Without intending to, at that time the renowned Matamoros Trío, which gave so much glory to Cuba, was formed, and whose stamp reaches the present day with a solidity that is consolidated in the quality and variety of its troubadour musical repertoire that exalts Cuban culture.
That was just the beginning of a long and fruitful rising career that lasted 37 years of prolific unity around good performances and exquisite lyrics, which included habaneras, criollas, and songs, becoming the most famous Cuban musical group of the time.
Three years later, they already had their first records from an American record company, and success was not long in coming. The debut of the son-bolero in perfect symbiosis had a great impact – Lágrimas Negras, which has been performed in various versions by many famous singers in the world since then.
Later on, the well-known Mamá, son de la Loma (son, 1922) was born, inspired by Miguel Matamoros himself, a true popular creator who nourished his compositions with the day-to-day life of his fellow countrymen, and his musical production reached hundreds of titles with an indisputable Cuban stamp due to the characteristic performing style of this outstanding author.
Later came La mujer de Antonio (son, 1929), El paralítico (son, 1929), Olvido (bolero, 1928), and Sangre de conga (conga, 1938), as well as others less known such as El trío y el ciclón (bolero-son, 1931) and ¿Quién tiró la bomba? (son, 1935).
With his great intuition, in a self-taught way he broke into learning the guitar. Singing and strumming the guitar, he had gone deeper and deeper into the artistic world, with a committed inclination towards the trova. He learned from the great maestros of traditional Cuban trova, among them José Pepe Sánchez, Sindo Garay, Alberto Villalón, among others.
When the members of the Matamoros Trío retired from performing in 1960, they had recorded a very relevant discography. In thirty years, between 1928 and 1958, the year that the bibliography assumes as the definitive conclusion of their artistic work, Siro, Cueto, and Miguel had accumulated the impressive figure of 423 recordings, 123 of them in the United States.
The Santiago musician Miguel Matamoros had been given the glory of founding and directing a famous musical ensemble that bore his name 95 years ago, and he traveled all over the world with two other faithful and virtuous musicians, who became musical ambassadors, with their endearing Cuban style, very criollo, and their voices only accompanied by guitars and maracas.
