TITO PUENTE "PUENTE IN PERCUSSION - TICO#1011 HEAR NM

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32

TITLE : PUENTE IN PERCUSSION

ARTIST : TITO PUENTE AND HIS RHYTHM SECTION

LABEL & RECORD #: TICO #1011 (1955 black label...This Reissue was pressed1973/1974...CD reissue (Fania) in 1993

VINYL CONDITION: HEAR SOUNDS CLIPS INCLUDED: NM

LABELS CONDITIONS: SEE SCAN : NM

COVER CONDITION: SEE SCAN : VG++....no splits, some "age" wear (light stains over white color, nothing "big" 

REMARKS: EL REY DEL TIMBAL!

Born Ernest Anthony Puente, Jr., Tito Puente is internationally recognized for his enormous and significant contributions to Latin music as a bandleader, composer, arranger, percussionist, and mentor. Popularly known as the “El Rey del Timbal” and the “King of Mambo”, he recorded more than 100 albums, published more than 400 compositions, and won five Grammy awards. Although he played and recorded jazz and salsa, Puente is one of only a handful of musicians who deserve the title “legendary”, primarily for his mastery of the mambo.

Puente has been credited with introducing the timbal and the vibraphone to Afro-Cuban music, Puente also played the trap drums, the conga drums, the claves, the piano, and occasionally, the saxophone and the clarinet.

By Coincidence the two Titos (Puente & Rodriguez), the New York Palladium (with Machito) died similarly, Tito Rodriguez last live performance was at the NY Madison Square Garden, he fell ill (leukemia) went to the hospital and died later….Puente last performamce was at the Puerto Rico Arts Center, he fell ill, got a stroke and they flew him to a New York hospital where he died!!! Murieron Con Las Botas Puestas!!!!

TRACKS SIDE A:

1- Tito On Timbales
2- Sticks On Bongo
3- Congo Beat
4- Timbale Solo

TRACKS SIDE B:

1- Four Beat Mambo
2- The Big Four (Willie Bobo, Mongo, Patato and Tito)
3- Swinging Mambo
4- Tito And Mongo On Timbales

WEB REMARKS: Rhythm is at the core of the classic LP Puente In Percussion. More often than not, the polyrhythms on this recording are wild and pulsating. The story behind this pioneering album has been well documented. Tito himself told me that he went to see George Goldner, president of Tico Records (1954-55), and told him that he wanted to make a percussion album for the label.

George looked at him and thought that he was out of his mind. Who could imagine a Tito Puente record without piano, sax and trumpet? Would a minimalist lineup of bass, conga, bongo and timbales be enough to generate any interest among Puente's many fans? At the time, the Palladium nightclub reigned supreme in New York with the orchestras of Puente, Tito Rodríguez and Machito. All of them favored lush big-band arrangements. Goldner refused to bankroll such as outlandish concept.

Tito was a relentless man. He never took it kindly when someone said no to him. Most importantly, in the 40-plus years that I was associated with him, I realized that when Tito got a bug up his ass, there was no stopping him. Perhaps it was the Taurus in him. He was a pitbull - and simply refused to take no for an answer.

Eventually, George gave in. He told Tito that he could go ahead and record a percussion album - as long as he used the recording studio only after midnight.

With this knowledge in mind, Tito proceeded to assemble the most stunning percussion ensemble of the time: Mongo Santamaría, Carlos “Patato” Valdés, William “Bobo” Correa, Bobby Rodríguez on bass - and, sure enough, Mr. Tito Puente himself on timbales. A historic project was already in motion.

According to Tito, Mongo brought a couple of bottles of rum and placed them in the middle of the room for all to share. Then, these superlative musicians began improvising a variety of fascinating rhythms.

The most important element about Puente In Percussion is that it never becomes monotonous. Every single track boasts a different sound and diverse rhythmic patterns. Tito composed all of the material himself, and at times left his beloved timbales aside in order to perform both congas and bongo.

