The success of both the album and film sparked a revival of international interest in traditional Cuban music and Latin American music in general. Some of the Cuban performers later released well-received solo albums and recorded collaborations with international stars from different musical genres. The “Buena Vista Social Club” name became an umbrella term to describe these performances and releases, and has been likened to a brand label that encapsulates Cuba’s “musical golden age” between the 1930s and 1950s. The new success was fleeting for the most recognizable artists in the ensemble: Compay Segundo, Rubén González, and Ibrahim Ferrer, who died at the ages of ninety-five, eighty-four, and seventy-eight respectively; Segundo and González in 2003, then Ferrer in 2005.
Several surviving members of the Buena Vista Social Club, such as trumpeter Manuel “Guajiro” Mirabal, laúd player Barbarito Torres and trombonist and conductor Jesus “Aguaje” Ramos currently tour worldwide, to popular acclaim, with new members such as the singer Carlos Calunga, virtuoso pianist Rolando Luna and occasionally the solo singer Omara Portuondo, as part of a 13-member band called Orquesta Buena Vista Social Club.