Tito Puente - Dancemania'99: Live at Birdland

Styles: Latin Jazz
Year: 1998
File: MP3@320K/s
Time: 75:03
Size: 173,3 MB
Art: Front

( 1:11)  1. Lullaby of Birdland
( 8:34)  2. Mambo Inn
( 8:34)  3. Cayuco
( 6:40)  4. Complicacion
( 7:45)  5. Mambo En Blues
( 8:31)  6. Babarabatiri
(10:48)  7. Donde Vas
( 6:54)  8. Flauta Y Timbal
( 7:54)  9. Mas Rajo
( 8:06) 10. Cua Cua

Although it doesn't rank with Tito Puente's best live records, Dancemania '99: Live at Birdland is still a dynamic listen. The bandleader 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 Puente's aficionados. ~ Terry Jenkins https://www.allmusic.com/album/dancemania-99-live-at-birdland-mw0000041364

Personnel:   Percussion, Chorus – Tito Puente;  Bass – Carlos Henriquez, Ruben Rodriguez; Bongos – John Rodriguez; Chorus – Joe King ; Congas – Jose Madera; Flute – Dave Valentin; Piano, Chorus – Sonny Bravo; Saxophone [Alto] – Bobby Porcelli, Peter Yellin; Saxophone [Baritone] – Mitchell Frohman ; Saxophone [Tenor] – Mario Rivera ; Trombone – Juan Pablo Torres, Kevin D. Bryan, Lewis Kahn, Reynaldo Jorge; Trumpet – Hector Colon, John Walsh, Raymond Vega, Thomas Lopez; Vocals – Frankie Morales

Dancemania'99: Live at Birdland

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Terry Gibbs - The Latin Connection

Styles: Vibraphone Jazz
Year: 1986
File: MP3@320K/s
Time: 44:58
Size: 103,5 MB
Art: Front

(5:21)  1. Scrapple from the Apple
(4:37)  2. For Keeps
(5:01)  3. Groovin' High
(4:21)  4. Chelsea Bridge
(4:33)  5. Sing Sing Sing
(5:11)  6. Kick Those Feet
(5:26)  7. Good Bait
(4:41)  8. Flamingo
(5:44)  9. Sweet Young Song of Love

Vibraphonist Terry Gibbs sounds fine on this Latin jazz date, which also includes altoist Frank Morgan, pianist Sonny Bravo, bassist Bobby Rodriguez and three percussionists, including Tito Puente playing timbales on three of the nine numbers. Most of the tunes are bop and swing standards (such as"Scrapple From the Apple," "Groovin' High," "Good Bait" and "Sing, Sing, Sing") and have excellent spots for Gibbs, Morgan and the percussion section. A fine date.~ Scott Yanow https://www.allmusic.com/album/the-latin-connection-mw00002675

Personnel: Vibraphone, Arranged By – Terry Gibbs;   Alto Saxophone – Frank Morgan;  Bass – Bobby Rodriguez;  Bongos, Percussion – Johnny Rodriguez;  Congas, Percussion – Jose Madera;  Piano – Sonny Bravo;  Timbales – Orestes Vilato, Tito Puente .

The Latin Connection

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Tito Puente - Jazz

Bitrate: MP3@320K/s
Time: 39:20
Size: 90.1 MB
Styles: Afro-Cuban jazz
Year: 2009
Art: Front

[2:49] 1. Cochise
[2:37] 2. One Note Samba
[2:43] 3. 110th St And 5th Avenue
[3:09] 4. Picadillo
[5:23] 5. The Big Four
[3:51] 6. Timbales Solo
[3:25] 7. Autumn Leaves
[2:30] 8. Mambo Inn
[3:10] 9. A Noro Morales
[3:25] 10. Carnival In Harlem
[1:55] 11. Jumpin' With Symphony Sid
[4:19] 12. Ritual Fire Dance

