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Compositions such as "La Gente del Bronx" and "Como se Goza en el Barrio" both available on the Tumbao CD named after the latter continued to reflect his gift for writing about his everyday surroundings. The mid-'50s saw the release of a strong album, Sabroso y Caliente reissued on CD on Antilla , which added flute and timbales to the conjunto setup. The conjunto format, son montuno, and mambo are three essential elements of what would later be called salsa. The general trend in the s had been for the son to stray somewhat from its African roots, adopting a more subdued sound. The conjunto format revolutionized the son with the added drive provided by the conga's deep tone and the trumpet section's power. As a child, he began playing a variety of instruments, including Afro-Cuban drums and percussion, bass, and tres, a Cuban six-string guitar that would become his primary instrument. His popularity in New York, while strong, would never match what it had been in Cuba. His compositions, many of which became standards of the Cuban and New York salsa repertoires, frequently emphasized Afro-Cuban, particularly Congolese, elements in their subject matter.
He is considered the father of the conjunto, an instrumental format that was revolutionary for its time because it introduced the conga drum, which had previously been considered taboo because of its African origin. In his final years he continued to experiment, developing a style he called "swing son.
He began composing in his teens and in the early '30s formed El Sexteto Boston.