Influenced by Romeu's virtuosism, notable Matanzas-born pianist Antonio "Papaito" Torroella (Matanzas, 17/05/1856 - Habana, 9/07/1934), included the piano in his Charanga. Soon, new innovations gave rise to the piano solos and musicians founded new ways of expression.

In 1910, José Urfé (Madruga, 6/02/1879 - Habana, 13/11/1957), composer, conductor and clarinet player, added a montuno section at the end of his own danzón "El Bombin de Barreto" (Barreto's hat). It contained many rhythmic elements borrowed from the afrocuban son, so, since 1910 on, the danzón groovings began a new stage in its development of form and style.

Son, further influenced Danzón a decade later. The first vocal Danzón was the danzonete entitled "Rompiendo la rutina" (Breaking up with the routine) written by Aniceto Díaz (Matanzas, 1887- Habana, 1964), a former member of Failde's Orchestra.
Towards the 20's, the danzón formal structure had widened up due to the vital push of Romeu, Torroella and flutist Leopoldo Cervantes. With this new influence, the works of many composers, notable soloists and concert masters, began to spring out: Eliseo Grenet, Pablo O'Farrill, Cheo Belen Puig, Alfredo Brito, Francisco Delabat ("Panchito flauta mágica") and Elizardo Aroche (violinist) together with others of excellent caliber.

Years later, fiddler master Enrique Jorrin (Candelaria, 25/12/1926 - Habana, 1987) developed a new style inspired by the swinging noise of the dancers-shoe-sole, calling it "chachacha". It was a genre adopted inside the Danzón.

With the birth of "La Engañadora" (The Deceiver) in 1951, millions of people joined the parties and dancing gained new adepts and followers. Chachachá is a worldwide dance. Together with the "Chiquita de Prado y Neptuno" and other hits, millions of fans danced it at parties to become "Chachadictos".

In 1950, Electo Rosell "Chepin"(Santiago de Cuba, 1907-1987), wrote the danzón hit "Golden Weddings" (Bodas de Oro), finishing it with the corresponding eastern-influenced son montuno.

The 50s was the decade in which the charangas begin to flourish and the Danzón as well as the chachachá, guarachas, boleros, pasodobles and multiple hit versions coming from Argentinian tangos, Mexican rancheras and American standards, thrive through the performances of La Ideal, Siglo XX, la Orquesta Gris, Cheo Belén Puig, Belisario López, Melodias del '40, Aragón, América, La América del '55, Neno González and La Sublime.

In the 60's, pianist Odilio Urfé created "La Charanga Típica de Conciertos" and the ''Seminars for Popular Music Players'' in La Iglesia de Paula (Paula Church is near the docks of Havana).

In this place the professor, composer, pianist-conductor Alfredo Diez Nieto impulsed all genres with "The Popular Concert Orchestra" (1965-1982) in which the classics of Liszt, Bach and Gershwin were played by charanga musicians, pupils from the National School of Art (ENA), Amadeo Roldán Conservatoire, Revolutionary Armed Forces bands (FAR) and some friends, guests of the master which contributed to the difussion of this popular music.

Danzones and Chachachá are still being composed by the newest and younger generations. Good examples of it are Santa Esmeralda's ''Another Chacha'', Stevie Wonder's "Don't you worry 'bout a thing" and Herbie Hancock`s "Watermelon man", among others.
It's like a non-stop shower off-spring. With modern forms of orchestration, of course, they do keep the genre alive.

Version of Toni Basanta's article A new track for Danzón players and dancers!!!!!.

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