''Pink sunrise at dawn/ melodious note the violin groaned
fanciful insomnia the love felt./That`s what you're woman,/
start and end of the illusion''. These are some of the verses the notable poet Bienvenido Julián Gutiérrez (La Habana, 1904-1966) picked to accompain the melody of one of his fellows, Marcelino Guerra.

Convergence inmortalized Bienvenido for new generations, when the marvelous version of the late pianist Emiliano Salvador came to light through the peerless voices of Pablo Milanés and Miguelito Cuní.
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According to the journalist and musicologist Lino Betancourt, who had the priviledge of meeting him, the reason is that Bienvenido was a genious, modest and simple... A man being half bohemian, half indigent, who sometimes became confused with a crazy man due to his careless way of dressing. He used to speak alone along the streets. I think it was when he had a new melody or a song emerging in his head''.

... He alternated his unstable presence around multiple tobacco factories with the rumbas de cajón present at Jesús María and Cayo Hueso neighborhoods. It was precisely there where he met Ignacio Piñeiro, who invited him to take part of Los Roncos equation. This attempt was unsuccessful because he wasn't singer, but he started to composed Rumba and Guaguancó''.

In this way he started a prestigiuos career adding about 500 works, although they can't be defined in its most stricted sense as trovadorist because ''he didn't sing or play guitar and the troubador is who accompain his own or some other else`s works with his guitar''.

The first relevant song for Bienvenido was the bolero-son Ojeras, popularized by Antonio Machín Quartet. Later on he composed El Huerfanito, still listened in the voice of Abelardo Barroso, plus some other hits such as Madre, no me pidas que la quiera, Que extraño es eso, Habitante, Azúcar pa´ un amarga´o, Naranja de China, Los Tres Juanes, Don Ramón y El diablo Tun tún, the latter served to name a salon from The Music House of Miramar.

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In any case... Bienvenido Julián Gutiérrez comes back with the title of troubadour ''as posthumous homage to the excellence of his musical and poetical creation, because is the highest recognition a musician can receive'', because his followers wanted it, even the most naive who have sung his songs ignoring who were dealing with, because as Silvio stated in Amanecer, cut from Expedición CD, saluting Guerra y Gutiérrez for the happy convergence: ''What a marvelous muse/ went down to kiss you/ and what delicious torture/ she would felt when leaving you... Since you found the muse/ who drove you to madness/ sing your unfinished line/ the same line without cure''.

(Taken from Marta María Ramírez, published on Granma Newspaper).