1 El Cayuco (Son Montuno) 	2:33 	
2 Complicación (Guagancó) 	3:18 	
3 3-D Mambo (Mambo Jazz Instrumental) 	2:23 	
4 Llegó Miján (Son Montuno) 	3:10 	
5 Cuando Te Vea (Guagancó) 	4:10 	
6 Hong Kong Mambo 	3:42 	
7 Mambo Gozón (Mambo) 	2:44 	
8 Mi Chiquita Quiere Bembé (Cha Cha Chá Bembé) 	3:55 	
9 Varsity Drag (Mambo Jazz Instrumental) 	2:48 	
10 Estoy Sempre Junto A Tí (Bolero) 	3:10 	
11 Agua Limpia Todo (Guagancó) 	2:55 	
12 Saca Tu Mujer (Guaracha) 	3:02

Musicians:
Tito Puente - Arranger, Bandleader, Composer, Marimba, Percussion, Timbales, Vibraphone
Jimmy Frisaura - Trumpet
Bernie Glow - Trumpet
Frank Lo Pinto - Trumpet
Gene Rapett - Trumpet
George Lopez - Trumpet
Rafael Palau - Saxophone
Jerry Sanfino - Saxophone
Julio Collazo - Percussion
Ray Rodriguez - Percussion
Ray Barretto - Percussion
Vitín Avíles - Choir/Chorus
Santos Colon - Choir/Chorus, Vocals
Otto Olivar - Choir/Chorus

Dance Mania, Tito Puente's best-known and best-selling album, came ten years into his career, but at a time (1957) when the craze for mambo and Latin music was beginning to crest. (Another landmark LP, Pérez Prado's Havana 3 A.M., had been released the previous year, and Prado's "Cherry Pink and Apple Blossom White" had hit number one in 1955.) Recorded as part of a just-signed exclusive contract with RCA and appearing in vibrant sound as part of the label's Living Stereo series, Dance Mania exploded with a series of tight arrangements, propulsive playing, and the features of new additions in vocalist Santos Colón and conguero Ray Barretto (who helped, in part, make up for the recent loss of Willie Bobo and Mongo Santamaria to Cal Tjader's group). Puente didn't dilute his sound for Dance Mania -- unlike the many commercial crossover LPs that were released by both established groups and ad hoc studio collectives -- but his hard mambos here were performed at tempos that encouraged dancing by more staid LP-buyers, slightly slower than the high paces of his Tico sides or Palladium shows. Brassy and swinging, yes, and certainly as precise as a great Latin band could get, but not as torrid as Spanish Harlem dancers would be accustomed to. Most were Puente originals, spanning mambo and cha-cha and guaguanco, and Dance Mania built the foundation for great Latin LPs to come. ---John Bush, Rovi

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    1. Mambo la roca
    2. Lo dicen todos
    3. Babaratiri
    4. A burujon punao
    5. Babalagua
    6. Mambo macoco					play
    7. Mambolero
    8. Cuban mambo
    9. Cuban cutie
    10. Mi guaguanco
    11. El timbal
    12. Abaniquito
    13. Baila Simon
    14. Quiero mi tambo
    15. Mambo en blues
    16. Ta bueno pa baila			play
    17. Aprieta el pollo
    18. Guaquanco en tropicana
    19. Cuero na' ma'
    20. Preparen candela

    Bass – Amado Visoso
    Bongos – Manny Oquendo
    Congas – Frankie Colon, Mongo Santamaria
    Leader, Vibraphone, Timbales – Tito Puente
    Piano – Gil Lopez, Luis Varona
    Saxophone – Edward Grimm, Irving Butler, Joseph Herde, Sol Rabinowitz
    Trumpet – Frank La Pinto, Gene Pappetti, Jimmy Frisaura
    Vocals, Maracas – Bobby Escoto (tracks: 5, 13, 14), Vicentico Valdés (tracks: 1 to 4, 6 to 12, 15 to 20)

Born in Spanish Harlem to parents from Puerto Rico, Tito Puente would eventually become a legendary musician of Latin-jazz, and dance-oriented mambo compositions. Over his 50 year career Puente released or appeared on a vast catalog of albums (notably Dance Mania in 1958), on television (The Cosby Show and The Simpsons) and in films (The Mambo Kings). His talent and skill allowed him to explore numerous musical styles within Latin-jazz including mambo, son cubano, cha-cha-cha, and bossa nova. He won numerous Grammy awards, including the Lifetime Achievement Award, which was given posthumously in 2003. Puente died in 2000, age 77, following complications from a heart attack. ---amazon.com

