Tito Puente Jr. in concert live in Nassau, Bahamas

Reviewed by KAYSEE

Tito Puente Jr.'s July 20th, 2002 performance at Bahamas Jazz Festivals' "A Taste of Latin Jazz and Salsa" brought the savor of Latin Jazz and the legendary Afro-Cuban sounds of the "Rey de los Timbales", Tito Puente, to an enthusiastic audience of more than 400 local residents and visitors.

Puente, Jr., whose father Tito Puente was renowned worldwide for his prowess in playing timbales as well as for a successful career in composition and arranging that spanned six decades, delighted the crowd with a 90-minute tribute to his late father and what he earlier termed "Afro-Cuban music with a New York style".

Backed by a six-man conjunto, Tito Puente Jr. took the stage about 11 p. m., emulating his father's characteristic timbales out front style of playing with an enthusiastic timbales solo during the first number. His stated goal of maintaining his father's memory and style was obvious in the way he handled the sticks and even in the way he dressed.

While Puente admits he is not attempting to surpass his father's playing, he seemed strongly committed to giving a show that would revive memories of the Palladium days of mambo Tito Puente style. His group performed well-known standards such as "Evelyn", "Cocinando Suave", and "Morning", along with Beny Moré's "Que buena baila Ud.". In between the lengthy numbers, during which at least two of the musicians performed jazz-style solos, Puente kept the crowd smiling with his entertaining comments.

The finale was a lively version of "Ran Kan Kan". By the end of the number, during which a couple of local timbalists were invited to "sit in" on Tito's timbales, some of the talented players from Bahamian jazz group G-Note had joined the fun, and a number of youthful and enthusiastic dancers were demonstrating their salsa skills.

Although it was difficult to maintain the harmonic fullness and depth one associates with Tito Puente's big band sound without a larger horn section, the music was quite well presented. Particularly impressive were the percussionist Carlos Bonilla, who handled congas, bongo and timbales with equal ease, and bassist Ramses Colón, who gave stunning solos on "Cocinando" and "Que buena baila Ud.".

But the entire band, which included Jorge Martínez on drums, Roberto Cora on sax and flute, and Marlow Rosado on keyboard, gave a very danceable performance. After the first number, the small temporary dance floor was crowded with both nostalgic couples who had danced to these songs at the Palladium and more youthful salsa enthusiasts.

Prior to the show, I had an opportunity to speak briefly with Mr. Puente, who discussed his passion for keeping his father's memory and music alive. Puente links his inspiration particularly to the big band mambo sounds of the 40's and 50's because this music had maximum dance appeal. He feels it represents Tito Puente at his best as composer, arranger, and performer.

While the son of "El Rey" has been involved in other styles of music (specifically hip hop, as evidenced in an impromptu break down during one of the pieces), since his father's death and the disbanding of the Tito Puente Orchestra he has devoted himself to performing his father's music.

This doesn't mean he is getting stuck in a rut. Mr. Puente hopes to have three different productions completed by this time next year: a "Big Three" Palladium-style mambo - swing album in September, a salsa album in which he hopes to involve a number of Latin greats, including Johnny Pacheco, and an English album which is largely complete but which Mr. Puente has put on hold to complete the other projects in time for this year's Grammy nominations.

At times waving a Bahamian flag, at others a Puerto Rican one, and always with a smile for the crowd, Tito Puente Jr. provided his appreciative audience with a show to remember.

 

 

This page last updated on 07-Mar-2005