Hi,
I found out that Marino can be heard on this record:
https://www.discogs.com/de/Septeto-Naci ... se/6483946 .
He is actually mentioned in the cover text by Odilio Urfé.
Marino played with the Nacional from 1959 to 1971. Presumably he is also on this record from 1965:
https://www.discogs.com/de/Septeto-Naci ... e/10490194 .
The singers on both records are Embale, Bienvenido León and Núñez. They belong to the people who defined the style; it can't get any better. The first record from 1962 is great, and it has Piñeiro's most important numbers on it. It's a must-have. There is a Japanese reissue on the market; but I don't (want to) know how much it costs. Still, you could look for a download opportunity.
On the second record from 1965, Herrera, the trumpet player, was in his 60s, but to my ears he sounds older. Age can be an assh... to trumpeters. He actually played until his 90s, as far as I'm informed. At least he lived that long.
Marino, if we suppose it's him, is very well recorded on the second record, but often not to his favor. It sounds like he didn't wish to play as fast as the faster numbers on the record were, whatever the reason was. Also, his sound articulation could have been more differentiated, at least for my personal taste ... But of course my personal taste is pretty irrelevant, given that Marino was one of the founding fathers of modern bongó style, who played with the leading traditional Cuban son band for no less than 12 years.
Today, with the option of overdubbing and digital editing, I doubt that anybody would leave the trumpet and bongó tracks on the record like that ...
Thomas
P.S.: On one of the tracks of the later record, I believe it was "Qué bonita es Cuba", the clave player switches the direction. I did not examine what the reason might have been. That was a rare incident in the history of this septeto for sure.