"No one in the world has done more for Afro-Cuban music than Tito Puente.” This is what Mario Bauzá - creator of Afro-Cuban jazz and legendary musical director of Machito's Afro-Cubans, stated when talking about Puente. Born to Puerto Rican parents in NYC's Harlem Hospital on April 20, 1921, Ernest Anthony Puente Jr. (not Ernesto or Antonio, as has been incorrectly stated by many) was a towering figure who revolutionized the role of percussion and jazz arranging techniques in Afro-Cuban music. A product of his environment, Puente, who passed away in NYC on May 31, 2001, grew up in the East side enclave of Manhattan known as East Harlem, the Spanish Harlem or El Barrio. It was here that he grew up listening to the sounds of big band jazz (drummer Gene Krupa was his hero), Cuban and Puerto Rican music, and emulating movie stars such as James Cagney and Fred Astaire. At the time, East Harlem (Pleasant Avenue, 1st, 2nd , 3rd , Lexington, Madison, Park, and 5th Avenue's between 96th and 125th streets) was a thriving neighborhood populated by Italians, Jews, Germans, Cubans and a growing Puerto Rican community - all of them living side by side. "Little Ernie" or Ernestito, as he became known by his boyhood friends, absorbed everything this colorful environment had to offer. He took drum lessons with an African-American show drummer named Mr. Williams, piano lessons with Victoria Hernández (Rafael's sister), as well as dance lessons. All this would serve him well in his quest to become a virtuoso multi-instrumentalist (timbales, drums, piano, vibes, marimba, alto sax, and clarinet), arranger, composer and bandleader. His first recording experience was in 1939 with the Machito Afro-Cubans and Johnny Rodríguez's Stork Club Orchestra. After serving with honors in the U.S. Navy during WW II on the escort carrier Santee CVC 29 as a gunner’s mate and musician (he was the bugler and played alto saxophone and piano in the ship's big band), he would return to NYC and quickly establish himself as a bandleader. His first hit was the 1949 mambo, “Abaniquito,” featuring Vicentico Valdés on lead vocals, Mario Bauzá on trumpet and Graciela (Machito’s sister) on background vocals. A subsequent signing to the powerful RCA label yielded classic albums that demonstrated Puente's unique ability to compose and arrange jazz oriented Afro-Cuban music and established his renowned virtuosity on the timbales, vibes and marimba. His later years with Tico and Fania would yield much more dance-oriented music. But this compilation demonstrates that Puente could produce jazz-oriented music featuring both him and his musicians as world class soloists. Hard driving instrumental mambos like “Picadillo” and “A Noro Morales” feature him on marimba and vibes. His sensitivity and romanticism on the instrument is demonstrated on the classic jazz standard “Autumn Leaves.” Puente was a master of other styles as well. Just listen to the swing of Trinidadian calypso on “Carnaval en Harlem” and Brazilian bossa nova on “One Note Samba.” The power, swing and mastery of jazz harmony that he loved to employ in writing for his big band is demonstrated in full force on “Mambo Inn,” “110th St. & 5th Ave.,” “Jumpin' with Symphony Syd” and “Ritual Fire Dance.” But it is his virtuosity on the timbales that he is best known for, as demonstrated on “The Big Four,” where he is joined by Mongo Santamaría, Carlos "Patato" Valdés and Willie Bobo. There is also the “Timbales Solo,” where he takes an incredible improvisation with just the accompaniment of a cowbell. By its very nature, jazz is an art form that demonstrates the virtuosity of musicians as soloists. Enjoy it right here as Tito plays jazz. ~Bobby Sanabria

Jazz mc
Jazz zippy

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Tito Puente - Carnaval En Harlem (Remastered)

Bitrate: MP3@320K/s
Time: 37:02
Size: 84.8 MB
Styles: Latin jazz, Afro-Cuban jazz
Year: 1966/2010
Art: Front

[2:50] 1. Mi Trompeta Tropical
[3:37] 2. Mirame Mas
[2:03] 3. Downtown
[2:19] 4. Pompo
[3:29] 5. Cuando Calienta El Sol
[3:28] 6. Carnaval En Harlem
[3:19] 7. Rumba En El Patio
[1:56] 8. Jumpin' With Symphony Sid
[2:40] 9. Como Esta Miguel
[3:41] 10. Letargo
[3:15] 11. Bluesette
[4:18] 12. Corta El Bonche

