Barbarito Diez Junco

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He was born in Bolondrón, Matanzas, exactly in a sugar mill already demolished that was called San Rafael de Jorrín, where Salustiana del Junco y de la Mercedes gave birth to Bárbaro Diéz Junco who, with the passage of time became "The Prince of the Danzón".

At age 4, together with his family, he moved to what was then the Manatí Sugar Company, currently in the process of demolition in the municipality of Manatí, Province of Las Tunas, where his father, Eugenio Diez, worked as a laborer. He began his first studies at the little school of the Batey. It is precisely here where he began singing in cultural events; his teacher was the one who discovered his voice and musical talent and had him lead the school choir at public events.

He worked as a mechanic at the sugar mill and in 1930 he moved permanently to Havana where he began singing in a trio with Graciano Gómez and Isaac Oviedo; at only 21 years old he began an artistic career in which he performed alongside Antonio María Romeu's Danzonera Orchestra, with which he became known.

When he arrived from the east to the capital, he had to make his way to survive the political and economic crisis that existed in the country during the 1930s. He did not have formal musical training, he did not play any instrument, but his unparalleled voice and his musical interpretations made him a public idol. His voice immortalized musical pieces such as Martha by composer Moisés Simmons, Black Tears, Oblivion, Oath, He Who Plants His Corn by Miguel Matamoros, among others.

From his collaboration with trovador Graciano Gómez and Isaac Oviedo, a wonderful third who went from son to trova, "Los Gracianos" was born. This trio was nourished by the most courageous aspects of our traditions and incorporated genuine roots: Traditional trova and its range of Habaneras, Boleros, Guarachas, Sones, and Criollas. Generally they performed at the peña of the Café "Vista Alegre" then located at San Lázaro and Belascoain, where Barbarito already showed the elegance that characterized him for more than five decades of artistic life.

Regarding the aforementioned place, Eduardo Robreño, playwright and journalist, offers an assessment in his book "Any Past Time Was"... "it would not be rash to say that half a hundred of the most popular melodies of our popular songbook emerged or were sketched there, and it is that Vista Alegre was a perennial meeting place for the best cultivators of trova."

From evening to evening and from dance to dance throughout Cuba and Latin America, Barbarito traveled. He delighted several generations with works by Ernesto Lecuona, Moisés Simmons, Eliceo Grenet, Pedro Flores, Rafael Hernández and other distinguished composers under the shelter of guitars, pianos and drums. Barbarito displayed his virtuosity and singular charm, with the upright bearing of a Royal Palm.

In his career spanning more than 58 years, he recorded a great number of long-playing records that contained works that enriched the Cuban musical repertoire. He traveled to countries in the Americas, Europe and the U.S.A., performed programs in Cabarets, Theaters, Dances, on Radio and TV.

For his dedication to the development of national art, his fruitful work in enriching the cultural heritage of our people, he was awarded medals, orders and distinctions.

He never learned the theoretical foundations of musical art, but proved to be one of the most refined and consistent interpreters of the Danzón, a genre that as a rhythm remains even in Salsa itself despite being more than 100 years old. His unique and unrepeatable voice was heard in Mexico, Venezuela, Dominican Republic and Panama among other stages of the world, achieving throughout his fruitful career, the title of: "The Golden Voice of the Danzón", or "The Prince of the Danzón".

Without intending to, he wove a legend inscribed in good music without borders. The people began to call him The Voice of the Danzón especially for his commitment to the genre (Barbarito was a man of fidelity) and constancy; he always avoided the constant changes so relied upon by vocalists and groups. Thus he was especially devoted to the Danzón.

He had the maestro Antonio María Romeu. Who, in addition to introducing the piano in his orchestra to play danzones, had a peculiar way of playing that instrument. He impressed with his style, technique and unequaled scales. Meanwhile, the voice par excellence of "Three Beautiful Cuban Women" and other anthology pieces contributed measured and original vigor to the dance form and song recognized as our national dance. For this reason it is difficult to mention the Antonio María Romeu Orchestra without adding to it, his singer Barbarito Diez.

A good part of the extensive discography that enriches Cuban musical heritage belongs to him. He was able to expand it in Venezuela where he stood out as one of the most popular interpreters of the 1980s after recording with the string group La Rondalla Venezolana directed by Luis Arismendi.

In the press of the South American country, several musicologists recently recognized that Barbarito Diez was in his time unrepeatable in Caribbean music. His name will remain inscribed in the worldwide musical staff of popular music.

This distinction is repeated in other places, where the melodious voice that recreated like no other, Idyll, Evil Eyes, Next to the Palm Grove of Bajío and The Red Rose, enlivens the celebration among friends.

It is no wonder the observation, and even less that Alfredo Sadel and Simón Díaz, Venezuelan musicians and friends of Cuba, defined him as one of the great voices of Latin America. "He delivered in each performance beyond all his formal achievements (merits and rhythmic) an authentic atmosphere, blood of his life," Díaz commented.

This projection transcended to other genres. In the Cha Cha Cha, Barbarito recognized "a magnificent modality of the Danzón that has taken root in the Cuban heart. I accept it as something ours just like the Danzón. Both branches taste of Cuban son."

A whole life of firm quality connected him with the best of our musical tradition. Barbarito Diez Junco will always be among us, as a giant on the musical staff, a majestic figure that like a Royal Palm stands in the Center of National Culture and in the heart of our people who permanently pay him Homage.

He was simple, modest, of profound naturalness, say neighbors and friends. Barbarito Diez was enveloped by that magic that creates an aesthetic virtue in artistic creation, typifying the expressivity of the creative individual in Cuban art.

In honor of the memory of Barbarito Diez, the municipality of Manatí built a monument which is located in the José Martí park of said territory, as well as a house for his rest which is currently the House of Music "Barbarito Diez"

Awards: He received the distinctions "For National Culture" and "Raúl Gómez García". He also received the "Alejo Carpentier" medal and the "Order Félix Varela of First Degree".

Discography: 42 danzonete works