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(A total of twenty musicians contributed to the recording including Ry Cooder's son Joachim Cooder, (b.
1978) who at the time was a 19 year old scholar of Latin percussion and provided drums for the band.
Within three days of the project's birth, Cooder, Gold and de Marcos had organized a large group of performers and arranged for recording sessions to commence at Havana's EGREM Studios, formerly owned by RCA records, where the equipment and atmosphere had remained unchanged since the 1950s.
Communication between the Spanish and English speakers at the studio was conducted via an interpreter, although Cooder reflected that "musicians understand each other through means other than speaking". Tres player and singer Compay Segundo, a prominent figure in the ensemble, in 2002, a year before his death at the age of 95.
it transpired that the musicians from Africa had not received their visas and were unable to travel to Havana.
Cooder and Gold changed their plans and decided to record an album of Cuban son music with local musicians.
The success of both the album and film sparked a revival of international interest in traditional Cuban music and Latin American music in general.
Wenders's film, also called Buena Vista Social Club, was released to critical acclaim, receiving an Academy Award nomination for Best Documentary feature and winning numerous accolades including Best Documentary at the European Film Awards.
Already on board the African collaboration project were Cuban musicians including bassist Orlando "Cachaito" López, guitarist Eliades Ochoa and musical director Juan de Marcos González, who had himself been organizing a similar project for the Afro-Cuban All Stars.
A search for additional musicians led the team to singer Manuel "Puntillita" Licea, pianist Rubén González and octogenarian singer Compay Segundo, who all agreed to record for the project.
Rodríguez's pianist Rubén González, who played piano on the 1990s recordings, described the 1940s as "an era of real musical life in Cuba, where there was very little money to earn, but everyone played because they really wanted to".
The era saw the birth of the jazz influenced mambo, the charanga, and dance forms such as the pachanga and the cha-cha-cha, as well as the continued development of traditional Afro-Cuban musical styles such as rumba and son, the latter transformed with the use of additional instruments by Arsenio Rodríguez to become son montuno.