[1] After his graduation, Rojas established his residence in the City of Matanzas, where he dedicated himself to advance his career, contributing to the construction of numerous engineering projects, such as bridges and viaducts,[1] as well as to teaching hydrology at the Instituto José Martí.
[1] That way, Rojas was able to create a unique guitar style that showed great complexity and technical virtuosity, about which the Cuban musicologist Leonardo Acosta said: "it overflows with emotion, vitality and intellect".
The Canadian flutist an saxophonist Jane Bunnet recorded the Roja's piece called "Tony and Jesusito" in an album in 1993, that was named Jane Bunnett & the Cuban Piano Masters (Blue Note), together with the notorious Cuban pianist Frank Emilio Flynn, which included the same piece, as well as another one titled "Mi Ayer" in an album called "Barbarismo", recorded in 1997.
Ñico Rojas traveled to New York 1998 to perform at the Lincoln Center together with other prominent musicians such as Frank Emilio Flynn, Orlando "Cachaíto" López and Winton Marsalis; and the renowned guitarist Marco Tamayo recorded five of his compositions in his album titled Music from Cuba (Naxos Classical), in 2004.
[1] The pieces for guitar of Ñico Rojas have been transcribed by prominent Cuban guitarist Martín Pedreira, as well as by José A. Perez Miranda y Ahmed Dickinson, and published by EGREM in Cuba.