| | Tito Puente Puente In Percussion CD Tito Puente Discography of CDs
The first and best of Tito Puente's percussion-heavy records, PUENTE IN PERCUSSION absolutely sizzles, thanks in part to its roster of drum legends: Mongo Santamaria, Willie Bobo, Carlos "Patato" Valdes, and, of course, Puente himself (who appears on timbales, conga, and bongos). And even those who would normally stay away from such intense polyrhythmic music can still find a pair of masterpieces; bassist Bobby Rodriguez lends his groove to the trio on a pair of highlights, "Four Beat Mambo" and "The Big Four." Puente In Percussion Music Tito Puente Puente In Percussion Songs | 1. | Four Beat Mambo |
| 2. | Stick On Bongo |
| 3. | Congo Beat |
| 4. | Timbales Solo |
| 5. | Tito On Timbales |
| 6. | Big Four, The |
| 7. | Swinging Mambo |
| 8. | Tito and Mongo On Timbales |
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Puente In Percussion Review
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Buy Puente In Percussion CD Purchase Puente In Percussion CD To buy, Click on price to add to cart | Mike Bloomfield Super Session CD (1968) Bonus Tracks; Remastered
Puente In Percussion
 $6.75   
A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune").
All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes on "You Don't Love Me." The only real disappointment here is that Stills, a far better singer than Kooper, never opens his mouth.
Those familiar with the Live Adventures album these two recorded at the Fillmore West know how brilliant they could be on stage, and here's another gem, recorded at the Fillmore East this time and featuring 'One Way Out,' 'It's My Own Fault' (with Bloomfield trading licks with Johnny Winter...Johnny was signed to Columbia after this gig!). Newly remastered & now with 4 bonus tracks, 'Albert's ...
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Photographer: Milton Montenegro.
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On FIRST LOVE, contemporary jazz saxophonist and composer Everette Harp moves deeper into the space he addressed on 2007's excellent MY INSPIRATION. Produced by George Duke, the meld of acoustic and electric instruments here is perfectly balanced. Melodic and harmonic structures are much more complex and don't always fit the C-jazz cookie-cutter mold. Check his original "The Council of Nicea," one of the most satisfying things here. Harp's tenor is accompanied by James Genus' acoustic bass, and some spot-on breaks by Terri Lyne Carrington, a beautiful bluesy, hard bop trumpet solo by Michael "Patches" Stewart, and Lenny Castro's hand percussion. Directing the band is Duke on Fender Rhodes with help from the exquisite if understated electric guitar work from Dwight Sills. The ballad "Before You Leave" follows suit with Carrington providing elegant brushwork. These are pretty basic straight-ahead numbers. This is not to suggest that ...
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In the 1960's hard-bop sweepstakes, one of Freddie Hubbard's true rivals was Lee Morgan. The late Morgan was known for his brassy, searing style, but he could be tender and lyrical as well. Recorded in 1960 (significantly before Morgan's success with THE SIDEWINDER), LEE-WAY is in many ways one of the most quintessential hard bop discs ever recorded. The band is incredible, practically an edition of Art Blakey's Jazz Messengers: Blakey on drums, Bobby Timmons's earthy piano, Jackie McLean's acidic, fluid alto saxophone, and Miles Davis's bassist Paul Chambers. This is primo, driving hard bop, with slight overtones ...
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