Tito Puente was a musical pioneer, mixing musical styles with Latin sounds and experimenting in fusing Latin music with jazz. Born on April 20, 1923, in New York City, Tito Puente, donned the "King of Latin Jazz," was a pioneering force in Latin music, known for fusing styles and putting a big-band spin on traditional Latin music. In 1948, Puente formed a band that would become known as the Tito Puente Orchestra. A decade later, he released his best-selling album, Dance Mania (1958). His most notable songs include "Babarabatiri," "Ran Kan Kan" and "Oye Como Va." By the end of his decades-long career, Puente was deemed a musical legend in Latin music and jazz circles. He died in New York City in 2000, at age 77.

Carnaval En Harlem (Remastered) mc
Carnaval En Harlem (Remastered) zippy

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Tito Puente & Woody Herman - Latin Flight

Styles: Latin Jazz
Year: 1999
File: MP3@320K/s
Time: 41:25
Size: 99,6 MB
Art: Front

(2:03)  1. Latin Flight
(3:03)  2. New Cha Cha
(2:39)  3. Mambo Herd
(2:39)  4. Tito Meets Woody
(3:02)  5. Cha Cha Chick
(3:10)  6. Blue Gardenia
(4:05)  7. Prelude A La Cha Cha
(4:19)  8. It's Coolin' Time
(2:33)  9. Black Orchids
(3:09) 10. Original No. 2
(4:02) 11. Sinbad The Sailor
(3:19) 12. Mambo Bambo
(3:16) 13. Fire Island

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 Santana's 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 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 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, 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. 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 Puente's 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 http://www.allmusic.com/artist/tito-puente-mn0000607283/biography

Latin Flight

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Hilton Ruiz - Island Eyes

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 54:33
Size: 125,4 MB
Art: Front

(5:51)  1. Intrepid Fox
(4:35)  2. Island Eyes
(4:46)  3. The Girl's In Love
(5:06)  4. House Of Dreams
(6:02)  5. Gee Baby, Ain't I Good To You
(4:52)  6. Stand By Me
(5:07)  7. Unit Seven
(4:17)  8. Body And Soul
(5:11)  9. Soul Eyes
(2:47) 10. Solar Orbit
(5:54) 11. Naturally

Jazz pianist Hilton Ruiz was a musician of uncommon versatility, shuttling seamlessly between the complex improvisations of the avant-garde and the relentless rhythms of Afro-Cuban music. Born in New York City on May 29, 1952, Ruiz was a child prodigy who performed at Carnegie Recital Hall at age eight. In addition to classical studies, he explored jazz under the tutelage of the legendary Mary Lou Williams, and at 14 made his recorded debut with the Latin soul outfit Ray Jay and the East Siders. His remarkable improvisational gifts nevertheless cemented Ruiz's decision to pursue a career in jazz, and while still in his teens he backed everyone from Freddie Hubbard to Joe Henderson. Ruiz vaulted to global renown in 1973 when he joined the famously eclectic saxophonist/flutist Rahsaan Roland Kirk, proving his mettle as a gifted interpreter of a repertoire spanning from the blues to the avant-garde via cult-classic LPs including The Case of the 3 Sided Dream in Audio Color and The Return of the 5000 Lb. Man. After a four-year tenure with Kirk, Ruiz toured Egypt and India with Clark Terry; upon his return to New York, he was a first-call sideman for acts including Betty Carter, Abbey Lincoln, and Chico Freeman, and also founded his own group, continuing a headlining career that began with the 1975 Steeplechase effort Piano Man. Over the span of acclaimed LPs including 1977's Steppin' Into Beauty, 1988's El Camino (The Road) and 1991's A Moment's Notice, Ruiz honed a Latin jazz fusion approach that resulted in collaborations with Tito Puente and Paquito d'Rivera; he also moonlighted in film, contributing to the soundtracks of Woody Allen's Crimes and Misdemeanors and Sam Mendes' Oscar-winning American Beauty, and with Richard Bradley authored 1987's three-volume Jazz and How to Play It. During a visit to New Orleans, where he was scheduled to work on a Hurricane Katrina benefit project, Ruiz suffered a fall in front of a French Quarter bar and slipped into a coma. He never regained consciousness, dying just a week after his 54th birthday on June 6, 2006. ~ Jason Ankeny http://www.allmusic.com/artist/hilton-ruiz-mn0000957132/biography

