If the tone of Charles Abreu’s classic Latin waltz “La Vida Mia” sounds overtly sentimental, perhaps its as the composer was considering a number of the melodramatic theatrical productions he accompanied on piano through the early years of his career. Pursuing his studies on the Havana Conservatory of Music in the past due ’30s, Abreu started chipping apart in earnest at many obtainable areas of the Cuban music picture. Furthermore to playing for movie theater productions, Abreu also performed on radio and in nightclubs; his tone of voice was also considered suitable for performing assignments using groupings. In the years following second World Battle, Abreu traveled broadly in Spanish-speaking countries, striking the hawaiian islands of Haiti and Puerto Rico aswell as playing for appreciative viewers in Venezuela, Peru and Mexico. After that came the Western european continent using its quickly developing understanding for any and everything Latin noises — normally Spain came initial, after that Italy and France. One element of Abreu’s view that transformed most significantly over another decade-and-a-half had been his emotions about his homeland. In 1962 he remaining Cuba for america, continuing his actions like a composer, bandleader, pianist and arranger. Songwriting credits appear to be his main existence in the documenting market. His catalog of initial functions, including “Carino Mio” and “Seran Tus Pa’Ca,” continues to be nibbled at by performers such as for example Pedro Vargas, Justo Betancourt and Julio Jaramillo.