Virgilio" Valdés (percussion) Lázaro Villa (vocals, percussion) Jesus "Aguaje" Ramos (trombone) Papi Oviedo (tres) |
| Past members |
Manuel "Puntillita" Licea (vocals) (d. 2000) Máximo Francisco Repilado Muñoz aka Compay Segundo (vocals, armónico) (d. 2003) Rubén González (piano) (d. 2003) Ibrahim Ferrer (vocals) (d. 2005) Pío Leyva (vocals) (d. 2006) Anga Díaz (percussion) (d.2006) Orlando "Cachaíto" López (double bass) (d.2009) Manuel Galbán (guitar) (d. 2011) |
The Buena Vista Social Club was a members' club in Havana, Cuba, that closed in the 1940s, as well as a 1990s band, a 1997 album, a 1999 film, and an unofficial brand name representing the musical spirit of the original Havana club.
The original Buena Vista Social Club held dances and musical activities, becoming a popular location for musicians to meet and play during the 1940s. In the 1990s, nearly 50 years after the club was closed, it inspired a recording made by Cuban musician Juan de Marcos González and American guitarist Ry Cooder with traditional Cuban musicians, some of whom were veterans who had performed at the club during the height of its popularity.
The recording, named Buena Vista Social Club after the Havana institution, became an international success, and the ensemble was encouraged to perform with a full line-up in Amsterdam in April 1998 (two nights). German director Wim Wenders captured the performance on film and the one that followed on 1 July 1998 in Carnegie Hall, New York City for a documentary—also called Buena Vista Social Club—that included interviews with the musicians conducted in Havana. Wenders' film was released on 4 June 1999 to critical acclaim, receiving an Academy Award nomination for Best Documentary feature and winning numerous accolades including Best Documentary at the European Film Awards.
The success of both the album and film sparked a revival of interest in traditional Cuban music and Latin American music in general. Some of the Cuban performers later released well-received solo albums and recorded collaborations with stars from different musical genres. The "Buena Vista Social Club" name became an umbrella term to describe these performances and releases, and has been likened to a brand label that encapsulates Cuba's "musical golden age" between the 1930s and 1950s. The new success was fleeting for the most recognizable artists in the ensemble: Compay Segundo, Rubén González, and Ibrahim Ferrer, who died at the ages of ninety-five, eighty-four, and seventy-eight respectively; Segundo and González in 2003, then Ferrer in 2005.
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Wikipedia