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1. What Is This Thing Called Love	3:24	
2. Tiny-Not Ghengis	2:52	
3. What Are You Doing, Honey?	    2:49	
4. Lotus Land		4:55	
5. Lucky Dog		3:25	
6. Birdland After Dark		4:40	
7. That's Puente		2:35		
8. Yesterdays		4:38	
9. Terry Cloth		4:59	
10. Tito'in		2:59

Personnel:
Tito Puente 	Composer, Leader, Percussion, Timbales, Vibraphone
William Correa 	Bongos
Allen Fields 	Sax (Alto)
Vincent Frisaura 	Trumpet
Barry Galbraith 	Guitar
Alvin Gellers 	Piano
Bernie Glow 	Trumpet
Martin Holmes 	Saxophone
Marty Holmes 	Sax (Tenor), Saxophone
Dave Kurtzer 	Sax (Baritone), Saxophone
Frank LaPinto 	Trumpet
Allen Lehrfeld 	Saxophone
Frank Lo Pinto 	Trumpet
Gene Quill 	Saxophone
Gene Rapett 	Trumpet
Robert Rodriguez 	Bass
Roberto Rodriguez 	Bass
Gerald Sanfino 	Bass
Mongo Santamaría 	Congas
Dave Schildkraut 	Sax (Alto), Saxophone
Todd Sommer 	Drums
Nick Travis 	Trumpet
Francis Williams 	Trumpet

Before deciding to go jazz, Mr. Puente's producers at RCA should have advised him to go take some lessons from Johnny Richards, Stan Kenton's fabulous writer-arranger of the big band Latin suite to end all big band Latin suites: Cuban Fire. Mr. Richards might have taught Mr. Puente that blaring, shrieking, ear-blasting trumpets in themselves do not make a satisfying "hot" Latin jazz session. Essential ingredients are feelings and emotions which are sorely missing from Tito Puente's jazz offering.The blaring brass in these recordings is rigid and statuesque. With TV star Doc Severinson as a trumpet soloist on this date, go figure. The reeds fare no better. Some of the reed soloists seem bent on proving that they can move faster than Speedy Gonzales on the musical scales. The only redeeming factor here is the rhythm section which is what one would expect from a timbales expert like Tito Puente. This is not putting down Tito Puente's talents as arranger. In the fifties he recorded a very good album for RCA entitled "Mucho Puente" in which he proved his mettle as arranger for Latin strings as well as tentettes and small Latin groups--with a telling effect. But as a jazzman, Mr. Puente should stick to what he does best: Salsa. ---Sammy Somekh

One of Tito Puente's earliest jazz-oriented dates, this set (reissued on a 1993 Bluebird CD) matches Puente (doubling on vibes and timbales) with a big band and the bongos of William Correa. The music (mostly obscure originals plus three standards) swings, and although none of the sidemen became household names, (best-known is altoist Dave Schildkraut), the musicianship is fine. Actually, more notable than the fairly conventional music are two of the song titles: "Tiny Not Ghengis (Kahn)" and "That's A Puente!" --- Scott Yanow, Rovi

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A1 	La Leyenda 	
A2 	Esto Es Coco 	
A3 	Que Falta Tu Me Haces 	
A4 	Separala Tambien 	
A5 	Amor De Mi Bohio 	
B1 	Fiesta A La King 	
B2 	Arriba Y Abajo 	
B3 	Alma Impura 	
B4 	Bombata 	
B5 	Amor En Serio 	

Arranged By – Louie Bauza (tracks: B5), Louie Ramirez (tracks: A1), Tito Puente (tracks: A2 to B4)
Coro – Adalberto Santiago, Tito Allen
Coro, Recording Supervisor [Recording Director] – Tito Puente
Electric Piano, Soloist – Tito Puente (tracks: B5)
Lead Vocals – Santos Colon, Tito Puente (tracks: A5, B3)
Synthesizer – Tito Puente (tracks: A5, B3)
Timbales [Timbalito], Soloist – Tito Puente (tracks: A1)
Vibraphone – Tito Puente (tracks: A3, B1)

Born in 1923 to Puerto Rican parents in New York, Ernesto Antonio Puente studied piano and percussion as a child and was playing professionally while still in his teens. He played briefly with Machito and his Afro-Cubans, the top Latin band in New York in 1940, but that gig was cut short when he was drafted into the U.S. Navy.

