The artist’s sentiments went from amazement to euphoria within a few seconds. "It’s one thing," he explained, "to be told that your work is outstanding within your music’s particular category and quite another when you come out ahead as compared to all the other winners in other categories. The Cubadisco Grand Prize is something very serious…"

It was with this seriousness, taking nothing away from the joyful parade he is going to be caught up in for some time that Elito Revé, leader of the Charangón, entered into a conversation with Granma, shortly after learning that his album

De qué estamos hablando had been declared the 2011 Cubadisco Grand Prize winner simultaneously in Havana and Santiago de Cuba on May 14, in addition to taking the prize for Best Popular Dance Music Album.

The battery of questions and answers covered a wide range of topics, from the discography event itself to some of Elito’s ideas about the band he leads.

Its predecessor was Fresquecito.com, a previous album that had lots of success both in Cuba and other countries. We were determined not to lose the connection we had established with dancers and people who simply listen to the radio or buy a disc to enjoy at home. We set out evaluating different tracks, trying them out on the dance floor, polishing the details, until we presented the project to BisMusic, the Artex label with whom we have been working very closely. Our principle objective is to get the audience dancing because they identify with the music, with the values it transmits.

Just imagine, Cubadisco is Cuba’s most important music recording event. And everyone who is well informed knows that the prizes are not awarded based on favoritism and do not take into consideration commercial success. It’s difficult to compare one genre with another and establish differences among the prize winners. One thing for certain is that current popular dance music needed this Grand Prize, being the genre with the greatest popular impact, along with the song. It was the Charangón’s moment, but it could have been someone else."

In reality, this prize is his and, lots of people know very well, that my saying this doesn’t come from the admiration and affection of a son for his father, who was an example, a guide, but rather because it is the truth. The Charangón is the work of Elio Revé Matos: the format, the style, the work ethic, the musical reach. I have only been the continuator of my father’s work.

On one hand, there are the tracks. I was confident that "Mi amiga Chichi" by Dagoberto Vázquez; "Yo sé cantar, yo sé bailar" by Jesús González and Silvio Vergara; "Niña, relájate" by Robertón Hernández; "La nueva explosion" and "Open the door" by Aisar Hernández; Cándido Fabré’s "Matanzas tiene la llave" and "La boda en bicicleta" would all fir within the Charangón’s repertory. I added from my collection the title track and "Agua pa’ Yemayá." Andy Fornet’s number dedicated to my father touched me deeply. I need to mention Aisar Hernández’ orchestration team, responsible for most of the tracks, although assisted by two talented men who complement his work: Andy Fornet and Pachi Naranjo Jr. the disc is a collaborative work, but it has a before and after. Without Juan Miguel Vera helping with the preparation, we would have run into some obstacles. Without Juan Manuel Ceruto in production, the result would have been less than satisfactory. Of course, the public face of the band is its voice and I can’t complain about that: El Sinsonte Pascual, La China Susel, El Clásico Dagoberto and El Niño Emilio keep their promises.

I can never deny my roots. Including Pipi el de Yateras, an original changüí, towards the end of the disc was not just a gesture. With changüí as the base, just as my father proposed, moving the rhythm toward the timbal, you can construct an edifice.

Strong, powerful, sure, with roots in changüí and son, and branches of salsa and Afro-Latin music. That’s why we’ve been called la Aplanadora (the Road Roller).

For now, keep working. We’re going on tour in the eastern provinces, from Guantánamo to Camagüey. The first stop will be May 23 at the University in Santiago de Cuba and the last on the 29th in Camagüey. Our idea is to travel to the central and western provinces later in the year, but the launching of the tour will take place Sunday, May 22 at the Salón Rosado Beny Moré. El Charangón doesn’t stop.