One often reads that the 1950s was the golden age of Cuban music, but it was really one long phase, from 1937 to 1958, each year with its own splendour.

A second line is in effect a civil rights demonstration. Literally, demonstrating the civil right of the community to assemble in the street for peaceful purposes. Or, more simply, demonstrating the civil right of the community to exist.

That spirit of mockery characteristic of the guaracha was part of the mambo from the beginning.

New Orleans is of such key importance to American music because historical factors combined to make it the strongest center of African musical practice in the United States, and, cliches aside, that practice really did travel up the Mississippi and did spread overland.

One often reads that the 1950s was the golden age of Cuban music, but it was really one long phase, from 1937 to 1958, each year with its own splendour.

Miguelito, liberated from having to sing with Cugat, sounds like he just got out of jail and is letting it rip.

In 1942 Cachao wrote a tune for Arcao, 'Rareza de Melitn,' with a memorable catchy tumbao. In 1957 Arcao recorded a reworking of it under the name 'Chanchullo'; and in 1962 Tito Puente reworked that into 'Oye como va,' still with that same groove. In this form, audibly the same, it powered Carlos Santana's multiplatinum 1970 cover version, close to three decades after Cachao first played it.