Tito Puente - Revolving Bandstand (Remastered) '2010; 2019

Tracks list

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.
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, helped no doubt by Santanas best-selling
cover versions of Oye Como Va and Para Los Rumberos in 1970-1971, and cameo
appearances on The Cosby Show in the 1980s and the film The Mambo Kings in 1992.
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 Oliveros 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 nine-piece Piccadilly Boys in 1947 and then
expanding it to a full orchestra two years later, Puente recorded for Seeco,
Tico, and eventually RCA Victor, 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 cha-cha 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 major-league 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, Puentes 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.

An indefatigable visitor to the recording studios, Puente recorded his 100th
album, The Mambo King, in 1991 amid much ceremony and affection (an all-star
Latin music concert at Los Angeles Universal Amphitheatre in March 1992
commemorated the milestone), and he kept adding more titles to the tally
throughout the 90s. He also appeared as a guest on innumerable albums over the
years, and such jazz stars as Phil Woods, George Shearing, James Moody, Dave
Valentin, and Terry Gibbs played on Puentes own later albums. Just months after
accepting his fifth Grammy award, he died on June 1, 2000. Several months later,
Puente was recognized at the first annual Latin Grammy Awards, winning for Best
Traditional Tropical Perfomance for Mambo Birdland. ~ Richard S. Ginell

Tracklist:
2:06 | 01. Tito Puente - Bahia (Na Baixa Do Sapateiro) (Remastered)
3:16 | 02. Tito Puente - I Concentrate On You (Remastered)
3:11 | 03. Tito Puente - Autumn Leaves (Remastered)
2:44 | 04. Tito Puente - Harlem Nocturne (Remastered)
3:11 | 05. Tito Puente - Kiss Of Fire (Remastered)
2:39 | 06. Tito Puente - The Continental (Remastered)
2:36 | 07. Tito Puente - Blue Moon (Remastered)
3:32 | 08. Tito Puente - Temptation (Remastered)
2:41 | 09. Tito Puente - So In Love (Remastered)
2:21 | 10. Tito Puente - Baby Wont You Please Come Home (Remastered)

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