After the war he used the G.I. bill to study music theory and orchestration at the Juilliard School of Music and formed his own band in 1948. As a bandleader, Tito Puente played timbales at the front of the band, giving the percussion a new prominence in Latin dance music and earning him the nickname, “El Rey del Timbal” (King of the Timbales).

Puente was also a talented vibraphone player and dancer. His brilliant arrangements and spectacular shows helped fuel the mambo dance craze of the 1950s and Puente’s band was a big draw at New York’s Palladium Ballroom, where he competed for the dancers’ favor with Machito and other bands. His rivalry with Puerto Rican bandleader Tito Rodríguez was especially intense.

Puente recorded over 50 albums in the course of his career, of which Dance Mania in 1958 was one of the most acclaimed. Many of his compositions were covered by other artists, including Carlos Santana, whose Latin rock versions of Oye Como Va and Para Los Rumberos, both Puente originals, helped catapult him to fame in the early 1970s.

In 1979 Puente received the first of five Grammy Awards. Even as the fashion in Latin music changed from mambo to salsa to Latin jazz, Puente remained a towering figure and a profound influence on generations of percussionists and bandleaders. --- americansabor.org

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1	Introduction By Jimmy Lyons	0:19
2	Para Los Rumberos 	5:58
3	Oye Como Va 	5:59			play
4	Babarabatiri	8:41
5	Delirio		9:33
6	Tito's Odyssey	7:22
7	Don't You Worry 'Bout a Thing (Cha Cha Cha)	7:52
8	Pare Cochero	8:59
9	Rey del Timbal, El	4:57			play
10	Picadillo	2:42

Personnel:
Tito Puente (vibraphone, timbales); 
Frank Figueroa (vocals); 
Mauricio Smith (flute, alto saxophone, baritone saxophone); 
Albert Shikaly (tenor saxophone); 
Jimmy Frisura (trumpet, valve trombone); 
Paulo De Paula, Julio Rodriguez, Manuel Santos (trumpet); 
Richard Pullin (trombone); 
Paquito Pastor (piano);
Nilo Sierra (bass instrument); 
Mike Collazo (drums); 
Jose Madera (congas); 
Louis Baizo (bongos). 

Another in a series of Concord albums celebrating the Monterey Jazz Festival (previously: Brubeck, Tjader) presents the music of an American-born, but purely Latin music maestro, Tito Puente. It was recorded during his band's triumphant appearance at the 1977 festival, the first of many he would make at the storied venue through the years.

At the time, Puente was a respected, well-known Latin musician and bandleader, but had not yet started the string of chart-topping records and Grammy wins that would be coming his way. It could even be argued that Monterey helped make that happen, along with his equally successful shows at the Newport festival.

Puente was born in the Spanish Harlem section of New York City, the son of Puerto Rican immigrants, and was a child prodigy who learned to play a number of instruments at a virtuoso level. As he grew to adulthood and began to make his mark in Latin music, he leaned mostly to percussion - especially timbales - and during the many years he performed while leading his own band, his talent and his flamboyant style were always part of his recipe for success.

After the introductory track, the nine musical tracks on Live At The 1977 Monterey Jazz Festival include some of Puente's best songs, and first up is the tune that would later be one of his biggest sellers, "Para los Rumberos." It's a perfect opener to set the mood because it takes off running and doesn't stop.

He also performs "Oye Como Va," a piece perhaps more familiar when played by Santana, but hearing the composer's own version is a real treat. On another of his compositions, "Picadillo," he's joined onstage by Cal Tjader, playing vibes for a Latin legend he admired. But even though most of the tunes Puente performs here are his own, he doesn't stop there. He also includes a few surprises, among them a cha-cha version of Stevie Wonder's "Don't You Worry About A Thing," and "Babarabatiri," a classic Afro-Cuban inspired song that has been performed by many others, but none better than Puente.

