TITO PUENTE Pa Los Rumberos Tico Records (TSLP-1301) El Rey del Timbal (The King of the Timbales) King of the Mambo, and Little Ceaser were just some of the affectionate nicknames that Ernest Anthony Puente Jr. achieved as he reigned supreme with Machito and the Afro-Cubans and Tito Rodriguez and his Orchestra as the famed Palladium Ballroom - the Home of The Mambo and Birdland - the place for progressive jazz known as be-bop. Collectively, these bandleaders were known collectively as the The Big Three. But by 1966, a new generation of music lovers were dancing to the sounds of younger bandleaders such as Charlie and Eddie Palmieri, Ray Barretto, Johnny Pacheco, Willie Colon and Larry Harlow. Maestro Puente had already established himself to the Palladium crowd, a post World War II melange of Nuyoricans, Puerto Ricans, Cubans, African Americans, Jews and Italians, as the consummate bandleader and showman. Though frequent live radio broadcasts and RCA recordings, he had gained the respect of the jazz community as a progressive composer and arranger, vibraphonist and timbale virtuoso. This newer generation of the early 1970s did not know of Puentes historical importance nor that many of the newer crop of bandleaders (particularly Ray Bartetto, Johnny Pacheco and Charlie Palmieri) had paid their dues in Puentes orchestra. It was the time of social upheaval and the Vietnam War, and so the music reflected the tenor of the times. One Mexican-born guitarist who had absorbed the blues and loved Puente emerged then. His name was Carlos Santana and his 1971 recording of Puentes Oye Como Ya (which Puente originally had recorded on El Rey Bravo in 1962) brought Puente back into the national spotlight by becoming a multi-million dollar selling hit with the psychedelic generation. Suddenly the rockeros and salseros shared common ground, all brought together by a man whose last name translates into bridge. On Santanas third album he would record yet another Puente composition titled Pa Los Rumberos, from Puentes 1956, RCA album Cuban Carnival. Just as Puentes original version was a showcase for Mongo Santamaria on congas and Puente on timbales. Santanas version showcased Mike Carabello and Jose Chepito Areas on congas and timbales, respectively. Suddenly this respected Nuyorican musician started to draw the attention of outsiders and rock DJs like Jonathan Schwartz and Alyson Cooper on New York Citys famed WNEW-FM radio station. Puente responded by wearing the garb of the day - platform shoes, wide lapelled jackets and even a large Afro hairstyle. It was the beginning of the second half of his career, one which would eventually catapult him into super stardom and transform him into a cultural icon. This album marks the beginning of that transformation, Puente opens with an updated version of his Para Los Rumberos, slowing the original blistering fast rumba abierta tempo of the 1956 version to a respectable mambo tempo. Its glorious war chant. Vamos Rumbero, que la rumba ya va empesar, announces that its time to hit the dance floor. A masterful arranger, Puente builds the tension with a short phrase in the piano and bass then augments it with the horns repeating it in layers. It finally explodes with a short timbales solo. Nina Y Señora is based on an old Cuban rumba-guaguanco that is slowed slightly to a mambo/guaracha tempo. Opening with some beautiful diana (wordless vocal improv particular to rumba) exchange between Menique Barcasnegras and trumpeter Jose Merino, this song is a dancers delight. Listen to the close knit vocal harmony of Menique, Santos Colon and Yayo El Indio on this cut and throughout the album. Meanwhile, Puentes Guayaba, is a classic cha-cha-cha. Chico OFarills arrangement of Ya No Me Quieres showcases Puentes artistry on vibes as he expresses himself melodically on this classic bolero. Palladium Days, was originally titled Cuban Nightmare and was only released as a 45 rpm during the late 1950s. Here Puentes re-titled version showcases the talents of Don Palmer on alto, Dick Taco Mesa on tenor and Mario Rivera on baritone sax. Puentes dislike for the term salsa was well documented....its something I eat, not something I play, hed often say. But he did acknowledge that the term helped Afro-Cuban based reach outside of the insular confines of New York City on Salsa Y Sabor, an up-tempo guaracha/mambo he explains that salsa means to add flavor to music. The highlight here is an organ solo by the legendary Charlie Palmieri. China is yet another classic Puente cha-cha-cha that has become part of the standard repertoire and refers to the beautiful women of Chinese-Cuban ancestry. The album closes with the fiery up-tempo guaracha/mambo, Contentoso, featuring the close-knit vocal harmony of the coro that explodes in the montuno (solo section) with the percussion and horns and the Venezuelan onda nueva tune titled El Catire. Although Puentes career was made on his mastery of Afro-Cuban rhythms, he always embraced a pan-Latino approach and would frequently record in other styles. The title song, which is Venezuelan slang for someone who is blonde, features Puente on vibes and has some tempo changes that the band handles beautifully. Its haunting melody is a tour-de-force for the orchestra and clearly shows that Puente and the musicians he chose exemplified three things - elegance, excitement and above all, excellence. Enjoy! Side A 1. Para Los Rumberos 2. Nina Y Señora 3. Guayaba 4. Ya No Me Quieres * 5. Dias En El Palladium Side B 1. Salsa Y Sabor 2. China 3. Batuka 4. Contentoso 5. El Catire Personnel: Tito Puente: Leader, Timbales, Vibes, Marimbas Charlie Palmieri: Acoustic Grand Piano, Hammond B-3 Organ Isreal Izzy Feliu: Ampeg Baby Bass Mike Collazo: Trap Drums Ramon Madamo Diaz: Conga John Rodriguez: Bongo, Cowbell Jose Madera: Clave, Guiro, Tambourine Don Palmer: Alto Saxophone, Flute Pete Fanelli: Alto Saxophone Dick Mesa: Tenor Saxophone Mario Rivera: Baritone Saxophone Tony Cofresi: Trumpet Jose Merino: Trumpet Jimmy Frisaura: Trumpet, Bass Trumpet Roy Burroughs: Trumpet Lead Vocals: Menique Barcasnegras Coro: Menique Santos Colon Yayo El Indio Musical Arrangements by: Tito Puente Chico OFarill * Produced by: Joe Cain Executive Producer: Morris Levy Album Cover Art & Design: Chico Alvarez Recording Engineer: Pat Jacques Recorded @: Broadway Recording Studios, NYC TICO RECORDS, 1972 A FANIA RECORDS PRODUCTION
Posted on: Mon, 22 Sep 2014 20:54:16 +0000
Trending Topics
Recently Viewed Topics
© 2015