Tito Puente

The king of the Latin-American dance field is Tito Puente. Once again, the diminutive maestro demonstrates his dominance with this new recording of popular Latin-American rhythms. In this exciting outing, Tito Puente and his orchestra lay down a driving irresistible beat that moves from beginning to end in a pulsating performance. Tito Puente and his orchestra create an added appeal with their ensemble singing which lends an authenticity to the music. Their vocal performance like everything else sparkles with vitality.

By virtue of his warm, flamboyant stage manner, longevity, constant touring, and appearances in the mass media, Tito Puente is probably the most beloved symbol of Latin jazz. But more than that, Puente 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 watching his eyes bug out when taking a dynamic solo was one of the great treats for Latin jazz fans.

Tito Puente - Top Percussion / Dance Mania (1957) {RCA-Bear Family BCD 15687 rel 1993}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 496 Mb | MP3 @320 -> 182 Mb
Full Artwork @ 300 dpi (jpg) -> 15 Mb | 5% repair rar
© 1957, 1993 RCA Victor / Bear Family Records | BCD 15687
Jazz / International Jazz / Latin Jazz/ Cuban Traditions / Mambo / Afro-Cuban Jazz

The mambo has become fashionable again lately, but for Tito Puente it has never gone out of fashion. In 1957 he cut two stellar albums for RCA, but just how good they were didn't become obvious until the advent of the CD. The full, rich sound on these LPs is nothing short of astonishing. This is mambo at its most ecstatic: blasting brass, sensual saxes, and that irresistible Afro-Cuban rhythm section led by Tito, Ray Baretto and Mongo Santamaria. This set contains 23 titles, including 3-D Mambo, Mambo Gozon, Conga Alegre, Hot Timbales…. etc.. Ay! Ay! Ay!

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.