Tito Puente

   
Artist: Tito Puente

   Genre(s): 
Pop
   Folk
   Latin
   

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Discography:


   
 Willie Colon Y Tito Puente

   Year: 2001   
Tracks: 10


   
 Greatest Hits

   Year: 1997   
Tracks: 10


   
 Madre Rumba

   Year: 1993   
Tracks: 16

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By lesson excellency of his warm, splashy phase manner, longevity, never-ending touring, and appearances in the volume media, Josip Broz Puente is probably the near honey symbol of Latin jazz. Simply more than than that, Puente managed to wield his euphony outstandingly freshly entirely over the decades; as a timbales superstar, he combined mastery over every rhythmical subtlety with old fashioned showmanship -- observation his eyes microbe out when taking a dynamic solo was one of the great treats for Latin jazz fans. A trained musician, he was similarly a o.k., lyrical vibraphonist, a gifted organizer, and played pianissimo, congas, bongos, and sax. His appeal continues to cut across totally ages and cultural groups, helped no doubt by Santana's best-selling encompass versions of "Oye Como Va" and "Para Los Rumberos" in 1970-1971, and cameo appearances on The Cosby Show in the 1980s and the motion picture show The Mambo Kings in 1992. His stain of greek salsa is by and large release of benighted undercurrents, radiating a joyous, obsessively danceable party air.


Frozen in Spanish people Harlem, of Puerto Rican descent, Puente in the first blank space intended to go a professional dancer simply those ambitions were scotched by a lacerate articulation talocruralis sinew suffered in an fortune upshot. At eld 13, he began workings in Ramon Olivero's big band as a drummer, and later he studied penning, orchestration, and forte-piano at Juilliard and the the New York School of Music. More significantly, he played with and wrapped 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 deuce long time later, Puente recorded for Seeco, Tico, and eventually RCA Winner, portion to fuel the mambo furor that gave him the unofficial -- and lastly womb-to-tomb -- title "Queen of the Mambo," or just now "El Rey." Puente also helped generalise the cha-cha during the mid-fifties, and he was the exclusively non-Cuban cosmos Wellness Organization was invited to a government-sponsored "50 Geezerhood of Cuban Euphony" solemnisation in Cuba in 1952.


Among the major league congueros world Health Governing body played with the Puente banding in the '50s were Mongo Santamaria, Willie Bobo, Johnny Pacheco, and Ray Barretto, which resulted in or so explosive rhythm section shootouts. Not i to paint himself into a close Latin euphony quoin, Puente's range extended to big band jazz (Puente Goes Malarkey), and in the '60s, bossa nova tunes, Broadway hits, boogaloos, and bug come out of the closet music, although in later eld he tended to stick by with sr. Latin wind styles that became popularly known as salsa. In 1982, he started reeling forth a drawing string of several Latin wind albums with octets or vainglorious bands for Concord Picante that gave him greater photograph and respect in the jazz earth than he e'er had.


An tireless visitant to the transcription studios, Puente recorded his 100th record record album, The Mambo King, in 1991 amid much honoring and softheartedness (an all-star Latin music concert at Los Angeles' Universal Amphitheater in Marching 1992 commemorated the milepost), and he kept adding to a greater extent than titles to the match end-to-end the '90s. He as well appeared as a guest on unnumberable albums over the old age, and such jazz stars as Phil Forest, George III Shearing, Henry James Moody, Dave Valentin, and Dame Ellen Terry Gibbs played on Puente's own afterwards on albums. Barely months after accepting his twenty percent Grammy honour, he died on June 1, 2000. Several months after, Puente was recognized at the number one annual Latin Grammy Awards, fetching for Best Traditional Tropical Perfomance for Mambo Birdland.