Cubans are very proud to show to the world more than 25 musical genres such as Cha Cha Chá, danzón, son , just to mention a few; but this work is referring a genre that is been considered as Mother of Son, Changüí.

Changüí was born due to different mixtures of pigmentation and culture. The word Changüí, according to Serva Universal Encyclopedic Dictionary, means in Cuba, ancient dance of ordinary people, this definition coincides with that exposed at Achete Castello Encyclopedic Dictionary and in Sopena.

This musical genre came to light from Northeast part of Guantánamo where are located minicipalities of Salvador, Yateras and Manuel Tames, rich and famous due to its musical traditions in Changüí genre.

When Changüiseros added Pasos to Pasos de Calle, having ethnic concentrations of Tainos, Antilleans, Andalusians, Estremeños, Negroes, Pantues, Congoes, Paleros and French, there, existed buds of Changüí. That's why, these are unique places of Cuba in keeping this musical genre alive approaching original and traditional forms.

It can be catalog as montuna music born in the middle of mountains and it is the most popular of all the music of this territory. It also has Las Reginas as antecedent form.

The current Changüí can be divided into three branches: Primary, Traditional and Contemporary. In its morphological analysis, there`s a division starting from a call to montuno, afterwards, a repetitive execution, pasos or pasos de calle, chant, descarga and farewell climax. Changüí is the fourth embryo species within the whole living species that further more, formed and characterized what everybody knows as Son.

Many are the luminaries that were brighting on past centuries and are still living within the folklore of people in Guantánamo,among them, Nene Manfugaz, who was one of the pioneers history knows of this genre and other sonorous forms, taking them to Santiago de Cuba on 1892.

We can also highlight Juan Mosqueda, Julín Núñez, Pedro Masé, Marcelino Latamblé (padre de Chita), Juan Logás, Benjamín Castellanos, Raúl Carpe, Chito Latamblé quién aportó mucho a este género. Rogelio Lascalle, Tunto Gainza y Maía Guevara, dos de las mujeres que se destacaron en este género. Julián Balier, Guillermo Mustellier, Bula, Nina Mendoza, Herminia García Wilson, Boy Carmelo Gilbert, Marcelino Hipólito Danant Sinclait, Geovanis Rodríguez, Racife Duran (el Guajiro de la Cidra), Chicho Ibáñez, Miguel Martinez, Eduardo de Vicet, Juan Vicet, Juan de Dios Duany, Luis Odio, Antonio Roble, Juan de Dios Antemachín (the famous Cotó) and some other remarkable figures such as Elio Revé Matos, who has been considered Changüí`s Father.

Around 1955 he took it to Havana, where he featured this form to make sonorous, country, montuno music and on 1958, he founded his first orchestra at Allec Cabaret, entwining Changüí with Son, what is known as fourth phase of instrumentals groups when Elio brought rhythmic and form elements of Changüí to Son, naming it Changüí-Son. Living Elio in Guantánamo and playing with Armonía Orchestra before 1955, he already showed intentions of developing this genre.

In Havana, Elio Revé Orchestra are keeping on developing this contemporary genre conducted by his son Elito Revé (since his father`s death), as bearer of a paternal heritage and thanks to this reason, it was well known around the entire world.

Elio is a figure that goes far beyond the musical universe, showing this genre in Havana and all world abroad. If a historical chronology Son in Cuba will be made, the inclusion of Master Elio Revé figure, so called Changüí`s Father will be a must.

Guantánamo, April 11, 1999.

Taken from the presentation of CD Changüí en la casa de Nora. Elio Revé Jr. y su Charangón. Tumi Music./May 1999.