ABSTRACT
In 2010 the Spanish singer Amparo Sánchez released a new record called TucsonHavana.1 Photographs in the glossy CD booklet are dominated by Sánchez and musicians in the pre-Revolutionary EGREM studios in Central Havana made famous by the Buena Vista Social Club.2 Indeed a guest for one song La Parrandita de los Santos is none other than veteran singer Omara Portuondo, the only women associated with the all-male Buena Vista collective. The message is clear: it is a pilgrimage to these studios even if the music itself has few discernible Cuban characteristics and only a couple of guest Cuban musicians.
