Award-winning pianist and composer Eddie Palmieri, who’s one of the greatest names in Latin jazz, showcases his wide-ranging musical talent on Sabiduría (wisdom in Spanish). Along with his band of Latin music masters, Palmieri has invited an impressive cast of jazz musicians to perform on his album.
This is not a smooth Latin jazz album. While there is certainly a rich Afro-Cuban and Puerto Rican rhythmic and melodic foundation, Sabiduría presents plenty of jazz improvisation.
The album opens with a strong Cuban flavor, highlighting acclaimed Cuban violinist Alfredo de la Fe on “Cuerdas y Tumbao” and the Afro-Cuban batá drums of Xavier Rivera and Camilo Molina on “Wise Bata Blues.”
On the title track “Sabiduria” Palmieri keeps the Caribbean Latin rhythm section, but this time he ventures into fiery funk jazz featuring stellar work by bassist Marcus Miller and guitarist David Spinozza.
“La Cancha” is a mambo where Palmieri treats the listener to superb interplay between Joe Locke’s vibraphone and Alfredo de la Fe’s violin.
The Caribbean connection is always present in New Orleans. On “Augustine Parish” the saxophone takes the lead, featuring New Orleans horn player Donald Harrison.
Eddie Palmieri takes a break from the full ensemble format, delivering a mesmerizing solo piano performance titled “Life.”
“Samba Do Suenho” introduces Brazilian rhythms into the mix. Locke is back with his exquisite vibraphone, dancing with the piano and bass.
On “Spinal Volt” Palmieri returns to the Afro-Cuban theme with a Latin jazz orchestra showcasing percussion, horns and Palmieri’s incomparable piano.
“The Uprising” celebrates New Orleans carnival tradition with Mardi Gras Indians vocals, wild horn solos and the fabulous rhythm section.
On the Afro-Cuban composition “Coast To Coast,” Ronnie Cuber delivers an extended baritone saxophone solo, followed by Luques Curtis’ excellent bass solo.
“Locked In” highlights interaction between the piano, vibraphone and bass.
The last piece, “Jibarita y su son” has mysterious feel, starting with electronic keyboards, bass and layers of drums that leads into more familiar territory, with Palmieri mixing classical and Latin piano, presenting a tasty danzón.
The album lineup includes on Eddie Palmieri on piano; Joe Locke on vibraphone; Anthony Carrillo on bongos, cowbell; Little Johnny Rivero on conga; Luis Quintero on timbales; Luques Curtis on bass; Obed Calvaire on drums; Iwao Sado on batá drums; Bernard Purdie on drums; Ronnie Cuber on saxophone; Donald Harrison on saxophone, vocals; Alfredo de la Fe on violin; Marcus Miller on bass; David Spinozza on electric guitar; Camilo Molina on drums, batá drums, timbales; Xavier Rivera on batá drums; Jonathan Walsh on trumpet; Jeremy Powell on saxophone; Jonathan Powell on trumpet; and Louis Fouche on saxophone.
Bandleader Oquendo was a veteran of the days when Latin bands crowded into a studio to polish off a recording in an all-night session. “The first recording (singer) Tito Rodriguez did we took the 7th Avenue train to record for SMC label,” Oquendo recalled. “Tito Puente did the arrangements. You recorded on monaural with just a few mikes. You couldn’t stop and overdub. You just played.”
Oquendo’s musical education consisted of the old-school,just play” approach and he was in the right place to learn. He grew up on Kelly Street in the Bronx New York not far from the great Cuban tres player Arsenio Rodriguez. Colin Powell who’d later become a general lived on the block too so did pianist Noro Morales. And a lot of kids who’d later make their names in Latin music such as Joe Cuba the Palmieri brothers Little Ray Romero grew up playing stickball on Kelly Street.
One floor down from the Oquendo apartment was the Almacenes Hernandez record shop. “There was music constantly coming out of that store and that was my education,” Oquendo recalled. He became an expert on Cuban rhythms and began playing bongo and timbales with a succession of New York’s top bands.