I remember asking Tito why he wanted to make a percussion album. He told me that the few records of that kind had been made by American orchestras playing popular tunes of the time. Tito wanted to change things by recording the authentic rhythms of Mother Africa - he wanted to show the roots of it all. He explained to me that very few people had an understanding of what the foundations of Latin music were all about. He saw this album as an opportunity to educate his listeners. In subsequent years, he would record two more percussion-heavy albums: Top Percussion and the masterful Tambó.

Puente In Percussion runs the gamut of rhythmic patterns - including mambo, cha cha cha and 6/8. It was a brilliant idea on Tito's part - the man was always ahead of his time. Decades after its release, it still stands as one of the most relentlessly original albums in the history of Latin music.

Liner Notes Written by Joe Conzo (Tito Puente Historian)

Credits:

Tito Puente – Leader, Timbales, Conga, Bongos
Ramón “Mongo” Santamaría - Conga, Bongos, Timbales
Carlos “Patato” Valdés – Congas
William Bobo Correa – Bongos, Timbales
Robert “Bobby” Rodríguez – Bass

Producer – Ralph Seijo

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POSTAL RATES & WEIGHTS - LPs

LBS.

0.82

1.4

1.9

2.6

3

# of LPs

1

2

3

4

5

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Record Grading: Standard guidelines for grading records comes down to a subjective judgment that may vary from person to person. We grade records and LP covers visually AND (when possible) play-tested. We make every effort to give full disclosure (remember that the LP has at least 12 tracks and the grading may vary between each other)  and your satisfaction is guaranteed. Don't assume that our vinyl determination of "Very Good+" is the same as yours!

MM RECORDS: are shiny, with no visible defects. They might have some minor superficial (“Paper”) scuff but they should play without any noise. Writing, stickers or other markings cannot appear on the label, nor can any “spindle marks” from someone trying to blindly put the record on the turntable. Major factory defects also must not be present; a record and label obviously pressed off center is not Near Mint. If played, it will do so with no surface noise. (NM records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.)

NM COVERS: have no creases, ring wear or seam splits of any kind.
NM  PICTURES SLEEVES: should look as if they never housed a record. This is a great reason to remove your 45s from their picture sleeves and keep them separate. Just keeping the 45 inside the sleeve will cause damage than can reduce the grade of the sleeve.

VG++ (Excellent) RECORDS: Barely noticeable play wear and background noise. May have surface scuffs and/or superficial marks, which will be inaudible or indiscernible from the background, no scratches. Very nice, no flaws noted.
VG++ COVERS: Artwork is still as close to perfect as can be. Some impression to the cover (minor outer ring wear) but no ink wear! Some slight creases to the corners, but not wrinkled and obtrusive to the eye. The corners can show white (where the artwork pasted slick was) meaning, slight wear. No seam splits or writing on the cover or taped repairs can make this grade.

VG+ RECORDS:  may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that do not affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, but repeated playing has not misshapen the hole. There may be some very light ring wear or discoloration, but it should be barely noticeable

.VG+ COVERS:  should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable location. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint Unless Tiny/Small (EG: Tiny DH).

VG+ PICTURE SLEEVES: might show some very light creasing where it is obvious that a record once resided (or still does reside). A VG+ picture sleeve might have some very minor seam wear or a split (less than one inch long) at the bottom, the sleeve’s most vulnerable location.

VG RECORDS:  have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail. When played, a VG record has surface noise, and some scratches  may be audible, especially in soft passages and during a song’s intro and ending. But the noise will not overpower the music otherwise. Minor writing, tape, or a sticker can detract from the label. Many collectors who have jukeboxes   will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape.

VG COVERS and PICTURE SLEEVES:  will have many signs of human handling. Ring wear  in the middle or along the edges of the cover where the edge of a record would  reside, is obvious, though not overwhelming. Some more creases might be  visible. Seam splitting will be more obvious; it may appear on all three sides,  though it won’t be obvious upon looking. Someone might have written or stamped  a price tag on it, too.

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