TITO PUENTE LIVE AT GROSSINGERS: CHA-CHA-CHA

TITO PUENTE
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 oldfashioned showmanship watching his eyes bug out when taking a dynamic solo was one of the great treats for Latin jazz fans. A trained musician, he was also a fine, lyrical vibraphonist, a gifted arranger, and played piano, congas, bongos and saxophone. His appeal continues to cut across all ages and ethnic groups. His brand of classic salsa is generally free of dark undercurrents, radiating a joyous, compulsively danceable party atmosphere. Rooted in Spanish Harlem, of Puerto Rican descent, Puente originally intended to become a dancer but those ambitions were scotched by a torn ankle tendon suffered in an accident. At age 13, he began working in Ramon Olivero's big band as a drummer, and later he studied composing, orchestration and piano at Juilliard and the the New York School of Music. More importantly, he played with and absorbed the influence of Machito, who was successfully fusing Latin rhythms with progressive jazz. Forming the ninepiece Piccadilly Boys in 1947 and then expanding it to a full orchestra two years later, helping to fuel the mambo craze that gave him the unofficial and ultimately lifelong title "King of the Mambo," or just "El Rey." Puente also helped popularize the chachacha during the 1950s, and he was the only non Cuban who was invited to a government sponsored "50 Years Of Cuban Music" celebration in Cuba in 1952. Among the majorleague congueros who played with the Puente band in the '50s were Mongo Santamaria, Willie Bobo, Johnny Pacheco and Ray Barretto, which resulted in some explosive percussion shootouts. Not one to paint himself into a tight Latin music corner, Puente's range extended to big band jazz (Puente Goes Jazz), and in the '60s, bossa nova tunes, Broadway hits, boogaloos, and pop music, although in
later years he tended to stick with older Latin jazz styles that became popularly known as salsa. In 1982, he started reeling off a string of several Latin jazz albums with octets or big bands for Concord Picante that gave him greater exposure and respect in the jazz world than he ever had.
(By Richard S. Ginell, All Music Guide - edited by CB)
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MINHA OPINIÃO - este álbum da big-band de Tito Puente, gravado ao vivo nos anos 50, no auge do sucesso do cha-cha-cha, mostra o seu lado de grande arranjador para orquestras, já que TP se tornou mais conhecido liderando "combos". Mas o grande mestre sabia tudo desse negócio de "latin-jazz", do qual foi o expoente máximo.
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TITO PUENTE LIVE AT GROSSINGERS: CHA-CHA-CHA
Label: Sony BMG
Year : 1996

TRACKS/FAIXAS
01. Introduction & Tito's Theme
02. Baubles, Bangles & Beads
03. I Love Paris
04. How High The Moon
05. At The Balalaika
06. Sweet Sue - Just You
07. Grossinger's Cha Cha Chá
08. Miami Beach Cha Cha Chá
09. Managua, Nicaragua
10. That Old Devil Moon (In Your Eyes)
11. Puente At Grossinger's
12. Comme Ci - Come Ca
13. Speak Low
14. The Jazz Theme
15. Tito's Theme
16. Grossinger's Cha Cha Chá
17. That Old Devil Moon (In Your Eyes)
18. I Love Paris
19. Miami Beach Cha Cha Chá
20. How High The Moon
21. Philladelphia, Mambo


DOWNLOAD: PARTE 1 - AQUI


DOWNLOAD: PARTE 2 - AQUI