Manny Oquendo died on March 25, 2009
Increible (1981. Reissued by Sony Discos Inc. 8397 2000)
Puerto Rican-American Multi-instrumentalist Jerry Gonzalez (congas/flugelhorn/trumpet) leads The Fort Apache Band, one of the most influential modern Afro-Caribbean Jazz Group of the past years. The group blends complex Latin rhythms with impeccable jazz improvisations.
Jerry Gonzalez’s first High profile professional engagement came at the age of 19 in 1971 with Dizzy Gillespie. Since then he has worked with masters from the jazz and Latin music fields such as: Kenny Dorham Tony Williams McCoy Tyner Jaco Pastorius Tito Puente Eddie Palmieri and Manny Oquendo y Libre. Jerry Gonzalez’ first session as a leader came in 198 with the critically acclaimed recording of Ya Yo Me Curé on the American Clave’ label. Following the success of Ya Yo Me Curé, The Fort Apache Band was formed and included such members as Kenny Kirkland, Sonny Fortune, Nicky Marrero, Papo Vazquez, the late Jorge Dalto and Milton Cardona. The ensemble’s first two albums were recorded live at European jazz festivals The River is Deep 1982 in Berlin: Obatala 1988 in Zurich.
In 1989 Fort Apache recorded the groundbreaking Rumba Para Monk as a quintet featuring: Jerry Gonzalez (trumpet flugelhorn congas), Andy Gonzalez (bass), Steve Berrios (drums), Larry Willis (piano) and Carter Jefferson (tenor saxophone). Rumba Para Monk was named album of the year by the French Academe du Jazz and resulted in the group being voted The Word Beat Group of the year in Downbeat’s 55th annual Readers Poll. It is this recording that has been cited as leading the resurgence in Afro-Caribbean Jazz in the past decade.
The group became a sextet with the addition of Joe Ford (alto & soprano saxophone) for 1991’s Earthdance (Sunnyside) and 1992’s Moliendo Cafe (Sunnyside). Following the death of Carter Jefferson, former Fort Apache member John Stubblefield returned to the band on tenor sax to record Crossroads (Milestone). The ensemble’s 1995 recording Pensativo (Milestone) also received a Grammy nomination. On the heals of the Grammy nominations for Crossroads and Pensativo the ensemble was awarded The Beyond Group of the Year by both Downbeat Magazines reader’s and critic’s polls in 1995 and 1996.
Firedance (Milestone) was recorded in February 1996 at Blues Alley in Washington DC and is the first live recording of the ensemble as a Sextet. Following this fiery recording the ensemble won the award of Best Jazz Group in Playboy Magazines Readers Poll for 1997. In 1998 the ensemble swept the Latin Jazz category at the New York Jazz Awards winning both the Industry and Journalist Polls. In 1999 the group swept the critics and readers polls for Beyond Group of The Year in Downbeat Magazine.
In 2000 Gonzalez moved from New York to Madrid. The Spanish capital, a cultural melting pot full of Flamenco musicians as well as Cuban Argentine Brazilian Equatorial Guinean Sudanese and many other expatriates welcomed the Newyorican musician with open arms and he quickly joined the bustling Flamenco and jazz scene.
In 2001 Jerry Gonzalez and the Fort Apache Band were prominently featured in Fernando Trueba’s film on Latin Jazz Calle 54 (Miramax). This film received critical acclaim throughout the world and was followed by a series of concerts promoting the film including an engagement at The Beacon Theatre in New York City. The Soundtrack Calle 54 – Music From The Miramax Motion Picture is available on Blue Note Records.
The collaboration with Fernando Trueba also resulted in the production of a new CD Jerry Gonzalez y Los Pirates Del Flamenco featuring Jerry Gonzalez along with a Gypsy Flamenco group that includes the esteemed Flamenco singer “El Cigala.”
