Timbal

This Concord CD was Tito Puente's 99th as a leader and the music is particularly strong. Four jazz standards alternate with a quartet of Puente's originals and Chucho Valdes' "Cha Cha Cha," all of which are potentially good vehicles for jazz improvisations (although "Ode" and "Lambada" are dominated by group vocals). There are plenty of fine solos throughout by the five horn players and the three or four-piece percussion section keeps the rhythms infectious. In the world of Latin-jazz, Tito Puente has had few peers.

Summarizing Tito Puente's numerous accomplishments on a single CD would be impossible. El Rey del Timbal!, a 1997 disc spanning 1949-1987, barely scratches the surface - but for Puente, a five-CD box set would also only scratch the surface. But this gem-laden collection does illustrate just how remarkably consistent the salsa legend was during the course of 38 years. El Rey del Timbal! kicks into high gear with 1949's "Ran-Kan-Kan" before treating listeners to such essential 1950s recordings as "Cao-Cao Mani Picao," "Cual Es Tu Idea," "Agua Limpia Todo," and "Oye Mi Guaguanco." Live versions of "Separala Tambien" and "A Gozar Timbero" from 1960 are superb, as is 1961's exuberant "T.P. on the Strip." Though salsa dominates the disc, Puente's Latin jazz output for Concord Picante in the 1980s is well represented by "El Rey del Timbal" and "Machito Forever"…

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Instant Party includes 11 previously released tracks by bandleader and conga player Poncho Sanchez, focusing on his Concord label recordings. Unlike similar Concord artists who have recorded for numerous labels during their career, including Mongo Santamaria and Tito Puente, Sanchez has been with the company for the majority of his career, making the track picks truly depict the best of his overall output as opposed to just his output on a particular label. Taken from 11 separate albums, highlights include "Listen Here/Cold Duck Time," "Chile con Soul," "One Mint Julep" (with Ray Charles), "Bйsame Mama" (with Mongo Santamaria), and "Watermelon Man." These tracks deliver exactly what the title promises while presenting the Latin jazz novice with a quality sampling of Poncho Sanchez.

Si el jazz es el arte de la sorpresa, el contrabajista Javier Colina ha cumplido a fondo con la vieja definición de Whitney Balliet en éste, que sepamos, su primer disco como líder. Agente principal del jazz flamenco con el trío de Chano Domínguez, sideman de estrellas internacionales del jazz, colaborador permanente de los flamencos, Colina podía haber salido por cualquiera de estos palos. Pero el contrabajista también ha tocado con Compay Segundo y la Fort Apache Band, y lo sigue haciendo con Bebo Valdés. Y Colina se fue con el saxofonista valenciano Perico Sambeat a grabar a los legendarios estudios EGREM de La Habana, con un amplio arco de músicos cubanos de varias generaciones. Y juntos abordan diversos palos.

Tito Puente - Quatro: The Definitive Collection (2012) {5CD Box Set, Sony Music Latin 88725469882 rec 1956-1960}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.02 Gb | MP3 @320 -> 401 Mb
Full Artwork @ 300 dpi (png) -> 502 Mb | 5% repair rar
© 1956-60, 2012 Sony Music Latin | 8872 546988 2
Jazz / Latin / Cuban Traditions / Mambo / Afro-Cuban Jazz

Quatro: The Definitive Collection assembles four truly classic Tito Puente albums recorded between 1955 and 1960 for RCA, and adds a disc of outtakes, alternate takes, and rarities in a lavishly designed limited-edition box set. The box is 6" x 6" with each album housed individually in a thick cardboard sleeve with back and front facsimile cover art. These four albums were cut in chronological order: Cuban Carnival (1956), Night Beat (1957), Dance Mania (1958), and Revolving Bandstand (1960), the last recorded in collaboration with the Buddy Morrow Orchestra.