Personnel: Hilton Ruiz (piano, Hammond organ, keyboards); John Stubblefield (tenor saxophone); Jon Faddis (trumpet); Dave Valentin (flute); Bernd Schoenhart (guitar); John Benitez (acoustic & electric basses); Ignacio Berroa (drums); Tito Puente (timables, vibraphone); Milton Cardona, Richie Flores (congas, percussion).

Island Eyes

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Tito Puente, Woody Herman - Herman's Heat & Puente's Beat

Bitrate: MP3@320K/s
Time: 56:59
Size: 130.5 MB
Styles: Latin jazz
Year: 2005
Art: Front

[3:06] 1. Blue Station
[2:29] 2. Pillar To Post
[4:17] 3. Midnight Sun
[4:34] 4. Woodchopper's Ball
[3:07] 5. Balu
[2:34] 6. Lullaby Of Birdland
[2:04] 7. Latin Flight
[3:01] 8. New Cha Cha
[2:36] 9. Mambo Herd
[3:00] 10. Cha-Cha Chick
[2:36] 11. Tito Meets Hollywood
[2:53] 12. Corioca
[4:05] 13. Wildroot
[3:08] 14. The Good Earth
[3:17] 15. It's Coolin' Time
[3:19] 16. Black Orchid
[2:38] 17. Sindbad The Sailor
[4:06] 18. Fire Island

Tito Puente and Woody Herman teamed in 1958 for a mutually satisfying meeting in the same way that Charlie Parker, Dizzy Gillespie, and Machito found common ground in the late '40s. Puente's Latin rhythms and beats meshed with the swing and bebop of Herman's band on half of the disc's cuts, and the results were hot and delightful. With Puente heading the rhythm section and playing timbales, Robert Rodriguez on bass, and assorted percussion from Gilbert Lopez, Raymond Rodriquez, and Ray Barretto, the band stays locked into the Latin groove while the saxophonists and trumpeters weave in, out, and around the beat. There are also more conventional Herman swing numbers such as "Blue Station" and "Woodchopper's Ball," where the standard Herman stomping sound is in effect. ~Ron Wynn

Herman's Heat & Puente's Beat

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Benny Golson Group - Remembering Clifford

Bitrate: MP3@320K/s
Time: 65:40
Size: 150.3 MB
Styles: Bop, Saxophone jazz
Year: 1997
Art: Front

[7:22] 1. Brown Immortal
[7:31] 2. Five Spot After Dark
[8:22] 3. Dear Old Stockholm
[5:49] 4. Matinee
[6:24] 5. You're The First To Know
[9:02] 6. Lullaby Of Birdland
[7:23] 7. Tito Puente
[5:57] 8. Horizon Ahead
[7:47] 9. Ever More

Benny Golson has produced some of the finest compositions in the hard bop tradition, foremost among them his elegy for Brownie, "I Remember Clifford." Trading on that is surely Golson's right, even after 40 years-perhaps because after 40 years-we know for a fact that the tune is a certifiable classic. His reworking of that classic, "Immortal Brown," leads off this collection, and trumpeter John Swana is a solid choice for such a tribute. Swana's fluid lines stand out in this ensemble, assembled for the session. If they lack the telepathic channels of a working band, they are solid players one and all, and give Golson's charts polished performances. Joining Swana on the front line, Golson matches tenors with Ron Blake; pianist Mike LeDonne, bassist Peter Washington, and drummer Joe Farnsworth comprise the rhythm section. The band is joined by Tito Puente and Carlos "Patato" Valdes on Golson's tribute to the famed timbalero. ~Bill Bennett

Remembering Clifford

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Tito Puente & Phil Woods - Salsa Meets Jazz

