Tito Puente - Mambo Birdland
1999 RMM Records
The
undeniable rhythm and sound of Tito Puente and orchestra cuts
through with relentless fury on the Grammy winning CD "Mambo
Birdland" taking the listener back in time spanding over
half a century to an era widely known as the Palladium days where
Tito Puente, Eddie and Charlie Palmieri, Tito Rodriguez, Johnny
Pacheco, and Machito & his Afro-Cubans performed in the famous
dance halls in New York City located along 53rd Street and Broadway--home
of the Mambo. Originally derived from the Congolese religious
cults inherent in Afro-Cuban music, the Mambo is characterized
by contrasting bright sounding brass and sax riffs performed
by the tipico Latin dance big bands of the 1950s.
This recording is the second of two
live performances recorded at the famed "Birdland"
Jazz club in NYC named after legendary saxophonist Charlie "Bird"
Parker. Begining with the first tune appropriately titled "Mambo
Birdland", Puente establishes his trademark sound with a
heavy brass and sax section supported by a pulsating rhythm.
"This is for the young people of today. I want them to feel
the wonderful Guaguancò that we used to play in the old
days", announces Tito for the second tune titled "Juventud
Del Presente" (new generation) featuring Frankie Morales
on lead vocals. The crowd responds with applause as Tito says,
"I'm getting to you!" There's excitement in the air.
With masterful poise, Tito counts off the next tune, a fast rumba
called "Ban Ban Quere." Next is a Felipe Neri Cabrera
composition that starts with a Guaguancò rhythm and breaks
into a Son Montuno titled "Como Està Miguel"
featuring a tasty trombone solo by Juan Pablo Torres. The flute
style of Mario Rivera is percussive and swirls high like a singing
bird on "Cha Cha Cha Mambo" with a double-time rambunctious
timbales solo by Puente on the tail end.
Much call and responce is heard between
the saxes and brass creating a uniforce with the chorus and lead
vocalist on the swinging "Guaguancò Margarito"
featuring a 6/8 time Afro-Cuban percussion soli with Luis Bauzo
on the Batà drum and Jose Madera on the congas. "Our
next tune is a son...it's between the Mambo and the Cha Cha",
explains Tito for "Mi Mamita" with trombonist Raynaldo
Jorge laying down a nice solo on a bed of sax riffs.
The driving sax section lead by Mario
Rivera, Mitchell Frohman on alto, Peter Yellin on alto and Pedro
Miranda on baritone take control on "Mambo Gozòn."
The powerful brass section of trombonists Reynaldo Jorge, Lewis
Kahn and Chris Washburne with trumpeters Kevin Bryan, Ray Vega,
John Walsh Jr. and Hèctor Colòn accentuated by
baritone sax and bassist Bernard Minoso are felt on "Oye
Mi Guaguancò." Next, Tito requests for someone to
"have an ambulance after this one" refering to his
classic Mambo titled "Ran Kan Kan" with more swinging
call and responce from lead vocal and the chorus featuring Nilsa
Rodriguez and Pedro Rodriguez. Pianist Sonny Bravo lays down
a steady tumbao groove as Tito rips an intense timbales solo.
The set ends with Tito's most notable composition made famous
by Carlos Santana titled "Oye Como Va" featuring Mario
Rivera souring on flute.
"Did you feel it?" asks Tito.
And the gathering respond with a roar of joy. As he has done
for many years, Tito Puente and his orchestra deliver a textbook
performance. Much energy is felt throughout the set and the arrangements
bring out a genuine autheticity of the Mambo and other popular
Afro-Cuban dance rhythms that has come to personify Puente's
music. And most importanly, a warm and cozy atmostphere is felt
inside of Birdland Jazz club bringing the listener to the front
row up close to the stage. No doubt, this is a classic recording
that will have your feet tapping.
review by John Davis
JDavis@latnjazzclub.com
Contributing writer
LatinJazzClub Magazine
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