Mosura 1961

Flamboyant and innovative percussionist who infused big-band music with Latin sounds to become El Rey de los Timbales.
By virtue of his warm and buoyant stage manner, constant touring, longevity, and appearances in the mass media, Tito Puente became one of the most beloved symbols of Latin jazz. But more than that, he managed to keep his music remarkably fresh over the decades; as a timbales virtuoso, he combined mastery over every rhythmic nuance with old-fashioned showmanship. A trained musician, he was also a fine, lyrical vibraphonist, a gifted arranger, and played piano, congas, bongos, and saxophone…

There is no doubting that Percy Faith was one of the great arrangers in contemporary American music, but the nice side of the two-fer Bon Voyage/Carefree is that it not only explores Faith's delightful arrangements, but also showcases his clever compositions. Of the two records, combined here on one CD, it is Carefree where the too often overlooked Percy Faith as composer is explored. Every song in this section is a soundtrack for happy walking through the park on a beautiful snowy day. The first section of the disc, the album Bon Voyage, is a bit more serious, with Faith's renditions of several complex and challenging themes by a slew of composers, but no less cinematic. In fact, the whole 68 minutes serve as a magical aural theme park perfect for conducting imaginary orchestras while driving to and from the grocery store. Bon Voyage/Carefree is a fun listen.

The late, great Lightnin' Hopkins was one of the most natural of bluesmen, a poet who would often make up lyrics as he recorded. He was at his best when unaccompanied, as on this Prestige date recorded in 1961. Though he usually played electric guitar, the Texas blues titan performed on this release with an acoustic, and the result is most rewarding. Tunes include "Goin' to Dallas to See My Pony Run" and "Buddy Brown's Blues."

This is the definitive reissue of the first two albums from the rock act that ruled the Pacific Northwest in the early 60s. 2003 compilation includes the albums, "At the Castle" & "The Wailers & Co", along with six bonus tracks from rare singles, most of which have not previously been on CD.

Dexter Gordon's second recording for Blue Note is a solidly swinging affair, yet constantly full of surprises. It's not unexpected that Gordon's tenor at this time (1961) was one of the most enjoyable in mainstream jazz, but his transition from the cool California scene to the hotter music environs of New York City had energized his sound and attitude. A first-time pairing with bassist Paul Chambers has something to do with this, but it also inspires pianist Kenny Drew to a great extent, while drummer Philly Joe Jones is his reliable, energetic self, and always works well with Gordon. Where Gordon's fluent melodic sense is perfectly demonstrated during the simple-as-pie groove waltz "Soul Sister," the steady, steamy bopper "I Want More," and the familiar Charlie Chaplin evergreen "Smile," his sense of expanding the specific line upon soloing is truly remarkable…