Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis' emergence in the 1970s that Dizzy's style was successfully recreated.... [+] Read More

Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis' emergence in the 1970s that Dizzy's style was successfully recreated. Somehow, Gillespie could make any "wrong" note fit, and harmonically he was ahead of everyone in the 1940s, including Charlie Parker. Unlike Bird, Dizzy was an enthusiastic teacher who wrote down his musical innovations and was eager to explain them to the next generation, thereby insuring that bebop would eventually become the foundation of jazz.

Dizzy Gillespie was also one of the key founders of Afro-Cuban (or Latin) jazz, adding Chano Pozo's conga to his orchestra in 1947, and utilizing complex poly-rhythms early on. The leader of two of the finest big bands in jazz history, Gillespie differed from many in the bop generation by being a masterful showman who could make his music seem both accessible and fun to the audience. With his puffed-out cheeks, bent trumpet (which occurred by accident in the early '50s when a dancer tripped over his horn), and quick wit, Dizzy was a colorful figure to watch. A natural comedian, Gillespie was also a superb scat singer and occasionally played Latin percussion for the fun of it, but it was his trumpet playing and leadership abilities that made him into a jazz giant.

The youngest of nine children, John Birks Gillespie taught himself trombone and then switched to trumpet when he was 12. He grew up in poverty, won a scholarship to an agricultural school (Laurinburg Institute in North Carolina), and then in 1935 dropped out of school to look for work as a musician. Inspired and initially greatly influenced by Roy Eldridge, Gillespie (who soon gained the nickname of "Dizzy") joined Frankie Fairfax's band in Philadelphia. In 1937, he became a member of Teddy Hill's orchestra in a spot formerly filled by Eldridge. Dizzy made his recording debut on Hill's rendition of "King Porter Stomp" and during his short period with the band toured Europe. After freelancing for a year, Gillespie joined Cab Calloway's orchestra (1939-1941), recording frequently with the popular bandleader and taking many short solos that trace his development; "Pickin' the Cabbage" finds Dizzy starting to emerge from Eldridge's shadow. However, Calloway did not care for Gillespie's constant chance-taking, calling his solos "Chinese music." After an incident in 1941 when a spitball was mischievously thrown at Calloway (he accused Gillespie but the culprit was actually Jonah Jones), Dizzy was fired.

By then, Gillespie had already met Charlie Parker, who confirmed the validity of his musical search. During 1941-1943, Dizzy passed through many bands including those led by Ella Fitzgerald, Coleman Hawkins, Benny Carter, Charlie Barnet, Fess Williams, Les Hite, Claude Hopkins, Lucky Millinder (with whom he recorded in 1942), and even Duke Ellington (for four weeks). Gillespie also contributed several advanced arrangements to such bands as Benny Carter, Jimmy Dorsey, and Woody Herman; the latter advised him to give up his trumpet playing and stick to full-time arranging.

Dizzy ignored the advice, jammed at Minton's Playhouse and Monroe's Uptown House where he tried out his new ideas, and in late 1942 joined Earl Hines' big band. Charlie Parker was hired on tenor and the sadly unrecorded orchestra was the first orchestra to explore early bebop. By then, Gillespie had his style together and he wrote his most famous composition "A Night in Tunisia." When Hines' singer Billy Eckstine went on his own and formed a new bop big band, Diz and Bird (along with Sarah Vaughan) were among the members. Gillespie stayed long enough to record a few numbers with Eckstine in 1944 (most noticeably "Opus X" and "Blowing the Blues Away"). That year he also participated in a pair of Coleman Hawkins-led sessions that are often thought of as the first full-fledged bebop dates, highlighted by Dizzy's composition "Woody'n You."