Bronx-born Bobby Matos has been playing Afro-Cuban rhythms for many years. He was there, in New York, when the Salsa boom was about to start and take over the minds and souls of a generation that was craving for a musical revolution that would bring them pride and happiness.
Born in a Puerto Rican family, Bobby Matos began playing music playing pots and pans in his grandmother’s apartment and went on to backstage informal lessons with conga drum masters Patato Valdés and Mongo Santamaria.
His first gigs were in the early 6s beat bohemian Greenwich Village Cafes, but he soon found himself playing in every type of venue; from Bronx dance halls to Carnegie Hall, to elegant supper clubs, Central Park Concerts, Off Broadway theaters, and After Hours clubs in El Barrio.
He was inspired and encouraged to play timbales by Willie Bobo and Tito Puente, and in the late 1960s attended the New School and Manhattan School of Music studying composition and arranging. Around this exciting time for Latin Music in New York, he recorded My Latin Soul, in 1968. This recording eventually became a much prized cult classic influencing many 197s and 8s Acid Jazz groups on both sides of the Atlantic.
After touring and recording with artists like Ben Vereen, Bette Midler, Fred Neil, Jim Croce, Ray Rivera, Joe Loco, Miriam Makeeba, and many others, Bobby moved to Los Angeles where he began experimenting with an Afro-Cuban Jazz band where he could blend (and twist) musical elements from Miles Davis, John Coltrane, Tito Puente, Mongo Santamaria, Wayne Shorter, Eddie Palmieri, and the rich legacy of Afro-Cuban music.
In the 1980s and 90s, he recorded several albums, most notably 5 critically acclaimed CDs for Ubiquity Records’ Cubop label. He also produced CDs for Ray Armando, Pucho and the Latin Soul Brothers, Dave Pike, John Santos, and Jack Costanzo.
Bio Ritmo (Biorhythm) is a remarkable Richmond, Virginia-based salsa band led by keyboardist Marlysse Simmons. Bio Ritmo’s sound is rooted in the great Afro-Cuban and Puerto Rican salsa traditions.
It is their vision for bringing salsa “into the now” through skillful layering of jazz, urban, electronic and global sonic influences while maintaining the integrity of their foundation; and unusually profound and introspective lyrics.
Mari Nobre – “Live and Alive” (Chrome Records, 2017)
Italian-American vocalist Mari Nobre (maiden name Mariangela Spiezia) recorded this album live at the Jan Popper Theatre at UCLA (California). Although some of her past albums have focused on rhythms from across Latin America and pop, on “Live and Alive” she performs new Latin Jazz arrangements of American jazz standards as well as Brazilian classics by Antonio Carlos Jobim.
Her band features a multi-ethnic roster that provides a jazz flavor and colorful Brazilian influences.
Mari Nobre recorded this album just three weeks after her surgery, recovering from cancer. Mari Nobre has indicated that music had a strong effect in healing her so she’s donating part of the sales from the album to the children’s cancer research.
The lineup on “Live and Alive” includes Mari Nobre on vocals; Leo Nobre on bass; Justo Almario on saxophone and flute; Angelo Metz on acoustic and electric guitar; Sandro Feliciano on drums; and Daniel Szabo on piano.
“Live and Alive” is a passionate album by the talented multilingual vocalist Mari Nobre.
Yomo Toro, a cultural icon for 50 years, was one of Latin music’s most beloved musicians. Victor Guillermo Toro was born on July 26, 1933 in the Guarnica province of Puerto Rico in Ensenada, where a statue of him now stands in the town square.
He began learning cuatro with his father and during his teens performed with many popular and folkloric groups. He moved to New York in 1956, and throughout the ’60s played with such groups as Ramito and Los Panchos.
From the late ’60s through the mid-’70s he hosted a TV show on Channel 41. In 1970, he joined Willie Colon and Hector Lavoe in recording the classic Asalto Navideño, a groundbreaking album that combined New York salsa with traditional Puerto Rican Christmas music and became one of the best-selling salsa albums of all time.
