[1] Such upbeat version of the danzón served as a precursor of the mambo popularized by Pérez Prado, as well as the chachachá created by Enrique Jorrín, a violinist who started his career in the Maravillas.

Other important musicians in the Maravillas were pianist Jesús López (unrelated to Orestes and Israel), timbalero Ulpiano Díaz, violinist Félix Reina and flautist Eulogio Ortiz.

[3] Cachao left the group by the end of the decade (being replaced by his nephew Orlando "Cachaíto" López, Orestes' son), but returned to record "Chanchullo" in 1957, one year before the Maravillas played their last show in Alquízar.

At this point, the group was competing with the most popular ensembles of the island, and together with Orquesta Melodías del 40 and Arsenio Rodríguez's conjunto it formed Los Tres Grandes (The Big Three).

He continued as director and hired his cousin and former teacher José Antonio Díaz as flautist, who was later replaced by Eulogio Ortiz.

[3] Cachao left the group by the end of the decade (being replaced by his nephew Orlando "Cachaíto" López, Orestes' son), but returned to record "Chanchullo" in 1957, one year before the Maravillas played their last show in Alquízar.

In fact, many of their compositions were arrangements of classical pieces, and even film scores, such as Cachao's "África viva", which quotes "Somewhere over the Rainbow".

[8] Nonetheless, in the 1950s mambo and chachachá contributed to the decline of the danzón, and by 1958, Arcaño decided to put an end to his charanga after two decades of concerts and recordings.