1945 was the breakthrough year. Dizzy Gillespie, who had led earlier bands on 52nd Street, finally teamed up with Charlie Parker on records. Their recordings of such numbers as "Salt Peanuts," "'Shaw Nuff," "Groovin' High," and "Hot House" confused swing fans who had never heard the advanced music as it was evolving; and Dizzy's rendition of "I Can't Get Started" completely reworked the former Bunny Berigan hit. It would take two years for the often frantic but ultimately logical new style to start catching on as the mainstream of jazz. Gillespie led an unsuccessful big band in 1945 (a Southern tour finished it), and late in the year he traveled with Parker to the West Coast to play a lengthy gig at Billy Berg's club in L.A. Unfortunately, the audiences were not enthusiastic (other than local musicians) and Dizzy (without Parker) soon returned to New York.

The following year, Dizzy Gillespie put together a successful and influential orchestra which survived for nearly four memorable years. "Manteca" became a standard, the exciting "Things to Come" was futuristic, and "Cubana Be/Cubana Bop" featured Chano Pozo. With such sidemen as the future original members of the Modern Jazz Quartet (Milt Jackson, John Lewis, Ray Brown, and Kenny Clarke), James Moody, J.J. Johnson, Yusef Lateef, and even a young John Coltrane, Gillespie's big band was a breeding ground for the new music. Dizzy's beret, goatee, and "bop glasses" helped make him a symbol of the music and its most popular figure. During 1948-1949, nearly every former swing band was trying to play bop, and for a brief period the major record companies tried very hard to turn the music into a fad.

By 1950, the fad had ended and Gillespie was forced, due to economic pressures, to break up his groundbreaking orchestra. He had occasional (and always exciting) reunions with Charlie Parker (including a fabled Massey Hall concert in 1953) up until Bird's death in 1955, toured with Jazz at the Philharmonic (where he had opportunities to "battle" the combative Roy Eldridge), headed all-star recording sessions (using Stan Getz, Sonny Rollins, and Sonny Stitt on some dates), and led combos that for a time in 1951 also featured Coltrane and Milt Jackson. In 1956, Gillespie was authorized to form a big band and play a tour overseas sponsored by the State Department. It was so successful that more traveling followed, including extensive tours to the Near East, Europe, and South America, and the band survived up to 1958. Among the young sidemen were Lee Morgan, Joe Gordon, Melba Liston, Al Grey, Billy Mitchell, Benny Golson, Ernie Henry, and Wynton Kelly; Quincy Jones (along with Golson and Liston) contributed some of the arrangements. After the orchestra broke up, Gillespie went back to leading small groups, featuring such sidemen in the 1960s as Junior Mance, Leo Wright, Lalo Schifrin, James Moody, and Kenny Barron. He retained his popularity, occasionally headed specially assembled big bands, and was a fixture at jazz festivals. In the early '70s, Gillespie toured with the Giants of Jazz and around that time his trumpet playing began to fade, a gradual decline that would make most of his '80s work quite erratic. However, Dizzy remained a world traveler, an inspiration and teacher to younger players, and during his last couple of years he was the leader of the United Nation Orchestra (featuring Paquito D'Rivera and Arturo Sandoval). He was active up until early 1992.

Dizzy Gillespie's career was very well documented from 1945 on, particularly on Musicraft, Dial, and RCA in the 1940s; Verve in the 1950s; Philips and Limelight in the 1960s; and Pablo in later years. ~ Scott Yanow, All Music Guide [-] Hide

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... [+] Read More

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, All Music Guide [-] Hide

Many of the top Cuban jazz musicians have played in Irakere during the past several decades, including altoist Paquito D'Rivera and trumpeter Arturo Sandoval (before both individually defected). Pianist Chucho Valdes has been the orchestra's longtime leader, and its music ranges from Latin jazz and bop to Cuban folk melodies, with an emphasis on... [+] Read More

Many of the top Cuban jazz musicians have played in Irakere during the past several decades, including altoist Paquito D'Rivera and trumpeter Arturo Sandoval (before both individually defected). Pianist Chucho Valdes has been the orchestra's longtime leader, and its music ranges from Latin jazz and bop to Cuban folk melodies, with an emphasis on infectious rhythms and advanced improvisations. Several of Irakere's records have been made available domestically (including sets for Columbia and Jazz House), but the exciting band was not able to visit the United States until 1996. The album Toda Cuba Baila con Irakere followed two years later. ~ Scott Yanow, All Music Guide [-] Hide