He was a member of the famed Fania All-Stars, which included such artists as Willie Colon, Hector Lavoe, Johnny Pacheco, Bobby Valentin, Roberto Roena, Ray Barretto, Larry Harlow, Cheo Feliciano, and Ismael Miranda, and toured with the band throughout the world.
He appeared on more than 150 albums, including over 20 solo albums for Fania, Island, Rounder and Green Linnet Records. He has recorded with such stars as Harry Belafonte, Paul Simon, Linda Ronstadt, David Byrne, and Marc Anthony, made several cross-cultural albums, and worked on the soundtracks of Woody Allen’s Bananas and Crossover Dreams.
In his last years he performed with Larry Harlow and the Latin Legends Band and appeared in the off-Broadway show Sofrito! In addition to performing, he was an accomplished songwriter, particularly of romantic ballads.
In 2012, several press releases came out in June, confirming that Yomo Toro was severely ill, suffering from kidney failure due to many years of high blood pressure.
Yomo Toro died on Saturday, June 30, 2012 at 11:40 pm after more than a month in a New York hospital due to kidney failure.
Trombone player, composer and bandleader Willie Colón is one of the pioneers of modern salsa and Latin jazz.
Colón holds fifteen gold and five platinum records, and has collaborated with celebrated artists such as Fania All-Stars, Hector LaVoe, Rubén Blades, David Byrne, Celia Cruz, and Yomo Toro amongst others. His music, which powerfully influenced modern Latin jazz, reflects both rhythmic and traditional lyrics.
His achievements in all his activities are widely recognized. He has created 40 productions, and as musician, composer, arranger, singer, and trombonist, as well as producer and director, Colón still holds the all time record for worldwide sales.
Born William Anthony Colón on April 28, 1950 in the Bronx, New York, and raised by his grandmother, her strong beliefs and personality, powerfully influenced his devotion to his cultural roots. Colón started playing trumpet at the age of 12, and switched to trombone two years later.
Colón’s album “El Malo” has become known as one of the first albums to feature the “New York Sound”, blending in jazz harmonies and jazz style soloing, Colón along with pianist and bandleader Eddie Palmieri, largely defined the sound of salsa”.
As a community leader, he has won both local affection and national recognition. In 1991 he was awarded the Yale University’s CHUBB fellowship, a political recognition he shares with the late John F. Kennedy, Jesse Jackson, Moshe Dyane, Ronald Reagan, and George Bush to mention a few.
In November of 1999 he became Dr. William A. Colón through a doctorate he received from Hartford, Connecticut’s Trinity College for The Art of Courage, a recognition given to artists who have used their art to make political change.
Through his work and positive message he has developed into a national and internationally respected sociopolitical voice and artist.
