José Urfé González (1879-1937) was a Madruga-born clarinetist who cut his teeth as a sideman in Havana's turn-of-the-century orquesta típica scene, playing second clarinet in Enrique Peña's celebrated ensemble. His lasting mark on Cuban music came in 1910, when his danzón "El Bombín de Barreto" grafted a fast, syncopated son montuno onto the genre's formal close — a single structural innovation later musicians, Arcaño's Maravillas included, would spend the next several decades pulling further and further open.