A blazing, technically flawless trumpeter from Cuba, Arturo Sandoval has been dazzling audiences all over the world with his supercharged tone and bop-flavored flurries way up in the trumpet's highest register. In slower numbers, he sports a golden, mellow tone on the flugelhorn, marked with a sure, subtle sense of swing. Apparently he is... [+] Read More

A blazing, technically flawless trumpeter from Cuba, Arturo Sandoval has been dazzling audiences all over the world with his supercharged tone and bop-flavored flurries way up in the trumpet's highest register. In slower numbers, he sports a golden, mellow tone on the flugelhorn, marked with a sure, subtle sense of swing. Apparently he is capable of playing anything, proving it more than once by tackling classical repertoire as well as jazz in the same concert, and he has enough curiosity to search far beyond his Cubop base for repertory. Yet he often lets his desire to please the crowd with high-note displays get in the way of musical values, and he has yet to make a great record that can stand with those trumpet giants that have preceded him.

The son of an auto mechanic, Sandoval took up the classical trumpet at 12 and was enrolled in the Cuban National School of the Arts at 15, studying with a Russian classical trumpeter. Early in the 1970s, he became one of the founding members of the Orquesta Cubana de Musica Moderna, which by 1973 had evolved into the Afro-Cuban, rock-influenced band Irakere. Sandoval met his idol Dizzy Gillespie in 1977, who promptly became a mentor and colleague, playing with Sandoval in concerts in Europe and Cuba and later featuring him in the United Nation Orchestra. After recording an album with David Amram, Havana/New York, and a couple of high-profile Irakere albums on Columbia, Sandoval left the group in 1981 to tour with his own band and record in Cuba. Occasionally, the Castro government would allow Sandoval to appear in various international jazz festivals and with orchestras like the BBC Symphony and Leningrad Philharmonic. Though he chafed under a regime that restricted his touring, Sandoval bided his time until he could get his wife and son out of Cuba, and only then, in July 1990 during a long European tour, did he defect at the American Embassy in Rome, settling in Florida. Signing with GRP, Sandoval's first American album, appropriately titled Flight to Freedom, demonstrated his versatility in several idioms, and he toured with his own high-energy Afro-Cuban group in the 1990s. Hothouse followed in 1998, and a year later he returned with Americana. L.A. Meetings appeared in spring 2001. For 2003's Trumpet Evolution, Sandoval selected material from his favorite horn players. ~ Richard S. Ginell, All Music Guide [-] Hide

Cuba-born and New York-based saxophonist and clarinet player, Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and their expressive capabilities is... [+] Read More

Cuba-born and New York-based saxophonist and clarinet player, Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and their expressive capabilities is unquestionable". D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, D'Rivera began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book, Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, D'Rivera became a featured soloist with the Cuban National Symphony Orchestra. After playing the Cuban Army Band, D'Rivera joined with pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna. D'Rivera served as the band's conductor for two years. In 1973, D'Rivera joined with eight members of the Orchestra Cubana de Musica Moderna to form a band, Irakere. The group, which fused jazz, rock, classical and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Together with the band, D'Rivera toured throughout the world and became a top-rated jazz ensemble. In 1979, the group joined with American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz". D'Rivera's debut solo album, Paquito Blowin', released in June 1981, was followed by Mariel, a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane and Lee Konitz". In 1988, D'Rivera was invited to become a charter member of Gillespie's fifteen-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's "David Street Blues" at the John F. Kennedy Center. D'Rivera continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet. Five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets.

