Media Kit

VUELA, the Album – by 

CD Vuela
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A composer and music producer with a long and successful career, Reynaldo Fernández Pavón, is now honoring us with a new album of songs interpreted through his warm voice.

Today it has become a reality: Reynaldo, following a long and award-winning trajectory in classical music composition and production, much of which has been used for film soundtracks and the theatre, has surprised us with the modern album “VUELA” (“FLY”), a compilation of ballads and pop songs that make this CD an incomparable collection in today’s contemporary music.

At first sight it seems to be a jump into an abyss, and in truth perhaps it is. However, this songwriter has armed himself with the necessary tools to not only ascend out of the unknown, but to also fill his audience with awe and emotion in the process.

Incredible though it may seem, Reynaldo has arrived. Born in Havana, Cuba during the golden age of the 1950s, with all his energy and that unique interpretation of lyrics inspired by Pablo Neruda, Cuban David Cherician’s writing, and his own poetry.

With his explosive character, creative enthusiasm, and the help of the gods, this artist stands out in his album with “Pequeña Rosa” (Little Rose), a ballad based on the poemLos Versos del Capitán” (The Captain’s Verses) by Pablo Neruda, and “La niña que yo más quiero” (The Girl that I Love Most), a pop ballad with lyrics by the poet David Cherician, and both songs with music by Reynaldo. The album also includes the song “Quiero” (I Want), which symbolizes the songwriter’s dream and reaches out to all those who want to live life as an eternal romance.

The album is orchestrated by the master composer and arranger Vicente Rojas, along with known musicians such as Carlos del Puerto Jr. on bass, violin virtuoso Emilio Estrada, a soloist with tremendous recognition in Europe, and Joshua Anderson “The revelation of Philadelphia” on trumpet.

Many professional artists and world-renowned musicians have collaborated on this album. Press reports indicate that the presentation is a wonderful display of elegance and virtuosity, and the popular flare of making new music out of mixing the classical with the contemporary.

This album is bound for success, as it comes out in a time of change and evolution in music programming, but what makes this prediction more valuable is the professional worth that music personalities of our day are attributing to this album.



Grammy Award singer and pianist that has shared the stage with Celia Cruz, Johnny Ventura,  Oscar de León, and other celebrities.

Which influences do you notice in Reynaldo’s interpretation?

I think that Reynaldo, like Manzanero and other great songwriters of our time, possesses a high level of communication and interpretation. His stories are magical, as well as his way of telling them. His warm and incisive voice penetrates the listeners and does not allow even the experts to make technical judgments, because its sincerity alone disarms them. When he sings, he is telling us, “This is who I am.” Who can go against that? In this album you can find some of his own lives and deaths, with their respective resurrections, and many notable people who have come together to make this project happen. What more can I say?!


Essayist, Professor, and journalist.

After listening to the songs in this album, do you think it is possible to start over at the age of 50? Is this album a tribute to that distant island?

I believe so. But in this case the beginning has not come at the age of 50; this is about a man who has dedicated his whole life to cultivating music and poetry with a magnificent history as a musician and a poet. He has had the desire to make an album with his songs, instead of giving them to someone else to sing. Sensibility and mastery are perfected with the passing of time, and with them the desires of a young fame, which many times seem so temporary. With his album, Reynaldo Fernández Pavón could bask in the same recognition as, for example, Bebo Valdés, another great artist of Cuban music, who is being celebrated now at the age of 80. Reynaldo’s music does not echo today’s easy lyrics. His lyrics insist on poetic expression, while still reminding us of the universal sentiments typical of Cuban music: love, remembrance, nostalgia, and deception. And his melodic voice invites us to embark on a journey towards the sacred space of everything that is intimate.

The Island is an inevitable circumstance for all Cubans. Culturally an artist travels abroad but does not usually exile himself. In this case, Cuban artists like Celia Cruz, Guillermo Cabrera Infante, and Heberto Padilla have converted their exile into a geographic and emotional horizon. This album pays homage to our music and poetry.


Music video pioneer director in Latin America.