Styles: Latin Jazz, Salsa
Year: 1988
File: MP3@320K/s
Time: 43:29
Size: 99,8 MB
Art: Front

(4:28)  1. Corner Pocket
(3:24)  2. Salsa Caliente
(4:13)  3. Consternation
(7:22)  4. Pannonica
(3:58)  5. Carioca
(3:35)  6. Guajira Soul
(5:35)  7. Repetition
(5:00)  8. Carinoso
(5:51)  9. Con Alma

For this particular Tito Puente recording, his exciting three-horn, three-percussion Latin jazz octet (which includes longtime saxophone soloist Mario Rivera) is joined by alto great Phil Woods on three of the eight selections, including Thelonious Monk's "Pannonica" and "Repetition." Such songs as "Corner Pocket," "Carioca" and Dizzy Gillespie's "Con Alma" sound perfectly natural in this Afro-Cuban jazz setting, and Puente (well featured on vibes and timbales) is responsible for two originals and seven of the nine arrangements. The music is danceable, adventurous and quite fun. ~ Scott Yanow  http://www.allmusic.com/album/salsa-meets-jazz-mw0000652604

Personnel: Tito Puente (timbales); Phil Woods (alto saxophone); Mario Rivera (tenor saxophone, flute); Piro Rodriguez, Bill Ortiz (trumpet, flugelhorn); Joe De Jesus (trombone); Sonny Bravo (piano); Rebecca Mauleon (synthesizer); Bobby Rodriguez (bass); Johnny Rodriguez (bongos); Jose Madera (congas); Frank Figueroa, Jose Alexis Diaz (background vocals).

Salsa Meets Jazz

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Tito Puente - Masters Of The Last Century: Best Of Tito Puente

Bitrate: MP3@320K/s
Time: 46:57
Size: 107.5 MB
Styles: Latin rhythms, Afro-Cuban jazz
Year: 2013
Art: Front

[2:19] 1. Tito Mambo
[2:59] 2. Caravan Mambo
[3:07] 3. Mambo Diablo
[2:56] 4. Mari Juana
[3:13] 5. Mambo En Blues
[2:40] 6. Coco My My
[3:27] 7. Guaguancó En Tropicana
[3:15] 8. Lo Dicen Todos
[2:43] 9. Ta Bueno Pa Baila
[2:50] 10. Preparen Candela
[2:33] 11. Drinking Mambo
[3:00] 12. No Lo Hago Mas
[3:04] 13. Baile Mi Mambo
[2:37] 14. Nuevo Mambo
[3:13] 15. Oye Lo Que Tiene El Mambo
[2:52] 16. Mamey Colorao

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 Puente's 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. Ginnell

Masters Of The Last Century: Best Of Tito Puente

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Various - The Colors Of Latin Jazz: From Samba To Bomba!

Bitrate: MP3@320K/s
Time: 62:40
Size: 143.5 MB
Styles: Latin rhythms, Samba, Afro-Cuban jazz
Year: 2000
Art: Front

[5:00] 1. Claudio Roditi - Manhattan Style
[3:10] 2. Tito Puente - Mambo King
[4:45] 3. Poncho Sanchez - Papa Gato
[5:12] 4. Mongo Santamaria - Soca Mi Nice
[4:49] 5. Manfredo Fest - Guararapes
[5:04] 6. Pete Escovedo - Like A Volcano
[5:16] 7. Cal Tjader - Linda Chicana
[4:15] 8. Hendrik Meurkens - Sambahia
[8:19] 9. Caribbean Jazz Project - Charanga Si, Si
[4:02] 10. Monty Alexander - Reggae-Later
[4:53] 11. Poncho Sanchez - La Familia
[3:50] 12. Tania Maria - Sangria
[3:59] 13. Ray Barretto - Bomba-Riquen