Outstanding music from a beloved Latin musician. Highly recommended. --- blogcritics.org

The top NY salsa bands rarely traveled out of town at the beginning of the Salsa craze of the 1970's. The obvious place to go, and a real sign that the music was booming outside New York, was California. Willie Colon, Hector Lavoe, and Eddie Palmieri were the first to go. I was out there for that one, at the Hollywood Palladium one night and at a little Latin club the other night. What was the name? I remember that Palmieri didn't like the way the piano sounded and threatened to walk.

Getting back to this CD, this hidden gem was not released (that I know of) when it was recorded, but hey, who cares! We have it now! An energetic if not frenetic Tito Puente meets and greets his California audience, and this might have been his first big gig out West! The band is great, but as with most old live outdoor recordings, it's gone with the wind.

For a great Puente live recording listen to LIVE AT BIRDLAND from 1999. You won't believe this thing.

But this 1977 Puente live recording is still a nice historical item. I am sure the guys in the band had the time of their lives in that California sun. --- Juan N. Montenegro, amazon.com Tito Puente was a percussionist, bandleader, and composer whose music and style bridged modern jazz and mambo, Afro-Cuban and 1970's rock, and got lots of generations dancing in the process. Puente also influenced the rock band Santana, as well as many others both in and beyond the Latin sound. 1977 MONTEREY is a previously unreleased concert recording of Puente's big band tearing it up in front of a wildly appreciative audience. Throughout, Puente lights a fire under both the band and the crowd with his crackling timbales and vibraphone. In addition, vibes legend Cal Tjader joins in for one song. ---cduniverse

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1. Eléquana 	
2. Bragada 
3. Obatalá Yeza 	
4. Alaumba Chemaché 	
5. Oguere Madeo 
6. Obaricoso			play
7. Four by Two, Pt. 1 
8. Conga Alegre 	
9. Ti Mon Bo 	
10. Mon-Ti 	
11. Hot Timbales 	
12. El Cayuco 	
13. Complicación 	
14. Mambo Gozón			play
15. Saca Tu Mujer 
16. Liego Mijan 	
17. Agua Limpia Todo 	
18. Cuando Te Vea 	
19. Mi Chiquita Quiere Bembe 	
20. 3-D Mambo 	
21. Varsity Drag 
22. Hong Kong Mambo 
23. Estoy Siempre Junto a Ti

Performers:
    Bernie Glow - Trumpet
    Frank Lo Pinto - Trumpet
    Gene Rapett - Trumpet
    Jerry Sanfino - Saxophone
    Larry Moser - Trumpet
    Marcelino - Vocals
    Mongo Santamaria - Drums
    Otto Bolivar - Vocals
    Robert Rodriguez - Bass
    Shepp Pullman - Saxophone
    Tito Puente - Timbales, Vibraphone, Percussion
    Tony Buonpastore - Saxophone
    Vincent Frisaura - Trumpet
    William Correa - Drums

Tito Puente's recordings from the late '40s through the late '60s were truly influential on all of Latin music, but have long been hard to find. This reissue is certainly welcome, especially as Dance Mania is generally agreed upon as Puente's best. The 1958 is truly a masterpiece of big band mambo, and surely Puente never had a better band--an impressive statement when one considers how high the quality of Puente's bands has always been. Long a cornerstone of any good Latin collection, the remastering job was also done carefully, with percolating percussion, and stemware-shattering high trumpets. ---Skip Heller

In 1994, Bear Family released Top Percussion/Dance Mania on one compact disc, which contained two complete albums originally released on RCA -- Top Percussion (1957), and Dance Mania (1958) -- by Latin bandleader and percussionist Tito Puente. ---Tim Sendra, amazon.com

Two LPs on One CD. The mambo has become fashionable again, but for Tito Puente it never went out of fashion. In 1957 he cut two stellar albums for RCA, but just how good they were didn't become obvious until the advent of the CD. The full, rich sound on these LPs is nothing short of astonishing. This is mambo at its most ecstatic: blasting brass, sensual saxes, and that irresistible Afro-Cuban rhythm section led by Tito, Ray Baretto and Mongo Santamaria. This set contains 23 titles, including 3-D Mambo, Mambo Gozon, Conga Alegre, Hot Timbales.... etc. Ay! Ay! Ay! ---Editorial Reviews

