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

Relocated to New York during the late '40s, Johnny Pacheco learned to play sax, percussion and flute in high school. In September 1959, he left Charlie Palmieri's flute and strings orchestra to organize his own. With his first recording, Pacheco y su Charanga, released by Alegre Records in 1961, Pacheco changed the sound of music throughout... [+] Read More

Relocated to New York during the late '40s, Johnny Pacheco learned to play sax, percussion and flute in high school. In September 1959, he left Charlie Palmieri's flute and strings orchestra to organize his own. With his first recording, Pacheco y su Charanga, released by Alegre Records in 1961, Pacheco changed the sound of music throughout Latin America and ushered in the "Pachanga" (a strenous dance) era which faded out in 1964. Pacheco and attorney Gerald Masucci founde the Fania label in 1964 and with its first album, LP #325 (Pacheco's birthdate) kicked off the yet unborn salsa era in New York City. ~ Max Salazar, All Music Guide [-] Hide

Joe Cuba's music career started with La Alfarona X in 1950. In 1955 the Joe Cuba Sextet came into being and his vibraharp sound caught on. In 1962, when the group recorded "To Be with You" for Seeco Records, the band began to soar to popularity because of Nick Jimenez's arrangements and the vocals of Cheo Feliciano and Jimmy Sabater. When the... [+] Read More

Joe Cuba's music career started with La Alfarona X in 1950. In 1955 the Joe Cuba Sextet came into being and his vibraharp sound caught on. In 1962, when the group recorded "To Be with You" for Seeco Records, the band began to soar to popularity because of Nick Jimenez's arrangements and the vocals of Cheo Feliciano and Jimmy Sabater. When the boogaloo era arrived, the majority of the popular New York bands were put out of work. The Cuba sound changed with its recordings of "El Pito" and "Bang Bang"; it not only sold millions but enabled The Cuba sextet to enjoy the #1 spot in the Latin music world along with the Eddie Palmieri Orchestra. ~ Max Salazar, All Music Guide [-] Hide

Trombone player, composer, and bandleader, Willie Colón was one of the pioneers of Latin American music. Despite initial criticism, Colón's album El Malo has become known as one of the first albums to feature the "New York Sound" that sparked a renewed interest in Latin music during the 1970s. Colón has been instrumental in the careers of such... [+] Read More

Trombone player, composer, and bandleader, Willie Colón was one of the pioneers of Latin American music. Despite initial criticism, Colón's album El Malo has become known as one of the first albums to feature the "New York Sound" that sparked a renewed interest in Latin music during the 1970s. Colón has been instrumental in the careers of such Latin musicians as Rubén Blades, who first sang with Colón's band in 1975, and Celia Cruz, for whom Colón has produced such albums as Only They Could Have Done This Album in 1977 and the highly successful duet album Celia & Willie in 1981. Colón has also produced albums for Ismael Miranda, Sophy, Soledad Bravo, and the late Hector Lavoe, who sang with his band in the early '70s. Inspired by the music of various cultures, Colón has recorded with such musicians as Puerto Rican cuatro player Yomo Toro and David Byrne. Colón's composition "Che Che Coli," adapted from a Ghanaian children's song, was used by Ntozake Shange in the musical play For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf. In addition to 11 Grammy nominations and one Grammy award, Colón has received a CHUBB fellowship from Yale University, the most prestigious award given by the Ivy League school. Colón ran for the United States Congress, representing New York's 17th Congressional District, in 1992.

Starting to play the trumpet at the age of 12, Colón switched to the trombone two years later. Making his recording debut in 1967, for Al Santiago's Futura label, Colón became a victim of misfortune when the label folded. Colón was much more successful when he signed with Johnny Pacheco's Fania label. When his vocalist failed to make Colón's first session for the label, Pacheco suggested Hector Lavoe as a replacement. The collaboration proved fruitful when two singles from Colón's first two albums (El Malo, Guisando) -- "Jazzy" and "I Wish I Had a Watermelon" -- became hits. Lavoe remained a vital member of Colón's band until the mid-'70s when an increased drug addiction caused him to miss or show up late for several gigs. Although their partnership formally ended in 1975, Colón and Lavoe continued to work together. Lavoe's last album, Strikes Back, released in 1987, was produced by Colón.

In 1975, Colón balanced his schedule as director of the Latin Jazz All Stars with studies in music theory, composition, and orchestration. His increased knowledge paid off quickly. In 1978, Colón was named Musician, Producer, and Trombone Player of the Year in a readers poll conducted by Latin New York. Three years later, he received an award as Musician of the Year and his album Fantasmas was named Album of the Year. Colón continued to garner acclaim when his album Canciones del Solar de los Aburridos received a Grammy award in 1982.

