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Strona Główna Muzyka Latynoska, Francuska, Włoska Tito Puente Tito Puente & His Orchestra - Dance Mania. Volume 1 (1958)

Tito Puente & His Orchestra - Dance Mania. Volume 1 (1958)

Wtorek, 13 Sierpień 2013 15:27 | Wpisany przez bluelover | PDF Drukuj
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Tito Puente & His Orchestra - Dance Mania. Volume 1 (1958)

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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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