* Guisando (Fania, 1969)
* Asalto Navideño (Fania SLPF399, 1972)
* The Big Break (Fania SLP394, 1976)
* Siembra (Fania, 1978)
* Solo (Fania, 1980)
* Canciones del Solar de los Aburridos (Fania, 1983)
* Top Secrets (Fania, 1989)
* Illegal Aliens (Fania, 1990)
* Color Americano (CBS, 1990)
* Honra y Cultura (CBS, 1991)
* El Malo (Fania, 1991)
* 49 Minutes (Fania JM00525, 1992)
* Altos Secretos (Fania, 1992)
* Corazón Guerrero (Fania, 1992)
* Deja Vu (Fania, 1992)
* El Baquine de Angelitos Negros (Fania JMCD00506, 1992)
* Last Fight (Fania, 1992)
* The Best (Sony, 1992)
* Grandes Éxitos (Fania, 1992)
* Super Éxitos (Fania, 1992)
* Hecho en Puerto Rico (Fania, 1993)
* Willie & Tito (Vaya, 1993)
* Best, Vol. 2 (Sony, 1994)
* Lo Mato (Fania, 1994)
* El Juicio (Fania LPCD00424, 1994)
* Trans la Tornenta (Sony, 1995)
* Brillantes (Sony, 1996)
* Fania All-Stars (Sony, 1997)
* Mi Gran Amor (Madacy, 1999)
* Idilio (Sony Tropical 83999, 2000)
* Best (Fania 689, 2000)
* Demasiado Corazón (Líderes Entertainment Group 950 036, 2000)
* Criollo (BMG Latin 93611, 2002)
* La Experiencia (2004)
* Colección de Oro (2005)
* OG: Original Gangster (2006)
* The Player (2007)
* La Historia: The Hit List (2007)
* El Malo Vol II: Prisioneros del Mambo (2008)
* Asalto Navideño Live/En Vivo (2008)
* La Esencia de la Fania (2008)
* Historia de la Salsa (2010)
* Selecciones Fania (2011)
* Serie Premium: Sólo Éxitos (2013)
Tito Puente was born Ernest Anthony Puente, Jr. on April 20, 1923 in New York City. His parents had just arrived from their native Puerto Rico and young Tito was nurtured in East Harlem’s “El Barrio” neighborhood that served as a cultural crossroads for Hispanic youth.
Surrounded by the urban sophistication of one of the world’s most cosmopolitan cities, Puente and his friends were none-the-less strongly influenced by an island culture that maintained its love of tropical music and the mother tongue.
Puente’s father, Ernest Sr., was a foreman in a razor blade factory. His mother called her son “Ernestito”, Little Ernest, then shortened the name to Tito. “Ernestito” grew up with one ear tuned to boleros and rumbas while the other one strained to hear the great swing bands of the day and an emerging jazz tradition.
Puente’s mother noticed his musical talent and enrolled him in a piano class at 7. He studied drums for years before switching to timbales. His musical education began with twenty five cent piano lessons, followed by a study of the drum set.
Singing with a local barbershop quartet followed, as did dancing lessons. With his younger sister Anna, Puente performed in a child song and dance team in the early 1930’s. “I pride myself on being one of the few band leaders who really knows how to dance,” he said. The background in dance cemented his sense of rhythm. It also encouraged the development of the extroverted personality and flamboyant stage presence, for which he would soon be known, traits that helped lift him from the ranks of sidemen to star status by the late 1940s.
It was clear from an early age that percussion would become Puente’s dominant form of musical communication. He learned the basics from the Afro-Cuban drummer of a band called Los Happy Boys. His first big break came when the United States of America entered World War II and the regular drummer of Machito’s famous big band was drafted into military service, allowing Puente to take his place.
Tito’s skill and technical competency paid off right away. For perhaps the first time in Latin music history, the timbales were brought to the front of the bandstand, and Puente played the drums standing, not seated, as it had been the custom. That simple change of routine liberated the rhythm section and opened the door for the flashy style of performance that in time would become the norm.
Puente spent three years in the U.S. Navy during World War II. He returned to Manhattan (New York City) and studied conducting, orchestration and theory at the famous Julliard School of Music from 1945 to 1947 thanks to the G.I. Bill (a bill that provided college or vocational education for returning World War II veterans, who were referred to as GIs).
Prolific as he was famous, Tito Puente’s hit records and compositions became classic gems to Latin music aficionados. ‘Oye Como Va’ and ‘Para Los Rumberos’ have been recorded by the rock music legend, Carlos Santana. His albums Top Percussion, Dance Mania, Puente in Percussion, Cuban Carnival, El Rey and El Número Cien are essentials on any collectors list.
Throughout his illustrious career Tito Puente was awarded 5 Grammies as well as 8 nominations. In addition, Puente received a Presidential Commendation for his tour of duty in World War II, the Eubie Blake Award from the National Academy of Arts and Sciences, the ASCAP Founders Award and the Washington D.C.’s Hispanic Heritage Committee Award for the Arts.
