Pinar del Rio is an inexhaustible source of talented composers such as Pedro Junco, Miguelito Cuní, Enrique Jorrín and Polo Montañés; so in Celestino García, Benito El Viñalero and Lorenzo Suárez, the repentismo has its highest standards.
The music of Pinar del Rio dresses up when mentioning the Conjunto Cucalambeano. In the festivals of traditions, chanting in the house of friends and family, community cultural days, and peasant peñas, this group plays and sings beautiful tunes, free spot, are montuno, sones and guarachas. Its music was characterized by a purely traditional Cuban and local flavor. It was also distinguished by the fusion of the lute and the harmonica, achieving a new sonority.
Another of the greats, Enrique Jorrín, musician par excellence, was consecrated for creating the Cha-cha-chá rhythm in the decade of the 50's of the XX century; he created pieces like La Engañadora, Silver Star, Cógele bien el compás, El Tunel and Nada para ti, among others. He was the founder of the orchestra that bears his name.
Miguelito Cuní was other of the unforgettable voices of the Cuban rhythm of the 1940s and 1960s. Some of the melodies that reached great popularity were Con maña se rompe, No hay amor sin caridad, Viejo Socarrón, Nos estamos alejando, Canallón, Quimbombó. Yo sí como candela, Ay qué canuto, Ya tu ves campeón, Cuento na’ ma, Mi son, mi son, mi son, Alto Songo, Canto al monte, El carbonero, among others. The great majority recorded with the Chappottín and His Stars Group, a group with which he obtained great projection and in which it sang until his death.
Pedro Buenaventura Jesús del Junco-Redondas, mostly known as Pedro Junco Jr. composed many boleros as: Estoy triste, Soy como soy, Me lo dijo el mar, Quisiera, Tus ojos and the most famous one, the classic Nosotros. Since then Nosotros has been sung by more than 400 artists such as Sara Montiel, Plácido Domingo and Luis Miguel.
Fernando Borrego Linares, mostly known as Polo Montañes, Cuban sonero, natural guajiro, composed with a mix of genres, taking as a reference the rhythms that he knew, thus forming a style of his own with themes about personal or other events impregnated with peasant elements: The oxtail, the smell of coal, the smell of the batey.
Closer to the present time is the popular singer Mario Enrique Rivera (Mayito), charismatic and defender of traditional cuban music. With a powerful voice, possibilities of improvisation and versatility, he can play various instruments such as bass, guitar, piano, trumpet and percussion.