Tito Puente Albums (67)
'Party at Puente's Place'
Release Date 1/27/2004
Tracks 16
Label Concord Jazz
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What The Critics Say
Tito Puente was one of the most popular Latin jazz bandleaders during a fair portion of his career. This slim-line two-CD compilation combines two of his best releases from his the early days of his work for Concord Jazz, originally released separately as Broadway and Mambo Diablo. Puente explores standards, classic jazz compositions, music from Brazilian masters as well as his own works, and is joined by a potent group that includes pianist Jorge Dalto, multi-reed player Mario Rivera and trumpeter Ray Gonzalez. Puente's arrangement of Duke Ellington's timeless ballad "Sophisticated Lady" picks up speed during his brief solo on vibes, while the added percussion gives it an entirely different sound. Likewise, the sassy treatment of Toots Thielemans' "Bluesette" is very fresh. The performance of "On Broadway" showcases Edgardo Miranda initially on guitar, then he switches to cuatro, obviously influenced by George Benson's hit recording from the late 1970s. The furious rendition of Milton Nascimento's "Salt Song" finds the band building upon a repeated vamp for several choruses before releasing into its easygoing theme, spotlighting Rivera's mellow tenor sax. Puente's "T.P.'s Especial" is straight-ahead salsa, with violinist Alfredo de la Fe sometimes suggesting the influence of Stuff Smith in his solo. The personnel on the second disc is similar, except Sonny Bravo is the pianist and there's no violin. "Take Five" changes the standard vamp and adds an echo of portions of its famous theme within the context of the arrangement, creating a rather unique approach. Puente's duet on vibes with Bravo's piano introduces the easygoing Latin treatment of Billy Strayhorn's "Lush Life." Composer George Shearing takes over the piano for the inspired rendition of his "Lullaby of Birdland," which starts with a well-disguised introduction and showcases Puente's timbales, in addition to their special guest. The old chestnut from the 1930s, "Pick Yourself Up" is atypical fare for Latin jazz but the lively scoring makes it work perfectly. Puente the composer is represented by the catchy "Mambo Diablo" and the sassy salsa "China" (which isn't an Oriental title but a woman's name pronounced Chee-na). The budget price of this compilation adds to its already considerable appeal to fans of Latin jazz. ~ Ken Dryden, All Music Guide
'Let's Cha Cha with Puente'
Release Date 1/1/2003
Tracks 13
Label RCA Victor
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'Live at the Playboy Jazz Festival'
Release Date 5/21/2002
Tracks 7
Label Playboy Jazz
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What The Critics Say
Salsa and Latin jazz suffered a tremendous loss when, on May 31, 2000, Tito Puente died at the age of 77. Thankfully, the influential percussionist/bandleader left behind a huge catalog; one certainly cannot complain that El Rey wasn't well documented during his long career (which spanned more than half a century). And for his hardcore fans, it is good to know that previously unreleased Puente recordings will no doubt continue to surface posthumously. This album was recorded at the Playboy Jazz Festival (which is held annually at the Hollywood Bowl in Hollywood, CA) in 1994; however, the recording remained in the can for eight years and didn't come out on CD until 2002. Puente was a master of both vocal-oriented salsa and instrumental Latin jazz, and Live at the Playboy Jazz Festival is devoted to the latter. When Poncho Sanchez appears at the Playboy Festival, he typically performs a set that is about 80 percent Latin jazz and 20 percent salsa -- Puente's set, however, is 100 percent Latin jazz, and the timbalero oversees a rock-solid band that includes saxman Mario Rivera, trumpeter Charlie Sepulveda, flutist Dave Valentin, bassist Andy Gonzales (as in Manny Oquendo and Libre), pianist Hilton Ruiz, drummer Ignacio Berroa, and conga player Giovanni Hidalgo. Nothing groundbreaking occurs, but the all-star lineup is inspired and hard-swinging on Freddie Hubbard's "Little Sunflower" and Duke Jordan's "Flight to Jordan," as well as Mongo Santamaria's "Afro Blue" (which boasts a guest appearance by Santamaria himself). Live at the Playboy Jazz Festival falls short of essential, but it's a solid, pleasing disc that Puente's die-hard fans should be aware of. ~ Alex Henderson, All Music Guide
'Puente's Beat/Herman's Heat'
Release Date 1/1/2001
Tracks 13
Label Legacy
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What The Critics Say
A '92 CD reissue of a session that matched Afro-Latin bandleader Tito Puente with swingmaster Woody Herman for a mutually beneficial and enjoyable date. The original release was on RCA and was later reissued on vinyl by Everest. It's now on CD. ~ Ron Wynn, All Music Guide
'Tito Puente en el Puente (On the Bridge)'
Release Date 9/5/2000
Tracks 11
Label Sonido Inc.