Puente had the honor of performing for 4 Presidents of the United States and countless foreign heads of state. In July 1996, Tito performed before the largest gathering in history of the International Summer Olympic Games in Atlanta, Georgia.
Puente has a “Star” on the Hollywood Walk of Fame and four honorary doctorate degrees, one from each of the following: State University of New York at Old Westbury, Long Island University, Bloomfield College in New Jersey and Hunter College in New York City. The Caribbean division of the United States Postal Service put out a cancellation stamp in honor of Puente in response to requests made by the Unión De Músicos De Puerto Rico.
The Smithsonian National Museum presented Tito Puente with the Medal of Honor and their Lifetime Achievement Award in a ceremony entitled “Oye Como Va” on October 9, 1996. During this ceremony, Tito donated the timbal he used at the 1996 Olympic Summer Games in Atlanta to the museum. His instrument is displayed with their collection of Cultural History.
On September 29, 1997, Puente was awarded the Medal of the Arts by the National Endowment For The Arts of the United States of America. This ceremony took place at the White House where President Bill Clinton and First Lady Hillary Clinton presented this prestigious award to the “King of Latin Music.” Jane Alexander, Chairperson of the National Endowment For The Arts, said: “The individuals we honor today, have enlightened us with their vision. They have uplifted us with their art, music, dance, and theater, and strengthened America with their extraordinary contributions to our culture.”
On November 20, 1997 Tito Puente was inducted into the International Jazz Hall of Fame. Among the elite inducted during the ceremony were: Nat King Cole, Miles Davis, Ray Charles, and Anita O’Day.
To the general public, Tito Puente was well known for his various television and motion picture appearances. He was featured on television programs like: The Bill Cosby Show, The Simpsons, The Late Show with David Letterman, New York Undercover and Sesame Street. He also appeared in the feature film based on the award winning novel by Oscar Hijuelos, “The Mambo Kings” and in Woody Allen’s “Radio Days.”
After reaching his 50 year career milestone, which was rewarded with proclamations from New York Governor George Pataki, Mayor Rudolph Giulianni and Borough President Ruth Messinger, and achieving an endless list of recognitions and awards, Tito Puente showed no signs of creative fatigue.
Puente’s last concert appearance was in Puerto Rico, on April 29, 2000, completing the last of his series of performances with Puerto Rico’s Orquesta Sinfónica. After finishing that show, he was rushed to a nearby hospital due to breathing problems. Puente left the hospital and returned to New York to continue his treatment. He died May 31st, 2000.
* Abaniquito (1949)
* El Timbral (1949)
* The Best of Tito Puente: El Rey del Timbal! (1949)
* Babarabatiri (1951)
* Mamborama! (Tico LP-1001, 1955)
* Goza Mi Cha Cha Cha (1955)
* Dance the Cha Cha Cha (1955)
* Cuban Carnival (1955)
* Cha Cha Cha, Vol. 3 (1955)
* Puente in Percussion (1956)
* Puente Goes Jazz (1956)
* Top Percussion (RCA Victor LSP-1617, 1957)
* Night Beat (1957)
* with Puente (1957)