In 1997, D'Rivera's album, Portraits of Cuba, received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, D'Rivera collaborated with Germany's Chamber Orchestra Werneck in a series of programs, "D'Rivera Meets Mozart". D'Rivera is artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, is scheduled to be published by the Spanish literary house, Seix Barral, with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001 D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, a Tribute to Cal Tjader and Riberas in 2004 and the Jazz Chamber Trio in 2005. ~ Craig Harris, All Music Guide [-] Hide

Because Paquito D'Rivera is such a compelling improviser, one greets a heavily arranged and orchestrated session like Portraits of Cuba with some apprehension. But as it turns out, such apprehension is unwarranted, for the Cuban saxman/clarinetist still has enough room to solo and say what needs to be said. With this 1996 session, which was... [+] Read More

Because Paquito D'Rivera is such a compelling improviser, one greets a heavily arranged and orchestrated session like Portraits of Cuba with some apprehension. But as it turns out, such apprehension is unwarranted, for the Cuban saxman/clarinetist still has enough room to solo and say what needs to be said. With this 1996 session, which was arranged and conducted by Carlos Franzetti and finds D'Rivera backed by combinations of up to 14 musicians, D'Rivera envisioned an Afro-Cuban equivalent of Miles Davis' Sketches of Spain -- and, to be sure, there are some parallels. Franzetti's classical-influenced arrangements recall Gil Evans' work with Davis, and D'Rivera paints an orchestral jazz picture of Cuba much as Davis painted an orchestral jazz picture of Spain. The key phrase here is "jazz picture" -- D'Rivera approaches famous Cuban songs like Ignacio Pineiro's "Echale Salsita" and Ernesto Lecuona's "Como Arrullo de Palmas" from an instrumental jazz perspective; this is jazz with both Afro-Cuban and classical elements, but it's jazz first and foremost. Recorded in New York around the time of the infamous Blizzard of 1996 -- which dumped up to three feet of snow on parts of the Northeastern U.S. -- Portraits of Cuba is among D'Rivera's most essential recordings. ~ Alex Henderson, All Music Guide [-] Hide

While the music that came to be termed "salsa" originated in Cuba, Puerto Ricans have been among its strongest supporters. One New York-reared puertoriqueno who soared to the top of the salsa world in the 1950s was timbale player/vibist Tito Puente. Boasting such early Puente gems as "Cual Es La Idea," "Oye Mi Guanguanco" and "Yambecua," the... [+] Read More

While the music that came to be termed "salsa" originated in Cuba, Puerto Ricans have been among its strongest supporters. One New York-reared puertoriqueno who soared to the top of the salsa world in the 1950s was timbale player/vibist Tito Puente. Boasting such early Puente gems as "Cual Es La Idea," "Oye Mi Guanguanco" and "Yambecua," the exuberant, infectious Cuban Carnival is essential listening for anyone with even a casual interest in Afro-Cuban music. Many of the players Puente employs in his driving orchestra -- including Mongo Santamaria, Willie Bobo and Carlos "Patato" Valdez -- would become among the most celebrated percussionists in Latin music. Whether the style is mambo, son, cha-cha or rhumba, Cuban Carnival is outstanding from start to finish. ~ Alex Henderson, All Music Guide [-] Hide

A lively, spontaneous record that manages to sound both relaxed and forceful at the same time, A Toda Cuba Le Gusta shows off the talents of many of Cuba's elder statesmen of Afro-Cuban jazz. Over gently pulsating conga grooves and low-register ostinatos, such luminaries as pianist Ruben Gonzalez and singer Manuel "Puntillita" Licea float... [+] Read More

A lively, spontaneous record that manages to sound both relaxed and forceful at the same time, A Toda Cuba Le Gusta shows off the talents of many of Cuba's elder statesmen of Afro-Cuban jazz. Over gently pulsating conga grooves and low-register ostinatos, such luminaries as pianist Ruben Gonzalez and singer Manuel "Puntillita" Licea float dramatic melodies, as their solo contributions are answered by brass section chords as thick and sweet as cane syrup. Although it is Ruben Gonzalez' presence on this album that gets the most attention, his tendency towards relentless chromaticism becomes tiresome early on, especially when it is contrasted with the exquisite phrasing and tremulous beauty of singers such as Licea, Raul Planas, and Ibrahum Ferrer. As would be expected, the trumpets blare with traditional Cuban bravado, evoking gentle romance and fiery passion with equal ease. Even the resident gringo, Ry Cooder, gets in some choice licks on "Alto Songo." The relative lack of dynamic movement in most of these songs may lead to them blending together in the ear of the listener, but the inherent tunefulness of each track, not to mention the sheer drive that this band is capable of summoning, cancels that complaint out nicely. An important collaboration and a promising debut. ~ Daniel Gioffre, All Music Guide [-] Hide