Although they met backstage before a concert in Panama in 1969, Colón and Blades didn't begin collaborating until five years later. While working on the album The Good-The Bad-The Ugly, Colón asked Blades to sing on the Blades-penned tune "El Cazanguero," which reflected on Blades' experiences as a law student working in a Panamanian prison. The session was so satisfying that Blades became a full-time member of Colón's band following the departure of Lavoe. Their 1978 album Siembra became the top-selling album in Fania's catalog. Despite their success, Blades severely quarreled with label president Jerry Mascucci over money. Although Colón recorded two solo albums -- El Baquine de Angelitos Negros in 1977 and Solo in 1979 -- and Blades recorded a solo album, Maestra Vida, in 1980, their solo work failed to match the commercial success of their joint efforts.

In 1981, the two musicians resumed their partnership with Blades playing coro on Colón's solo album Fantasmas. The following year, they collaborated on the Grammy-winning album Canciones del Solar de los Aburridos, which yielded the hits singles "Tiburon," "Ligia Elena," and "Te Estan Buscando." Their partnership again proved short-lived as Colón and Blades split up after working on the film The Last Fight. The split was far from amiable and the two musicians continued to feud until reuniting for a concert at the Hiram Bithorn Stadium in San Juan in March 1992. Despite collaborating on the album Tras la Tormenta in 1995, Colón and Blades recorded their parts separately. Following a reunion concert at the Hollywood Bowl in 1997, Colón and Blades performed a series of concerts together.

In the late '80s, Colón formed a new band, Legal Aliens, with younger musicians. Signing with Sony, Colón and the band recorded Color Americano in 1990 and Honra y Cultura in 1991. Two years later, Colón recorded Hecho en Puerto Rico with an all-star band featuring ex-members of the Fania All-Stars, Papo Lucca and Bobby Valentin. Since leaving Sony over a lack of promotional support, Colón continued to remain active. ~ Craig Harris, All Music Guide [-] Hide

Rubén Blades is one of the most successful vocalists in the history of Panamanian music. A former member of bands led by Ray Baretto and Willie Colón, Blades has continued to influence salsa music with his highly literate, politically tinged lyrics and his modern-minded arrangements, which substitute the usual horn and Latin percussion sections... [+] Read More

Rubén Blades is one of the most successful vocalists in the history of Panamanian music. A former member of bands led by Ray Baretto and Willie Colón, Blades has continued to influence salsa music with his highly literate, politically tinged lyrics and his modern-minded arrangements, which substitute the usual horn and Latin percussion sections with synthesizers and drum sets. Often referred to as "the Latin Bruce Springsteen," Blades provided a musical voice for the middle class of Central America. Raised in a middle-class neighborhood in Panama City, Blades inherited his musical talents from his parents. His mother, Anoland, who emigrated from Cuba, played piano and sang in Spanish. His father, Ruben Sr., a police detective, played bongos.

Inspired by the doo wop singing of Frankie Lymon & the Teenagers, Blades began singing North American pop and rock songs in his early teens. In 1963, he became the lead singer of a band, the Saints, formed by his older brother, Luis. The political upheaval in Panama during the mid-'60s had a profound effect as Blades became increasingly committed to his own roots, refusing to sing in any language but his native Spanish.

While studying law at the University of Panama, Blades continued to be involved with his music, singing with Conjunto Latino and los Salvajes del Ritmo. In 1968, an album he recorded with Bush and the Magnificos reached Joe Cuba's producer in New York. Invited to join Cuba's band, he declined in order to complete college. When the Panamanian government closed the university, he made his first trip to the United States. While in the U.S., Blades recorded an album, From Panama to New York, with Pete Rodriguez. Shortly after the album's release, the University of Panama was reopened and Blades returned to complete his undergraduate studies. Although he accepted a position as a lawyer for the Bank of Panama, following his graduation, he returned to the U.S., to visit his parents, who had emigrated to Miami, in 1974.

While in the United States, Blades traveled to New York and took a job in the mailroom of the Latin-oriented Fania record label. A year later, he replaced Tito Allen as featured vocalist in Ray Barretto's band, auditioning in Fania's mailroom. When Barretto left to form a Latin fusion group, Blades took over as bandleader and renamed the group Guarare. In 1975, Blades composed and sang lead on Barretto's recording "Canto Abacua," featured on the album Barretto. As a result, Blades was named Composer of the Year by Latin New York magazine. Blades had also been playing with Willie Colón's band, and he remained with Colón for six years. Their collaboration reached its apex with the three-million-copy-selling album Siembra, which included the single "Pedro Navaja," the biggest selling single in salsa history. Blades' politically oriented lyrics were not universally accepted. In 1980, his song "Tiburon," which spoke out against superpower intervention in the Caribbean, was banned from radio airplay in Miami.

