From the gunfire of 1957 to the contemporary joyful Cuban rhythms
To speak of Compay Segundo is to speak of a man who didn't just play
music; he embodied the very scent of Havana
(1), a blend of fine tobacco
(2) and aged rum
(3). Born Francisco Repilado, he
became a global icon in his late eighties, recognized instantly by his
immaculate Panama hat, his trademark cigar, and the mischievous
twinkle in his eyes. He was deeply rooted in the materials of his
homeland.
Yet, the nickname "Compay Segundo" held a technical weight long before
his global fame; it was a nod to his role as the
compadre (buddy) who sang the "segunda voz" (second
voice). His rich, resonant bass-tenor voice provided the harmonic
foundation for the legendary duets, where his ability to weave a
counter-melody became his signature.
He was a global symbol of late-life mastery when the world
rediscovered him through the project Buena Vista Social Club
(4) in the late 1990s, a
musical project conducted by the American musician and songwriter Ry
Cooder and documented by renowned German director Wim Wenders
(5). He was a man of fun facts
and rituals, famously attributing his longevity to a daily plate of
lamb broth and his "seven-string" invention, the armónico. This
hybrid musical instrument, a cross between a Spanish guitar and a
three string Cuban guitar tres, allowed him to bridge the gap
between rhythm and melody in a way no one else could. He composed
hauntingly simple songs such as "Chan Chan" while also
breathing new life into classics like Joseíto Fernández’s
(6) "Guantanamera", which
Compay interpreted with a rhythmic precision that few could match.
Compay was a living bridge between the 19th and 21st centuries, a
storyteller who treated every stage like his own living room,
reminding us that elegance is a rhythm that never ages.
The Final Mission of a 95-Year-Old Singer: A Global Dialogue:
By 2002, at the age of 95, Compay embarked on what would become his musical testament: the album Duets. Far from a mere compilation of hits, this project was a concentrated treasure of his century-long career, designed as his global mission to prove that the traditional Cuban rhythme of son (7) was a universal language capable of absorbing any culture. Compay stepped into the role of the ultimate host, meticulously planning a grand tour of sound that invited disparate voices into his sanctuary. The album was an exercise in intercultural musical companionship, featuring famed singers and musicians such as the "Barefoot Diva" Cesária Évora (8), the French legend Charles Aznavour (9), and the tender Cuban lady Omara Portuondo (10), and last but not least, the king of Raï (11) Cheb Khaled (12). In these sessions, Compay didn’t just sing; he curated an atmosphere where a studio in Madrid or Havana became a borderless space. He proved that even at 95, his role was not just to look back with nostalgia, but to lead a masterclass in collaboration, bending genres like Fado (13), Chanson (14) and Raï toward the tropical warmth of his guitar armónico.
Recording Through the Gunfire: The Creation of "La Juma de Ayer"
One of the most cinematic chapters of this legacy is the song
"La Juma de Ayer" (Yesterday’s Hangover). Originally recorded
in 1957, the track carries a history that feels like a scene from a
horror film. As Compay and the legendary Cuban Singer Pío Leyva
(15)
(nicknamed "The Liar" for his tall tales) were recording at the
studios, the city outside was erupting. It was March 13th, the day of
the violent assault on the Presidential Palace in Cuba. Legend has it
that the sound of machine-gun fire was so loud it bled into the studio
booth, yet the musicians, perhaps "inspired" by a few pre-session
glasses of rum to get into the character of a drunkard, didn't stop
playing. They were in a heavy fog of intoxication of their own making,
defiant against the bullets outside. When they revisited the song for
the 2002 Duets album, the chemistry remained unchanged. Even in their
90s, you can hear these two men, now in their late 80s and 90s,
laughing and improvising over the same rhythm that survived a
revolution, proving that a Cuban "hangover" is a state of mind that
outlasts even the loudest gunfire.
Listen to the original version of La Juma de Ayer from 1957 on Yuotube:
A Spiritual Salute Between the Caribbean and North African Raï
The album’s opening track, "Saludo a Changó", serves as the
most daring experiment of this final mission: a sonic bridge linking
the streets of Havana in heart of Cuba to the ports of Oran
(16) in north Algeria.
Facilitated by a Spanish label and the Algerian producer Farid
Aouameur, this rare duet paired Compay with the "King of Raï," Cheb
Khaled. It was a meeting of giants that transcended language. Compay,
the 95-year-old legend, chose to salute Changó
(17), the Afro-Cuban divine
spirits in the religions of West Africa, as a way to honor the African
roots of his music.