Irakere (from a Yoruba word meaning "forest" or "jungle") was founded in 1973 by the brilliant pianist Jesus "Chucho" Valdes. It has produced several major headliners over the years, notably Arturo Sandoval (trumpet) and Paquito D'Rivera (saxophone). The band's sound is a lush but quirky synthesis of Valdes' Afro-Cuban heritage and early... [+] Read More

Irakere (from a Yoruba word meaning "forest" or "jungle") was founded in 1973 by the brilliant pianist Jesus "Chucho" Valdes. It has produced several major headliners over the years, notably Arturo Sandoval (trumpet) and Paquito D'Rivera (saxophone). The band's sound is a lush but quirky synthesis of Valdes' Afro-Cuban heritage and early classical training, plus bebop jazz and brass charts borrowed from Blood, Sweat, & Tears. He draws heavily upon Cuban folk sources, traditional rhythms, and country dances, but is just as likely to channel the spirits of Dizzie Gillespie or Charlie Parker or co-author a tune with Wolfgang Amadeus Mozart, Ludwig Von Beethoven, or the Cuban composer Ernesto Lecuona. Before the embargo finally clamped down, American jazz players commonly made pilgrimages to Cuba in search of fresh inspiration and to explore a neighboring branch of the African root system. Irakere was the first government-sanctioned Cuban act to tour throughout the world. They even won a Grammy in 1979, but the defections of Sandoval and D'Rivera during the early '80s kept them from collecting it until 15 years later. This long-time two-way exchange between American and Cuban musicians continues to the present day, and Irakere's repertoire remains a prime example of this impassioned dialog. They really have no equivalent in Cuba or anywhere else but have nonetheless influenced dozens of other bands at home and abroad. The tunes on this compilation include everything from romantic ballroom ballads to incendiary Latin hip-swivelers to nostalgic big band arrangements to vocoder- and synth-embellished electronica, but every note is pure, robustly original Irakere. ~ Christina Roden, All Music Guide [-] Hide

Summarizing Tito Puente's numerous accomplishments on a single CD would be impossible. El Rey del Timbal!, a 1997 disc spanning 1949-1987, barely scratches the surface -- but for Puente, a five-CD box set would also only scratch the surface. But this gem-laden collection does illustrate just how remarkably consistent the salsa legend was during... [+] Read More

Summarizing Tito Puente's numerous accomplishments on a single CD would be impossible. El Rey del Timbal!, a 1997 disc spanning 1949-1987, barely scratches the surface -- but for Puente, a five-CD box set would also only scratch the surface. But this gem-laden collection does illustrate just how remarkably consistent the salsa legend was during the course of 38 years. El Rey del Timbal! kicks into high gear with 1949's "Ran-Kan-Kan" before treating listeners to such essential 1950s recordings as "Cao-Cao Mani Picao," "Cual Es Tu Idea," "Agua Limpia Todo," and "Oye Mi Guaguanco." Live versions of "Separala Tambien" and "A Gozar Timbero" from 1960 are superb, as is 1961's exuberant "T.P. on the Strip." Though salsa dominates the disc, Puente's Latin jazz output for Concord Picante in the 1980s is well represented by "El Rey del Timbal" and "Machito Forever." Die-hard Puente fans will notice that "Ban Ban Quiere," "Oye Como Va," and other essential hits are missing, but then no one said El Rey del Timbal! was all-inclusive. Again, it barely scratches the surface, but what a marvelous surface it is. ~ Alex Henderson, All Music Guide [-] Hide