* Basic Cha Cha Cha (1957)
* Tito Puente Swings/Vicentico Valdes Sings (1958)
* Puente’s Beat/Herman’s Heat (1958)
* New Cha Cha/Mambo Herd (1958)
* Dance Mania, Vol. 1 (RCA, 1958)
* Cha Cha Cha at the El Morocco (Tico, 1958)
* Puente in Love (1959)
* Mucho Cha Cha (RCA Victor LSP-2113, 1959)
* Mambo with Me (Tico LP-1003, 1959)
* Dancing Under Latin Skies (RCA Victor LSP-1874, 1959)
* Tambo (1960)
* Revolving Bandstand (1960)
* The Exciting Tito Puente Band in Hollywood(1961)
* Pachanga con Puente (1961)
* Dance Mania, Vol. 2 (1961)
* Vaya Puente (1962)
* Tito Puente y Parece Bobo (1963)
* Tito Puente Bailables (1963)
* More Dance Mania (1963)
* In Puerto Rico (1963)
* Excitante Ritmos (1963)
* El Rey Bravo (1963)
* Mucho Puente (RCA Victor LSP-1479, 1964)
* Latin World of Tito Puente (1964)
* El Mundo Latino de Tito Puente (1964)
* De Mi Para Ti (1964)
* Tú Y Yo (1965)
* Tito Puente Swings/The Exciting Lupe Sings (1965)
* The Best of Tito Puente (RCA, 1965)
* Homenaje a Rafael Hernandez (1965)
* My Fair Lady Goes Latin (Roulette 25726 , 1965)
* Combinacion Perfecta (1966)
* Carnaval en Harlem (1966)
* Cuba y Puerto Rico Son (1966)
* What Now My Love (1967)
* El Rey y Yo (1967)
* 20th Anniversary (1967)
* The King (El Rey) (1968)
* Etc, Etc, Etc (1969)
* Tito Swings, The Exciting Lupe Sings (Tico, 1969)
* Tito Puente en el Puente (On the Bridge) (1969)
* Ti Mon Bo (1969)
* Quimbo Quimbumbia (1969)
* Mambos by Tito (Palladium PLP 121, 1969)
* Lo Mejor de Tito Puente (1969)
* Bossa Nova (Roulette 25193, 1969)
* Pa’lante! (1970)
* Presenta a Noraida (1971)
* En España (1971)
* Tito Puente and His Concert Orchestra (1972)
* Algo Especial Para Recordar (1972)
* Para Los Rumberos (1972)
* Grandes Exitos de Tito Puente (1975)
* Los Originales (1976)
* La Pareja (1978)
* Homenaje a Beny Moré (1978)
* The Legend (Tico, 1978)
* Homenaje a Beny, Vol. 2 (1979)
* Ce’ Magnifique (1981)
* The Concord Jazz Heritage Series (1982)
* Oye Como Va: The Dance Collection (1982)
* On Broadway (Concord Picante, 1982)
* Puente Now! The Exciting Tito Puente Band (1984)
* El Rey (1984)
* Mambo Diablo (1985)
* Hits Candentes (1985)
* Un Poco Loco (Concord Picante, 1987)
* Sensacion (1987)
* Salsa Meets Jazz (Concord Picante, 1988)
* Goza Mi Timbal (Jazzyvisions, 1989)
* Out of This World (1990)
* The Mambo King: His 100th Album (1991)
* Mambo of the Times (1991)
* The Best of Tito Puente, Vol. 1 (1992)
* No Hay Mejor (1992)
* Lo Mejor de 12 Exitos (1992)
* Live at the Village Gate (1992)
* Dance Mania 80’s (1992)
* Cuando Suenan Los Tambores (1992)
* Royal ‘T’ (1993)
* Nuevo Mambo (1993)
* Night Beat/Mucho Puente Plus (1993)
* More Spanish Songs That Mama Never Taught Me… (1993)
* Master Timbalero (1993)
* Mambo Gozon (1993)
* Blue Gardenia (1993)
* Top Percussion/Dance Mania (1994)
* Tito Puente’s Golden Latin Jazz All Stars (1994)
* Barbarabatiri (1994)
* The Best of Dance Mania (1994)
* Mambo Y Cha Cha Cha (1994)
* Mambo Beat: The Progressive Side of Tito… (1994)
* Cubarama (1994)
* 3 Grandes Orquestas E Interpretes de La… (1994)
* Yambeque: The Progressive Side of Tito Puente (1995)
* Tito’s Idea (1995)
* The Complete RCA Victor Revolving Bandstand… (1995)
* Tea for Two (1995)
* More Mambos on Broadway (1995)
* Mambos with Puente (1949-51) (1995)
