There is no place, in the delivery of Leonardo, to ignore musicians like René Hernández or Mario Bauzá, present in this book from the pages dedicated to the time of the Mil Diez; the history of many great ones reaches prominence in processes that do justice to the truth. There is no lack of treatment in processes where, once again, the parallelism becomes clear, with regard to the healthy exchange between North American and Cuban musicians that is operated simultaneously at bop tempo, until it ends at cubop (an episode that the critic brings to light, for general knowledge in all its details, with the mastery and originality that invariably assists him). The book A Century of Jazz in Cuba, by Leonardo Acosta, is, since its entry into my world, one of the most precious points of support available to me to study and explain any process of Cuban life in the century XX. (Marta Valdés).