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1 	La Última Copa	5:09
2 	Muddy's Club Blues In Weinheim	3:24
3 	Cielito Lindo, La Negra Mariachi Medley	5:03
4 	Marchando Bien	4:14
5 	Picadillo Jam	5:17
6 	El Puente Mundial	5:50
7 	El Beso	6:25
8 	El Bochinche	4:19
9 	Enseñame Tú, Piensalo Bien Bolero Medley	6:45
10 	Paris Mambo	4:12
11 	Yambu Pa' Inglaterra	3:56
12 	Itutu Aché	7:59

Acoustic Bass [Guitarón] – Ramón Ponce Jr.
Acoustic Guitar [Vihuela] – Karlo Magno
Backing Vocals – Hermán Olivera, Kevin Ceballo, Nestor Sánchez
Bass – Bernie Miñoso, Joe Santiago
Bata, Chanter – Milton Cardona
Bongos – Johnny Rodriguez
Bongos, Bata – Javier Oquendo
Castanets [Castonettes] – Luisito Quintero
Conductor – Eddie Palmieri, Ray Santos, Tito Puente
Congas – George Delgado, Johnny Rodriguez, José Claussell
Congas, Bata – Pali Mejias
Drums – Phoenix Rivera 
Maracas, Claves – Herman Olivera
Other [Bandiñon] – Héctor Del Curto
Piano – Eddie Palmieri, Sonny Bravo
Producer – Eddie Palmieri, Tito Puente
Saxophone – Dioris Rivera, Enrique Fernández, Ivan Rentas, Mario Rivera,
 Mitch Frohman, Paquito D'Rivera, Pete Miranda, Pete Yellin, Phil Vieux
Timbales – José Claussell, José Madera
Timbales, Other [Vibes] – Tito Puente
Tres – Nelson González
Trombone – Chris Washburne, Conrad Herwig, Lewis Kahn, Reynaldo Jorge
Trumpet – David "Piro" Rodriguez, John Walsh, Nelson Jaime, Ray Vega, Tony Lujan
Violin – Francisco Rios, Leonardo Rios, Mario Mota 
+
Lead Vocals [Featuring] – Herman Olivera (1,8,9,11)
Lead Vocals [Featuring] – Jerry Medina (2,6,8,12)
Lead Vocals [Featuring] – Oscar D'Leon (3,10)
Lead Vocals [Featuring] – Pete "El Conde" Rodriguez (4)
Lead Vocals [Featuring] – Frankie Morales (6)
Lead Vocals [Featuring] – Michael Stuart (7,8,9)

For anyone wondering when the two most luminary voices in New York Latin jazz would finally join forces, even if for just a moment, the 2000 release of Masterpiece/Obra Maestra is the answer. A collaboration between big-band Latino king Tito Puente and salsa/jazz great Eddie Palmieri is the stuff that clave dreams are made of. Both taking turns as writing/conductor/performer, Palmieri and Puente affect each other's artistry in an infinitely satisfying way. Puente fans will delight in the addition of salsa-driven choro and sonero, unquestionably the handiwork of his counterpart. Palmieri enthusiasts will certainly notice and appreciate the indisputably Puente-penned sexy horn lines and band sound. Who but the mighty RMM label could have either conceived or produced such promising pursuit? Like a modern-day Fania, RMM can be credited with some of the most innovative and impacting projects of its time. The band sound is rich and sultry, featuring both the unmistakable virtuosity of Palmieri's solo work and the incendiary fury of Puente, the undisputed timbal master. If there is one flaw to be found in Masterpiece/Obra Maestra, it is that it was not followed up with dozens of more joint ventures from these towering musical giants. ---Evan C. Gutierrez, AllMusic Review

Una sesión de dos mitos del jazz latino y la salsa. Cinco Grammys para Palmieri y cinco para Puente. Candidata, más que probable, al sexto Grammy para cada uno de los autores. Y la muerte del "Rey del timbal" en pleno lanzamiento del CD, convierten a Obra maestra de Tito Puente y Eddie Palmieri en el disco más esperado en mucho tiempo.