* Mambo Mococo (1949-51) (1995)
* Jazzin (1995)
* Fiesta Con Puente (1995)
* Fania Legends of Salsa Collection, Vol. 3 (1995)
* 20 Mambos/Take Five (1995)
* The Very Best of Tito Puente & Vincentico.. (1996)
* Special Delivery (1996)
* El Rey del Timbal (1996)
* El Rey de la Salsa (1996)
* Cha Cha Chá: Live at Grossinger’s (RCA Victor LSP-2187, 1996)
* Jazz Latino, Vol. 4 (1997)
* Greatest Hits (1997)
* Percussion’s King (1997)
* Selection of Mambo & Cha Cha Cha (1997)
* 50 Years of Swing (1997)
* Tito Meets Machito: Mambo Kings (1997)
* Cha Cha Cha Rumba Beguine (1998)
* Dance Mania ’98: Live at Birdland (1998)
* The Very Best of Tito Puente (1998)
* Timbalero Tropical (1998)
* Yambeque (1998)
* Absolute Best (1999)
* Carnival (1999)
* Colección original (1999)
* Golden Latin Jazz All Stars: In Session (1999)
* Latin Flight (1999)
* Latin Kings (1999)
* Lo mejor de lo mejor (1999)
* Mambo Birdland (RMM, 1999)
* Rey (2000)
* His Vibes & Orchestra (2000)
* Cha Cha Cha for Lovers (2000)
* Homenaje a Beny Moré. Vol. 3 (2000)
* Dos ídolos. Su música (2000)
* Tito Puente y su Orquesta Mambo (2000)
* The Complete RCA Recordings. Vol. 1 (2000)
* The Best of the Concord Years (2000)
* Por fin (Finally) (2000)
* Party with Puente! (2000)
* Obra maestra (2000)
* Mambo Mambo (2000)
* Mambo King Meets the Queen of Salsa (2000)
* Latin Abstract (2000)
* Kings of Mambo (2000)
* Cha Cha Cha for Lovers (2000)
* The Legends Collection: Tito Puente & Celia Cruz (2001)
* The Complete RCA Recordings, Vol. 2 (2001)
* RCA Recordings (2001)
* Puente caliente (2001)
* The Best of the Concord Years, double CD (Concord Picante 4391, 2001)
* King of Mambo (2001)
* El Rey: Pa’lante! Straight! (2001)
* Cocktail Hour (2001)
* Selection. King of Mambo (2001)
* Herman Meets Puente (2001)
* Undisputed (2001)
* Fiesta (2002)
* Colección Diamante (2002)
* Tito Puente y Celia Cruz (2002)
* Live at the Playboy Jazz Festival (2002)
* King of Kings: The Very Best of Tito Puente (2002)
* Hot Timbales! (2002)
* Dr. Feelgood (2002)
* Carnaval de éxitos (2002)
* Caravan Mambo (2002)
* Tito’s Idea (Verve, 2005)
* We Love Salsa (2006)
* Tito Puente: When the Drums Are Dreaming
* Tito Puente’s Drumming With the Mambo King
* Tito Puente – King of Latin Music
* Tito Puente and the Making of Latin Music
* Recordando a Tito Puente
Duende is the self-titled debut album by a Latin jazz trio featuring three talented Seattle-based musicians. The project is led by keyboardist, composer and producer Alex Chadsey, who has a background in jazz and classical music, and salsa bands as well. Chadsey connected with Uzbek bassist Farko Dosumov and percussionist Jeff “Bongo” Busch.
The three musicians share a passion for Afro-Caribbean music and this shows in the band’s music that is a well-crafted combination of contemporary jazz and Latin American traditions. In addition to the Caribbean influences, the album also shows Brazilian rhythms and funk.
Duende Libre goes beyond the Americas too. Salif is a tribute to Malian world music star Salif Keita, which is a new direction for Chadsey that he’d like to explore further.
On Duende Libre, Alex Chadsey, Farko Dosumov and Jeff “Bongo” Busch deliver a richly textured set of Latin and African grooves and melodies under a jazz perspective.