In 1961, its studios were seized by Fidel Castro's communist regime and the label was nationalized, becoming "Panart Nacionalizada", which shortly after was absorbed by EGREM.

In 1943, the label he was working in, Musicraft, folded, and he decided to bring the necessary assets to Cuba to fulfill his desire of establishing his own Cuban-based record company.

[3] The company's headquarters and recording studios were at San Miguel 410, between Campanario and Lealtad, in Havana, while the pressing plant was located outside of the city.

[5] Eight more singles were released in 1944 and 83 in 1945,[5] starting with Orquesta Hermanos Castro "Cucha el eco del tambó" / "Toda una vida" (cat.

[7] In 1949, Panart launched Sonoro, a sublabel dedicated to traditional folk music (mainly son in the trova style), including Trío Servando Díaz, Trío Caney, Los Incógnitos, Los Compadres and Compay Segundo in its initial roster.

[3][9] Its dominance over the jukebox business in Cuba and the strategic (geographical) advantage over its main competitor, RCA Victor, explain part of Panart's success.

Moreover, Panart was able to secure contracts with some of the most popular and innovative musicians and groups in the country, from Conjunto Casino to Julio Gutiérrez and Cachao.

[3] Thanks to Julia Sabat, who sent the master copies from Havana to New York, around 80% of Panart's catalogue was "saved" before the government took over the company.

Julia and her daughters then left Havana shortly after the Revolution, while Ramón remained in Cuba in charge of the company.