Forming his own band, los Seis del Solar, in 1982, Blades began to perform an exciting fusion of Latin, rock, reggae, and Caribbean music. Their debut album, Buscando América, was released in 1983. A year later, Blades enrolled in the graduate school at Harvard University, eventually receiving a master's degree in international law.

Since the early '80s, Blades has balanced his musical career with acting and writing songs for such films as The Last Fight, Crossover Dreams, Critical Condition, Fatal Beauty, The Milagro Beanfield War, Dead Man Out, Disorganized Crime, The Lemon Sisters, The Two Jakes, Predator 2, One Man's War, The Josephine Baker Story, Crazy From the Heart, Color of Night, A Million to Juan, Scorpion Spring, and The Devil's Own. Blades shared the title role, with Marc Anthony, in Paul Simon's Broadway musical The Capeman.

Blades, who lives in California with his actress wife Lisa Lebenzon, has remained active with politics. The founder of a new political party in Panama, he ran for president of Panama in 1994, coming in second in the election. While much of Blades' repertoire is in the Spanish language, he recorded an English-language album, Nothing but the Truth, featuring songs by Lou Reed, Elvis Costello, and Sting, in 1988. ~ Craig Harris, All Music Guide [-] Hide

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Marc Anthony was a salsa superstar throughout the '90s, long before the Latin pop explosion of the 1999. Once Ricky Martin ushered in a new era of crossovers that spring with "Livin' la Vida Loca," there was a rush of crossover acts, almost enough to make it seem like Anthony was left behind. After all, his bid for mainstream success as the... [+] Read More

Marc Anthony was a salsa superstar throughout the '90s, long before the Latin pop explosion of the 1999. Once Ricky Martin ushered in a new era of crossovers that spring with "Livin' la Vida Loca," there was a rush of crossover acts, almost enough to make it seem like Anthony was left behind. After all, his bid for mainstream success as the starring role in Paul Simon's broadway musical The Capeman was undone as it became one of the Great White Way's most notorious failures. Still, Anthony had his own English-language album in the works. Titled Marc Anthony, the record appeared in the fall of 1999, guaranteeing it a shot at a mass audience, which is exactly what it was designed to do. As a matter of fact, it's almost a bit too calculated, opening with two interchangeable ballads that set the tone for a pleasant, subdued set of Latin-tinged adult contemporary pop. Anthony sings beautifully throughout, but he's never given the opportunity to be truly electric, the way he can be with hot salsa numbers. The liveliest the album gets is the catchy mid-tempo single "I Need to Know," which is gently danceable, or the mild salsa of "That's Okay" and the Latin dance-pop of "She's Been Good to Me." The rest is almost all pop ballads, perfectly produced and gamely sung by Anthony. Some of these work very well, others simply fade into the slipstream. That's particularly frustrating because Anthony is such a talented singer that it's evident that he's capable of much more than this. Marc Anthony isn't bad for what it is, and a few of its singles are quite good, but it's not at the level of his earlier records, or Martin's crossover bid of 1999, either. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Celia Cruz and bandleader Sonora Matancera came together in 1950 and become one of Cuba's biggest attractions. Alongside singer Beny Moré, Cruz dominated the postwar world of Havana's nightclubs while establishing an ever-growing international profile. Unfortunately, in the wake of Castro's takeover, Cruz and husband Pedro Knight (a trumpeter in... [+] Read More

Celia Cruz and bandleader Sonora Matancera came together in 1950 and become one of Cuba's biggest attractions. Alongside singer Beny Moré, Cruz dominated the postwar world of Havana's nightclubs while establishing an ever-growing international profile. Unfortunately, in the wake of Castro's takeover, Cruz and husband Pedro Knight (a trumpeter in Matancera's band) left for the United States. Luckily for fans of classic mambo vocals of the '50s and early '60s, Cruz and Matancera cut a wealth of material up until they parted ways in 1965. This 20-track collection from Sony focuses on material the two stars cut toward the end of their collaboration. In addition to popular sides like "Tu Voz" and "Guantanamera," the album features lesser-known highlights, like the proto-salsa cuts "Pulpa da Tamarindo" and "La Interasada." It's a disc that sparkles with excellent arrangements, some tasty duets, and Cruz's Latin siren-song topping it all off. For yet another of many available releases chronicling Cruz and Matancera's awesome partnership, this is just business as usual. ~ Stephen Cook, 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