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Around 1909 the son reached [[Havana]], where the first recordings were made in 1917.<ref name="DA">{{cite book|last1=Díaz Ayala|first1=Cristóbal|title=Encyclopedic Discography of Cuban Music Vol. 1, 1898-1925|date=2014|publisher=Florida International University Libraries|url=http://latinpop.fiu.edu/VIII%20El%20son.pdf|accessdate=March 11, 2017|language=Spanish|chapter=El son}}</ref> This marked the start of its expansion throughout the island, becoming Cuba's most popular and influential genre.<ref name="HO">{{cite book|last1=Orovio|first1=Helio|title=Cuban Music from A to Z|date=2004|publisher=Tumi|location=Bath, UK|pages=203–205|url=https://books.google.co.uk/books?id=JUr9ZtK1Wn0C}}</ref> While early groups had between three and five members, during the 1920s the ''sexteto'' ([[sextet]]) became the genre's primary format. By the 1930s, many bands had incorporated a [[trumpet]], becoming ''septetos'', and in the 1940s a larger type of ensemble featuring [[congas]] and [[piano]] became the norm: the [[Conjunto#Cuban conjunto|conjunto]]. Besides, the son became one of the main ingredients in the jam sessions known as [[descarga]]s that flourished during the 1950s.
The international presence of the son can be traced back to the 1930s when many bands toured Europe and North America, leading to ballroom adaptations of the genre such as the American [[rhumba]]. Similarly, radio broadcasts of son became popular in West Africa and the Congos, leading to the development of hybrid genres such as [[Congolese rumba]]. In the 1960s, [[New York City|New York]]'s music scene prompted the rapid success of [[salsa music|salsa]], a combination of son and other Latin American styles primarily recorded by [[Puerto Ricans]] and Colombians. While salsa achieved international popularity during the second half of the 20th century, in Cuba son evolved into other styles such as [[songo music|songo]] and [[timba]], the latter of which is sometimes known as "Cuban salsa".
==Etymology and cognates==
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