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'Masterpiece/Obra Maestra'
Release Date 6/20/2000
Tracks 12
Label RMM
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What The Critics Say
For anyone wondering when the two most luminary voices in New York Latin jazz would finally join forces, even if for just a moment, the 2000 release of Masterpiece/Obra Maestra is the answer. A collaboration between big-band Latino king Tito Puente and salsa/jazz great Eddie Palmieri is the stuff that clave dreams are made of. Both taking turns as writing/conductor/performer, Palmieri and Puente affect each other's artistry in an infinitely satisfying way. Puente fans will delight in the addition of salsa-driven choro and sonero, unquestionably the handiwork of his counterpart. Palmieri enthusiasts will certainly notice and appreciate the indisputably Puente-penned sexy horn lines and band sound. Who but the mighty RMM label could have either conceived or produced such promising pursuit? Like a modern-day Fania, RMM can be credited with some of the most innovative and impacting projects of its time. The band sound is rich and sultry, featuring both the unmistakable virtuosity of Palmieri's solo work and the incendiary fury of Puente, the undisputed timbal master. If there is one flaw to be found in Masterpiece/Obra Maestra, it is that it was not followed up with dozens of more joint ventures from these towering musical giants. ~ Evan C. Gutierrez, All Music Guide
What The Critics Say
On this Grammy-winning CD, Puente and a 20-piece big band unleash a fiery live set at Birdland in New York City. The band is loaded with such all-stars as saxophonists Peter Yellin and Mitch Frohman, the equally legendary sax/flute master Mario Rivera, trumpeter Ray Vega, pianist Sonny Bravo, conga vet Jose Madera, bongo/conga man John Rodriguez, Jr., and lead vocalist Frankie Morales, among others. Puente's writing prowess is on display on seven of the 11 cuts. A wild combination of unison and counterpointed horns with churning rhythm informs the Puente-penned title track. Group vocals and swirling horns cement the guaguanco-based "Juventud del Presente," one of two pieces written by Silvestre Mendez. "Ban Ban Quere" is a famous Latin-jazz standard, done here in swift rumba mode featuring Bravo's deft montuno and off-tune coro. A quick tempo and steady, slow beat drive "Como Esta Miguel," which features a fine trombone solo from J.P. Torres. Rivera's immortal flute gives off a strong, steady vibe that the band picks up on for "Cha Cha Cha Mambo." The other Mendez track, "Guaguanco Margarito," is flavored by bata drums, and "Mi Mambia" features a group chorus in full bloom. The ultra-hot Puente chart "Mambo Gozon" is spurred by bubbling percussion led by Rodriguez and Tito on timbales (which he plays exclusively for this performance), while "Oye Mi Guaguanco" uses vocals and horns trading eights, then fours, in the initial melody lines. The set ends with two classics: "Ran Kan Kan" has feverish horns, jubilant singing, and a hefty timbale solo, while "Oye Como Va" is spiced with Rivera's brilliant flute accents. Puente has put out more than 100 recordings over his long career, but in little over an hour, this skillfully edited live session manages to capture the essence of that huge repertoire and get to the pure root of Latin jazz. Highly recommended. ~ Michael G. Nastos, All Music Guide
What The Critics Say
Now this is the tip. Tito Puente, master percussionist and vibes boss laying it down smooth and mellow for punters in the mood...to dance Latin that is! The true reining king of the cha-cha mixes it up here with a few well-placed mambos as well. Here are wonderfully rearranged cha-cha covers of "My Funny Valentine," "Autumn Leaves," "All of You," and "Temptation," along with devilishly seductive original mambos such as "Mambo Tipico," the "Cool Mambo," and the "Nuevo Mambo." Through it all, Puente's vibes are airy and ethereal, floating above the mix of the orchestra like a soft summer breeze, coaxing, whispering, and seducing wallflower lovers out onto the floor to heat up the evening. There is magic in these shifting rhythms, insistent invention in the arrangement of horns against piano against drums against vibes. All of it geared to move those in earshot, but without any edges to provoke disregard or suspicion that somehow this music is more lounge-oriented than dance-created. Despite the corny title and cover, this one of Puente's most aesthetically beautiful recordings. Indeed, this is one of Puente's most subtle and unassuming masterpieces. ~ Thom Jurek, All Music Guide
'Dance Mania '98: Live at Birdland'
Release Date 8/11/1998
Tracks 10
Label Rmm
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What The Critics Say
Although it doesn't rank with Puente's best live records, Dancemania '98: Live at Birdland is still a dynamic listen. Puente runs through his best and most popular mambos, and even if the music isn't among his richest, it's still thoroughly entertaining and worth the time of any of Tito's aficionados. ~ Terry Jenkins, All Music Guide
