Book review

• DOI: https://doi.org/10.13169/intejcubastud.11.1.0126
• Pages: 126-130
• Published date: 01 July 2019
• Date: 01 July 2019
• Author: Raúl Fernandez

126 BOOK REVIEWS

InternatIonal Journal of Cuban StudIeS 11.1 Summer 2019

Rosa Marquetti Torres, Chano Pozo: La vida (1915–1948) (Santiago de

Cuba: Editorial Oriente, 2018), pb 358 pp. ISBN: 9789591111005

Reviewed by Raúl Fernandez1

Rosa Marquetti’s thoroughly researched biography of Chano Pozo provides the

most detailed and precise account of the musical life and marvels of the per-

former both on and off the island, particularly in New York City, where Chano

gained great renown and prestige. Marquetti’s text goes beyond simply telling a

life story composed of biographical data, dates and other such empirical ele-

ments; her work represents a profound appreciation of the artistic legacy of the

mythical Cuban percussionist. Marquetti identifies essential, defining character-

istics in the career of the famous rumbero, which appear not only in his earlier

years in Havana but also during his time in the Big Apple and on his tour through

other cities in the US and Europe. Chano Pozo, la vida (1915–1948) is a verita-

ble ‘everything you ever wanted to know’ about the legendary rumbero Luciano

Pozo y González. The Colombian edition of the book also includes a brief but

substantial prologue by Radamés Giro.

Until recently important details of Chano’s musical career were unknown. In

the US knowledge was limited to a few examples of his performances in Havana,

while at the same time those who lived on the island knew little of his artistic

trajectory abroad. Recently, on the occasion of the 70th anniversary of the leg-

endary percussionist’s death, various documentaries and books about his life

and music career have emerged. Among the numerous works dedicated to the

topic, Marquetti’s is, in the opinion of this musicologist, the one that best

resolves and redresses the existing lacunae in our knowledge and appreciation of

Pozo’s musical biography. In the history told by Marquetti the well-documented

vision of Chano as a highly gifted composer and performer is brought to the

fore, a vision that while not suppressing the outrages and excesses of violence in

the personal conduct of the musician, wisely and accurately situates these to

serve as background to the musical achievement itself. My own evaluation of the

accomplishments of Chano Pozo, formed in large part through conversations

with various musicians and colleagues who were his contemporaries, for exam-

ple, Humberto Cané, Mongo Santamaría, Al McKibbon and Bebo Valdés, coin-

cides entirely with that of Rosa Marquetti.

The visual aspect of Chano’s musical artistry is thoroughly illuminated by

Marquetti. The craft of the Afro-Cuban drums, and of drums in general, is

1 Raúl Fernandez is Professor Emeritus, Department of Chicano Latino Studies at the

University of California, Irvine, USA.