The result was a piece of pure musical alchemy: Compay’s armónico
dancing alongside Khaled’s soulful Arabic improvisations. Compay spoke
Spanish; Khaled spoke Arabic and French. They reportedly communicated
through the language of rhythm. Khaled often mentioned in interviews
that he didn't need a translator once the music started because
Compay’s timing was mathematically perfect. They recorded the track
live with Compay’s regular band,
Mucho Muchacho (lots of youngsters), to maintain the jam
session feeling. Despite the cultural distance, the two singers found
a shared frequency in the spiritual trance of the rhythm. It remains a
testament to Compay’s belief that music has no borders; it is a
greeting that travels across oceans on the
wings of the wind.
Footnotes
(1) Havana: The capital and largest
city of Cuba, serving as the historical and cultural heart of the
island’s music and trade. It is particularly renowned for its Spanish
colonial architecture and its vibrant, centuries-old nightlife.
go back
(2) Tobacco: A primary agricultural
export of Cuba, historically tied to the nation's economy and the
craftsmanship of hand-rolled cigars. In cultural contexts, it often
symbolizes the sensory atmosphere of Cuban social life and traditional
industry.
go back
(3) Rum: A distilled alcoholic
beverage made from sugarcane byproducts, deeply embedded in Caribbean
history and national identity. It is a staple of Cuban mixology and
often appears in literature and song as a symbol of the island’s
spirit.
go back
(4) Buena Vista Social Club:
Originally a members-only club in Havana, the name became globally
famous in the 1990s as an ensemble of veteran Cuban musicians. Their
self-titled album and subsequent documentary sparked a worldwide
revival of interest in traditional Cuban music.
go back
(5) Wim Wenders: An acclaimed
German filmmaker and a major figure in New German Cinema, known for
his atmospheric storytelling. He directed the 1999 documentary Buena
Vista Social Club, which brought the legendary musicians of Cuba to a
global audience.
go back
(6) Joseíto Fernández: A prominent
Cuban singer and songwriter, best known as the creator of the
world-famous song "Guantanamera." His work is a cornerstone of the
guajira genre, often blending poetic lyrics with traditional folk
melodies.
go back
(7) Son: A fundamental genre of
Cuban music that combines elements of Spanish guitar with African
rhythms and percussion. It served as the primary foundation for many
modern Latin styles, including salsa and mambo.
go back
(8)
Cesária Évora: Known as the "Barefoot Diva," she was a world-renowned
singer from Cape Verde who popularized the morna genre. Her soulful,
melancholic voice earned her international acclaim and a Grammy Award
for her contribution to world music.
go back
(9)
Charles Aznavour: A legendary French-Armenian singer, songwriter, and
actor, often described as the "French Frank Sinatra." Over a career
spanning seven decades, he became a global icon of the chanson style,
known for his distinctive tenor and deeply emotive lyrics.
go back
(10) Omara Portuondo: A
celebrated Cuban singer and dancer whose career has spanned over seven
decades, earning her the title of the "Diva of Buena Vista Social
Club." She is revered for her versatile voice and her mastery of the
bolero and filin styles.
go back
(11) Raï: A form of Algerian folk
music that originated in the early 20th century, blending traditional
Bedouin sounds with modern Western influences. It evolved into a
powerful medium for social and political expression among North
African youth.
go back
(12) Cheb Khaled: Often referred
to as the "King of Raï," he is the most internationally famous
Algerian singer in history. His crossover hits in the 1990s brought
North African music into the mainstream global pop charts.
go back
(13) Fado: A hauntingly
expressive Portuguese music genre characterized by mournful tunes and
lyrics, often focused on the sea or the life of the poor. It is deeply
rooted in the concept of saudade, a feeling of nostalgic longing or
melancholy.
go back
(14) Chanson: A lyric-driven
genre of French popular song that emphasizes the nuances of the French
language and storytelling. It reached its peak of international
popularity in the mid-20th century through icons like Édith Piaf and
Jacques Brel.
go back
(15) Pío Leyva: A prolific Cuban
singer and composer known as "El Montunero," recognized for his
distinctive voice and improvisational skills. He was a key member of
the Buena Vista Social Club and a master of the son montuno style.
go back
(16) Oran: A major coastal city
in Algeria, historically known as a cultural crossroads and the
birthplace of Raï music. It has served as a vital Mediterranean port
and a central setting for significant North African literature and
art.
go back
(17) Changó: A powerful deity in
the Santería religion, representing fire, lightning, drumming, and
justice. Often synchronized with Saint Barbara, he is a central figure
in Afro-Cuban spiritual traditions and rhythmic music.
go back