What do you think of the songs “Quiero” (I Want) and “Pequeña Rosa” (Little Rose), as interpreted by Reynaldo Fernández Pavón?

In my modest opinion, Reynaldo’s work shows an incredibly positive evolution in modality, which he executes so extraordinarily. The bolero ballad, in its most refined interpretation, has left behind a deep hole that all of us regret, an irreparable loss. Well, the bolero ballad is not lost; it is here in Reynaldo’s music, in his talent, which has brought back to us the wonderful world that can only be achieved with this kind of melody made for love. Reynaldo makes us feel that extraordinary spirit which is so characteristic of the special person that he is. He narrates his stories, beautiful stories about women, love, passion, deception, hope. All these sentiments, so typical of our people, are present in a sensual and melodic language, in a personal and unique style, which make his songs a legacy to be remembered for many years to come. His art is not repetitive, but I do believe will be imitated and duplicated by those who come later. Reynaldo is genuine and extraordinary.


Spanish Literature PhD, published author and poet.

Are we returning to the bolero and pop ballads at this point in the twenty-first century?

“Not only high-brow art is a reflection of society,” said Julio Cortázar, and I think he was right. The bolero ballad is an expression of our roots, but like all artistic manifestations, it goes beyond class, religion, and politics. Good art will always be good, period. Those who insist on making good art will always have an audience. “What’s good doesn’t belong to anyone, it belongs to everyone,” Borges said, and I agree.

Even beyond his virtues as a composer and singer, Reynaldo can convert Neruda’s poetry into music, building a bridge between a larger audience and Latin American poetry. For this, I applaud his effort and wish him all the success he deserves.


Pianist, singer, and songwriter from NJ. Choir director awarded at various international choral festivals around the world as the Gold Cup in the International Festival of Chorus of the City of Verona, Italy.

In your condition as a pianist, composer and singer, how do you value Reynaldo’s work?

I have known Mr. Reynaldo Fernández Pavón for more than 20 years. I have always admired him as a composer. His music and poetry transformed into song offer us a renascence into what many years ago was considered good music. It reminds me of Armando Manzanero. Reynaldo’s voice is unique and as the master that he is, he never tends to imitate anyone else.

His voice and his music are full of passion. And I am sure his album will appeal to all those who, like myself, prefer this kind of music, and not the kind of music that is produced by a synthesizer, or lyrics that do not carry any type of message or poetry. I wish Reynaldo major success with this new production that he has achieved with so much dedication and devotion.

After all these opinions by high-caliber professional artists of the music arena, the only thing that remains to be said is that luck goes with the artist. It is only necessary to add that soul, heart, and life have united with the talent to give us this elegant musical masterpiece, which is sure to mark history for its high level of respect to the audience. I hope that very soon we will be able to enjoy this wonderful album and its excellent songs.


Writer, director, and host of radio musical programs with a great recognition in the United States of America.

I will dare to describe Reynaldo’s poetic and musical work as that of an exclusivist. Not because this characteristic is so typical of Cuban artists but rather because he is extraordinary. When I listen to his music, I can feel the “Marriage of Figaro” of an eternal Mozart, or a sublime Johannes Brahms, coming back to life thanks to your movements and arpeggios at the piano. It is that heritage and sensorial academy that I speak of.

The strings from the accompanying guitar revolve around the distant beat of a muted trumpet, reminding me of the brass sound created by Herp Harper in the old 1970s. And even more recently, I can feel, immersed in the entire production, the musical universality that is typical of Chris Botti’s classical music.

When I listen to Reynaldo’s songs, in the depth of what I hear, I try not to get lost in the sadness of his nocturnal voice, with the sounds of classic Bohemian memories of ancient roads even more nocturnal than Reynaldo, which have ceased to exist in his absence. Lifelines which were closed in front of his poetic eyes when he left Havana; the city of memories, the city he left behind, the one that Reynaldo still carries with him.

(From “The New Cuban Song, an Open Letter to Reynaldo Fernandez”, Newspaper Ahora lo Mejor, Philadelphia, PA)



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