El Palo con Coco por La X 96.3 / El ritmo de New York.
Interview:
Coco Cabrera: Well, many of you have heard about the phenomenon known as the Buena Vista Social Club. It’s a show that was nominated for 10 Tony Awards—and won 5. This production tells the true story of forgotten Cuban musicians who were brought together in the mid-1990s, around 1996, by Juan de Marcos González and Ry Cooder, a musician and producer from Los Angeles, California.
The group included Ibrahim Ferrer, who I understand was a shoeshiner at the time; the legendary Compay Segundo, who was about 90 years old then; and Rubén González, a pianist who had retired and didn’t even have a piano—imagine that, a pianist without a piano in Cuba. Also part of the group was the one and only Omara Portuondo, who, I believe—along with Eliades Ochoa—is among the few surviving members of the original ensemble.
So it’s an honor to have with us today David Oquendo, a Cuban guitarist and longtime friend of mine from La Esquina Habanera. He plays a key role in the orchestra of the Buena Vista Social Club Broadway show.
David’s career is extensive and international, and today he brings to the stage a generation of Cuban legends through this production. David, it’s so great to reconnect with you after all these years.
David Oquendo: I’m super excited and truly happy. First, I want to greet your radio audience—it’s huge! And of course, this is a reunion—a friendship that goes way back. Hey, La Esquina Habanera!
Coco Cabrera: Where exactly was La Esquina Habanera?
David Oquendo: It was at Summit and 14th, in Union City.
Coco Cabrera: Yes sir! With our friend Tony—
David Oquendo: With Tony Sequeira!
Coco Cabrera: So David, how did you become part of this incredible orchestra behind the Buena Vista Social Club Broadway production?
David Oquendo: To make a long story short—first and foremost, it’s an incredible honor to be part of this group. The person who recommended me was Juan de Marcos González, because we’ve known each other since we were young.
Coco Cabrera: Juan de Marcos is about your age?
David Oquendo: He’s three years older than me.
Coco Cabrera: Three years older—got it.
David Oquendo: He used to live on Oquendo Street, between Salud and Zanja. I lived on Zanja near the hospital—just two blocks away. And right on the corner where Juan de Marcos lived, that’s where Compay Segundo lived. I started playing with Compay Segundo thanks to another great troubadour—we called him El Pequeño (“The Little One”) even though he was 6’6”.
Coco Cabrera: El Pequeño, really? That’s funny.
David Oquendo: Yeah, he was a close friend in the neighborhood. So I started playing with Compay, and back then Juan de Marcos was putting together the group Sierra Maestra.
Coco Cabrera: I remember that!
David Oquendo: We’d known each other long before that—him and his late brother Carlito, who was one of the original vocalists in the Buena Vista Social Club.
Coco Cabrera: Carlito passed away?
David Oquendo: Yes, unfortunately. He was Juan’s younger brother. We were all rockers back in the late ’60s and ’70s—Juan too. So, the producers contacted me and said: “We’re calling on behalf of Juan de Marcos González. We’re working on a new production and want to build the orchestra. Let’s meet to hold auditions and script readings.” I said, “Of course—it would be an honor.” I immediately called Juan de Marcos: “Hey, you recommended me?” And he said, “Yes, yes! The person you’ll speak with is Dinche Arnau.” That process started back in 2022. After the script readings, we did an Off-Broadway run, and that’s when I started recommending musicians I believed would be a great fit.
Coco Cabrera: Musicians based here?
David Oquendo: Yes, some were here. But for example, the pianist who plays young Rubén González—they brought him from Holland.
Coco Cabrera: The young Rubén González?
David Oquendo: Yes, exactly.
Coco Cabrera: It’s important to mention that the Buena Vista Social Club show is presented in two main time periods: One is 1956, when the actual Buena Vista Social Club was originally formed. And the other is 1996, when Ry Cooder and Juan de Marcos brought these musicians back together. Actually, I’d say there are three periods, because the show ends with their Carnegie Hall performance in New York. How did you prepare musically to bring these legends to life—Ibrahim Ferrer, Compay Segundo, Rubén González?
David Oquendo: The preparation is intense. First, you have to find people who physically and vocally match the characters—matching vocal ranges, styles, and personalities. Rubén González, for example, was a master of both classical and Cuban popular piano. So the actor had to reflect that level of artistry. Same goes for the rest of the musicians—you need people with the technical skill and musical depth to represent players like Cachaíto López, and all the original legends. So I took on the task of recommending people I truly believed in.
Coco Cabrera: Cachaíto López also passed away. Tell me—Eliades Ochoa is portrayed by a phenomenal young performer. And there are two actors for Ibrahim Ferrer, right? A young and an older version?
David Oquendo: Exactly. The older Ibrahim is portrayed by Mel Semé, who lives in Spain. He’s from Camagüey, of Haitian descent, and he’s phenomenal. The young Ibrahim is played by Wesley Ray, who is Jamaican. Even though he’s not a native Spanish speaker, his Spanish pronunciation is perfect.
Coco Cabrera: And the actress playing Omara Portuondo—even though she’s not Latina—does an extraordinary job.
David Oquendo: She actually won the Tony Award for Best Actress — her name is Natalie Belcon.
Coco Cabrera: Yes, Natalie Belcon! A legendary performer. She’s returned to Broadway after more than 20 years. We’ll come back with a second part of this conversation, folks.
I’m here with David Oquendo, who represents the Buena Vista Social Club orchestra in this Broadway sensation. I had the chance to see the show myself—and I’ll definitely see it again. For me, it’s a reunion with the Cuban music I love—a deep connection to the roots of Cuba. Two eras: 1956 and 1996, and the story ends in 1997 when the group performs in the United States.
It’s El Palo con Coco! ¡Aww! Broadcasting from La X 96.3 — The Rhythm of New York.
