Conjunto Casino originated in a sextet called Miquito, which was formed in 1935. It was founded in Havana by the Saldarino brothers. It consisted of José Saldarino, singer; Manolo Saldarino, on double bass; Juan Fuentes, vocals; Esteban Grau, guitarist, vocalist, and director; El Chino Dihigo, on piano; Eloy Collazo, bongo; and Trompoloco, on trumpet. It was a unique sextet. The trumpet was added, and its instrumental format did not include three trumpets. With the piano, it became a primitive ensemble.

Between 1936 and 1937, the band underwent several personnel changes, becoming the Sexteto Casino, the permanent group of the Summer Casino or Gran Casino Nacional de Marianao, in Havana.

In 1940, the group was led by tres player Esteban Grau. Double bassist Cristóbal Doval and singer Roberto Espí joined the group. He later became the group’s director and responsible for important changes, such as the final name change to Conjunto Casino. He argued that it was inappropriate to call a group with more than six members a sextet, and that it didn’t have the style of a sextet or septet, and that it should be called a Conjunto, as Arsenio’s group had been called since 1941.

Their first recordings with the RCA Victor label were in 1942, and were released in the first months of 1943 under the label Sexteto Casino, but from the end of 1942 the group presented itself as Conjunto Casino.

Conjunto Casino’s musical style, linked to the harmonies of genres such as jazz, swing, and bebop, is considered one of the most progressive sonera groups of its kind during this era. It set a standard for many groups to follow.

They worked in cabarets such as La Concha and La Campana and performed regularly on RHC Cadena Azul radio. During these years, they were hired by the Havana cabaret ‘Zombie Club’ to open their show, alternating with the Zombie orchestra, led by pianist Adolfo Guzmán, and the orchestra of Catalan musician Pedro Calonge. The first vocal trilogy on the albums and Zombie was composed of Juan Fuentes (Bolita), Esteban Grau, and Roberto Espí. Shortly after, in early 1943, Nelo Sosa replaced ‘Bolita’.

On November 28, 1943, they bid farewell to Havana. They were hired by the Max Factor Hollywood label and the management of the Sans Soucí cabaret to perform in Mexico for almost a year. During this trip, Grau retired from his duties due to health problems, and Roberto Espí, elected by his colleagues to take over as director of the group. At the same time, Nelo Sosa decided to return to Havana without prior notice and was replaced by Alfredito Valdés. They shared the stage with great singers such as Pedro Vargas, Miguelito Valdés, Tito Guisar, Jorge Negrete, and Chucho Martínez Gil, in various nightclubs and radio stations. They also made recordings with the Mexican RCA Víctor label.

In October 1944, they returned to Cuba. New personnel changes occurred. Nelo Sosa returned, and Roberto Faz joined, completing the group’s trilogy: Faz, Sosa, and Espí. They recorded with RCA Victor.

In 1945, Casino achieved great success in Puerto Rico. Upon their return, they began performing regularly in movie theaters in the Cuban capital and throughout the island. At the end of that year, they traveled back to Puerto Rico. By this time, the trio of singers comprised Roberto Faz, Agustín Ribot, and Roberto Espí, their counterpoint becoming the most prominent in the trajectory of Conjunto Casino.

At that time, the Casino, with its brass section and the trumpet ensemble of Alberto Armenteros, Miguel Román, and Alejandro “El Negro” Vivar, premiered Agustín Ribot’s guaracha, “Viejo verde,” one of the first major hits of that era. The trumpet introductions to the Conjunto not only give it a jazzy sound, but in some cases are clear references to classic songs of the genre.

In February 1946, upon returning from Puerto Rican soil, he found a wealth of work in Havana. They played in several famous cabarets of the time, and their recordings with RCA Victor became Victrola hits. Many boleros, premiered by Espí, became well-known, including “Entre espumas” and “Trago amargo” by Luis Marquetti.

In 1947, they traveled to Caracas under contract with Radio Continental, where they performed in numerous theaters. On the island, they continued their arduous work, eventually becoming one of the most sought-after artists in the country. Between 1948 and 1949, they regularly performed in the southern United States. Also around this time, Espí decided to leave Víctor to record with the Cuban label Panart. With the latter, they hit the streets and quickly circulated on records throughout the country.

Conjunto Casino plays many of the arrangements by composer and tres player Niño Rivera, which strengthened the ensemble’s quality. The arrangements were markedly influenced by jazz. The singers of Conjunto Casino were the first to begin recording the early works of the Feeling movement.

Following the inauguration of television in Cuba in 1950, he was hired exclusively by CMQ and participated in its most popular programs. He also appeared on CMQ Radio in the famous “Midday Show,” “Gran Show de la Mañana,” and “Cumbanchoa,” among other primetime programs.

In 1955, Roberto Faz decided to form his own group. He added the vocalists of René del Mar, Felo Martínez, and Fernando Álvarez. Other performers began to join the Casino. These included Fernando Alvarez, Felo Martínez, Orlando Reyes, René del Mar, Alberto Ruiz, Orlando Morales, and Jesús Navarro, among others.

Between 1956 and 1957, Conjunto Casino recorded with RCA Victor, including the album titled “Vía Cuba.” During the 1950s, the group traveled to countries and cities such as New York; the Netherlands Antilles; Panama; Santo Domingo; and the United States.

In 1958, they recorded for GEMA, and in 1959 for the Ansonia label and Rosell Records. The triumph of the Revolution generated an intense festive atmosphere throughout the country, which Conjunto Casino joined. In 1960, they recorded for Velvet, and in 1961 for the Maype label, among others. In 1968, the Areito label released an extended play with four tracks, featuring vocals by Jesús Navarro, Raúl García, and Roberto Espí.

It’s very difficult to pinpoint the final moment of Conjunto Casino. Roberto Espí retired from the group in 1974. This group left behind a valuable legacy for the history of Cuban music.