He is particularly remembered for his chalupa version of the Cuban son "Rosa, qué linda eres", first recorded by the Sexteto Habanero Godínez in 1918, which has become a standard of the Colombian repertoire.
Plantations on the Caribbean coast of Colombia were for many years the country's entry point for Cuban music, and in the early 20th century, son cubano began to enter the repertoire of Afro-Colombian genres such as bullerengue and mapalé.
[2] "Rosa, qué linda eres", first recorded by the Sexteto Habanero Godínez in 1918 for Victor, was one of the early anonymous sones to cross over in this fashion, soon becoming very popular among plantation workers such as Magín Díaz.
However, homesickness and caring for his ailing mother meant he moved back to his hometown, Gamero, a small village near San Basilio de Palenque.
A relative of the Díaz García family, Irene Martínez, went to Medellín to meet with a lawyer to establish legal protection for the song "Rosa".
[6] In 2014, Daniel Bustos, a philosophy graduate from Universidad Javeriana, established No Name Productions, a platform to raise awareness of the "cultural debt" owed to Díaz by his fellow citizens through producing an album and documentary entitled El Orisha de la Rosa.
The traditional music is on the first disc, whilst remixes of his songs were on the second, encompassing a wide range of genres such as house, dembow and future bass.