El comentario en el folleto informativo del CD, del poeta Felipe Luciano, quien recitaba a los presos nuyorricans en los dos discos de Palmieri grabados en directo en la cárcel de Sing Sing, recuerda que entre los dos directores hay una generación de por medio, pero los dos nacieron y vivieron a dos cuadras de distancia entre si, Puente en la 112 y Palmieri en la 110, en pleno "Barrio” de Harlem.

Sin embargo, es con este disco donde, por primera vez, trabajan en un proyecto conjunto. Palmieri se mete de lleno en el mambo acompañando a Tito. Y es que el disco está lleno de mambos, tiene pocos solos, en todo caso breves. Las piezas se sienten cortas, tal vez por la expectativa o por la espera de poderosas descargas. Pero los arreglos son inteligentes y complejos. ¡Qué bueno oír arreglos de Puente con Big Bands..! ¡y de Palmieri también!

Invitaron a tres cantantes representativos de la vanguardia, Jerry Medina, Herman Olivera y Frankie Morales, y, a tal vez el mejor sonero en vida, que hace el puente entre la salsa brava de ayer y de hoy, Oscar D'León.

Arranca la orquesta sonando como bandoneón con el tango La última copa, con arreglo orquestal al mejor estilo Palmieri, cuando llega el montuno se montan unos saxos en la onda de Puente, le siguen moñas palmerianas con trombón, que hacen sentir al pianista. Lo canta Herman Oliveras, un vocalista de la vanguardia de la salsa de hoy, quien también canta en Yambú pa' Inglaterra. Este sonero se siente cómodo con Palmieri. Más descarga, tremenda salsa.

Un medley mariachi, cantado por D'León, arreglado por Ray Santos jugando con la ranchera (incluido el Mariachi Real de México), sobre el cual el ex cantante de la Dimensión Latina se inspira y logra mantener la expectativa, a pesar del difícil compromiso. Como dato curioso, en esta pieza, Paquito D'Rivera, habitualmente alejado de participar como uno más de la orquesta por su fructífera carrera como solista, es el primer saxo alto de la Orquesta. "Me llamó Mario Rivera", dice Paquito D'Rivera. "Necesitaban un primer saxo alto. No habían querido hacerlo porque pensaban que cobraría mucho, pero, me gustó la idea de compartir con los músicos y que me pagaran lo que tenían presupuestado. Me tocó participar en la última grabación de Tito"

Otro mambo compuesto por Palmieri y Francisco Aguabella arreglado por Puente con Pete Conde Rodríguez soneando exitoso, determina otro abrazo entre los dos líderes. El percusionista Aguabella, ha tocado con los dos músicos y se siente cercano a ambos proyectos musicales, con lo que el tema luce muy coherente. Picadillo el clásico de Puente, convertido, sirve además para que los dos protagonistas se diviertan solitos en el mejor momento del CD, Puente con su timbal, repitiendo la lentitud y los silencios del piano de Palmieri. ¡Ay mamá!

El beso del repertorio popular español, completa la revista musical internacional del CD, cuadrado para el Caribe. Aquí Palmieri sí se expande con las blancas y las negras.

En París Mambo, escrito en la mejor tradición de Palmieri, fuerte bravo y agresivo, Oscar D'León canta uno de los más sabrosos temas del disco. Y nacen las ganas de que hagan un álbum juntos.

Termina el CD marcado por los tambores bata, con el ceremonioso Milton Cardona y cuando llega el mambo, Jerry Medina hace con su voz lo que le da la gana. El piano y el timbal descargan como Dios manda, llegando a las alturas que ellos pusieron como límite.

Escuché el CD con tensión, porque siempre que se crea un expectativa tan grande por un disco del que se espera mucho, hay temor, porque ejemplos de fracasos o mediatintas hay muchos.

Sin hacer ninguna concesión, no puede esperarse novedad en este CD. No es un disco que marca un antes y un después; no revoluciona la música; ya ellos inventaron bastante. Lo que sí, y esto está logrado, los lenguajes de los dos líderes se estrechan las manos siendo la mayor virtud del álbum. Se trata de un feliz encuentro; el que todos siempre deseamos. En todo caso, el resultado se discute entre cervezas, en el bar y se puede comprobar en la pista de baile, porque hay material para ello, y del bueno. Un disco infaltable en la historia de estos músicos de grueso calibre. ---Xariell Sarabia, anapapaya.com

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