Havana, Cuba. - In Cuba, there are three unparalleled popular singers: Benny More, Miguelito Valdes and Abelardo Barroso. Any country would be famous in music with any of those three giants. We had those three and also Barbarito Diez, Miguelito Cuni, Fernando Alvarez, Pacho Alonso, Roberto Faz, Fernando Albuerne, Omara Portuondo, Elena Burke, Rita Montaner, Esther Borja, Merceditas Valdes, Celina Gonzalez and dozens of other idols.
The case of Abelardo Barroso (Havana, September 21, 1905-Havana, September 27, 1972) is very special. He was admired by Benny More, Celia Cruz and everyone called him "Papa" (Dad). "Abelardo Barroso was the pioneer of Soneros in Cuba”, said Daniel Santos. «Abelardo Barroso was the father of many Soneros in Cuba», said Celia Cruz. «I met great Soneros: Cheo Marquetti, Arsenio Rodriguez and Abelardo Barroso. They set the standards of the rhythm. We called Barroso the dean. Everything Benny More did - and there is no other like him- and all I do, derives from Abelardo Barroso. He was the first to pronounce and give expression to Son», Miguelito Cuni said.
Since the 1920’s, when the sextet of Son scored a real boom, Barroso was already one of its great stars. He shone in sextets and septets, in ensembles and Charangas (brass bands). His voice was husky, but warm, tender, and sweet as sugarcane.
I met Barroso
There in the Pontoon
He sang and sounded tasty
With Orchestra Sensation
The singer triumphantly crossed several generations, and the eras of danzon, danzonete, Son, Habanera, bolero, mambo, chachacha and foreign rhythms, namely foxtrot, Charleston and jazz. In the prime of danzonete, he competed with the celebrity of lead singers Pablito Quevedo (the first Cuban divo), Fernando Collazo (the first singer with glamorous personality and private car), Barbarito Diez (the voice of danzon), Joseito Fernandez (King of "Guajira Guantanamera") and Alberto Aroche.
Young Abelardito was born on Concordia St, on September 21, 1905. He had to endure the poverty of the early XX century and was forced to work as ball player and boxer. But his Havana neighborhood was very musical and he gradually became involved with singing.
The way Abelardo joined Septeto Habanero is worth-being told, though it seems a bit idealized: "In 1925," journalist Alberto Pozo wrote, "Abelardo was driving a rental car at dawn with the members of the most famous group in Havana, Septeto Habanero. On the way to Marianao Beach, an area of nightclubs and aristocratic clubs; the musicians were singing and the young driver, only 20 years old, joined them with a falsetto. Everyone was amazed, even a little confused. "Boy, from now on, you belong to the Septet," the Septet manager said categorically.”
According to Senen Suarez’s book, Barroso recorded the first phonograms of Septeto Habanero: “Maldita timidez”, “No me desprecies mujer”, “Chaparrita” and “La loma de Belen.” He stayed in the Septet from 1925 to 1926; then he moved to El Jorobado (humpback) Alfredo Boloña’s septet. The latter introduced Son in Havana, with many other bohemians. Abelardo and Boloña went to record in New York: "Quiereme camagüeyana", "Aurora en Pekin", "A morirse caballeros", "Echale candela", "Que desdichado naci” and "Linda mora".
After some shows with the Humpback, in 1927 Abelardito returned to Septeto Habanero, which was still the leader of the septet fever, recording new songs: "Un meneito suave", "Aquella boca", and other pieces.
Barroso lived near Ignacio Piñeiro and Agustin Rodriguez. When Septeto Nacional (known as Habana Sport) was officially launched on June 30, 1928, at Jardines de la Tropical, Ignacio Piñeiro invited Barroso to sing with the group, which in time would make history. They played next to Sexteto Habanero.
Ricardo Roberto Oropesa reminded me that Barroso traveled with Septeto Nacional to New York in 1927 and 1928, although he did not go to Seville in 1929. Cheo Jimenez did, but died on the way and was replaced by Juan de la Cruz.
Approximately by 1930, when danzonete took off, Barroso visited Spain for a few months with the Camelia Company. Rolando Valdes thinks the tour was nothing special; but they scored some points, introducing Cuban Son to the Spanish Milonga, making a sensational innovation: “Viva España because it has Paulino boxing.” This is Barroso’s Milonga in chachacha: “One day I went to a shop and the clerks welcomed me with a fashionable cuplé: Mum, I want a black man to dance / mother, buy me a black man / buy me a black man to enjoy /who can dance Charleston, / play the jazz band / and sing Son /.”
Barroso’s rebirth came in 1955. He had a great break with the chachacha of Rolando Valdes’ orchestra: “Sensacion, que hay una sola.”
There are many versions of how Barroso joined Sensacion; but I am quoting the orchestra conductor, who was closest to the event. In his flat on Consulado St, Rolando told me:
“Barroso heard Cheo Marquetti (the best improviser), record a Guajira with us and liked how our Charanga sounded. I knew Abelardo since 1938, so he came to see me at La Campana cabaret, where Benny More was singing. He asked me to record a bolero and I suggested Juana Gonzalez’s "En Guantanamo." It was a jukebox blockbuster, the big time takeoff of Sensacion. Barroso was a monster. He could either sing Son, guaracha, bolero or a Galician tune. (La hija de Juan Simon). All the Soneros have copied him, but he was the first. On TV, I introduced him as a young man; I made him wear shorts, grab a baby’s bottle and we sang to him: “Barroso is 15 / and dances chachacha/.”
Rolando is a teacher for me –Barroso said- and a great friend. He chose my repertoire, made me win 1955 Golden Record and he even secured my retirement. He is a genius of Charanga (brass band).
This is roughly Abelardo Barroso’s career, forgotten by some, unknown by others. But when it comes to naming our best singers, we will always have to recall his unforgettable recordings.
Translated by Pedro A. Fanego