As the fourth release in the Colors of Latin Jazz series, From Samba to Bomba! will appeal to the Latin jazz connoisseur because of its exciting array of compositions that feature the diverse rhythms of a variety of Latin cultures. From the Brazilian samba to the Puerto Rican bomba -- and a number of styles in between, including the ChaChaCha, mambo, soca, charanga, maracatu, and more -- this CD includes the "Mambo King" himself, Tito Puento, playing his hit "Mambo King" from the award-winning Mambo of the Times album issued on Concord Picante. He is the full-on mambo master on this ballroom dance of Cuban origin that gained greater notoriety when it was featured in the movie Mambo Kings. Puento's work on this composition rivals much of his work of the '50s and early '60s in what critics have hailed as his most imaginative Latin musical period, a period that spawned "Dancemania" and "Tambo." The former featured "Mambo Gozon," a volcanic display of his greatness and mastery of the mambo but "Mambo King" encompasses all the greatness of those years and more! The Brazilian rush is realized "Manhattan Style" as Trio Da Paz kicks off this CD with special guests JoAnne Brackeen and Claudio Roditi, an energetic composition issued originally on Brasil From the Inside. Tania Maria lends her breezy scats on "Sangria." A very special Dutch-German favorite adds his innovative global mix to the Brazilian samba with brilliant jazz harmonica played by none other than the exciting Hendrik Muerkens on his "Sambahia." Originally issued on Sambahia by Concord Picante, Hendrik plays with exceptional finesse on an instrument not found often in jazz ensembles. It's a very refreshing blend of harmonic pleasures! Monty Alexander's Ivory & Steel presents the excitement of reggae on "Reggae-Later" from his popular Jamboree. His mastery of this popular music of Jamaican origin that combines his native styles with elements of rock and soul is performed to reggae perfection with Alexander's very hip piano bop stylings accompanied by steel pans and hand drums. This track is a great jam. Ray Barretto, the highly inventive conguero and percussionist, is amazing as he fuels the bomba "Bomba-Riquen." Poncho Sanchez is ablaze on "La Familia" and continues to work his magic on one of the best solos on the CD even though he is generous about sharing the solo limelight. The popular soca played richly by Mongo Santamaria on "Soca Me Nice" and the Afro-Cuban charanga is well imagined by Dave Samuels on "Charanga, Si, Si" with Dave Valentin. They impose no restrictions on your imagination with the sonority of their uncommon Latin flavors. Originally issued on New Horizons, the pair work The Colors of Latin Jazz into an exciting musical palette that is as beautifully vibrant as the rhythms they represent. This exciting CD is a Latin jazz collector's dream. ~Paula Edelstein

The Colors Of Latin Jazz: From Samba To Bomba!

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Various - Cha Cha Party

Bitrate: MP3@320K/s
Time: 57:59
Size: 132.7 MB
Styles: Afro-Cuban jazz, Latin rhythms
Year: 2001
Art: Front

[4:17] 1. Poncho Sanchez - Bodacious Q
[5:23] 2. Mongo Santamaria - Day Tripper
[5:48] 3. Tito Puente - Oye Como Va
[6:09] 4. Caribbean Jazz Project - Jamboree
[5:45] 5. Ray Barretto - Killer Joe
[3:42] 6. Poncho Sanchez - Watermelon Man
[6:14] 7. Cal Tjader - Soul Sauce (Guachi Guaro)
[5:38] 8. Ray Vega - Boperation
[4:25] 9. Ed Calle - Rum & Coke (Cuba Libre)
[5:06] 10. Pete Escovedo - 'ah' Bailar Cha-Cha-Cha
[5:28] 11. Poncho Sanchez, Ray Vega - Besame Mama

Cha Cha has the distinction of being one of the most dominant "pop" rhythms of the last 40 to 50 years and is characterized as having an upbeat, infectious rhythm, which creates a sense of playfulness and flirtation. The Cha Cha is said to be a combination of the Mambo and the American Swing.

Cha Cha is a Cuban innovation of the old Latin form (danson). Originally known as the Cha-Cha-Cha the Cha Cha became popular about 1954. Cha Cha is an off-shoot of the Latin dance 'Mambo'. In the slow Mambo tempo, there is a distinct sound in the music that people began dancing to, calling the step the "Triple" Mambo. Eventually it evolved into a separate dance, today known as the Cha Cha.

Cha Cha Party

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