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More Than A Hundred Albums Later, Tito Puente Is Still Going Strong.
By Dave McElfresh
LUCKY FOR THE music world, a torn ankle tendon meant that
the young Tito Puente had to give up an anticipated dancing career.
Had he not, the stateside influence of Latin music would've been
greatly diminished. (For starters, Carlos Santana would've gone
without his career-boosting hit, "Oye Como Va," a Puente
composition.)
So whaddya do when you can no longer trip the light fantastic?
In Puente's case, he learned to play timbales, congas, bongos,
saxophone, piano and vibes. He also studied music at Julliard
under the G.I. Bill, following his WWII service. Big band music
was the thing, and Puente became part of the style's New York
scene.
While Cuban big-band jazz projects pursued by beboppers like
Dizzy Gillespie were impressive, none were as shimmy-inspiring
as Puente's jazz-tinged dance ensembles. His exotic tropical orchestras
introduced the mambo and cha-cha-cha to dance partners accustomed
to the comparatively stiff and corny output of Glenn Miller's
and Artie Shaw's bands. A reviewer from the era stated that Puente's
big band "had an intense and nervous quality that was pure
New York...His arranging, like his timbales playing, was fast,
tight, jumpy, bravura."
As a composer, bandleader and arranger, he either played under
or hired nearly every significant name in Afro-Cuban music, including
Machito, Mongo Santamaria, Charlie Palmieri, Willie Bobo, Ray
Barretto, Cal Tjader and Celia Cruz. The country's interest in
big band music, though, was about to fizzle out.
In the first half of the '60s, ethnic divisions in America remained
so blatant as to make West Side Story seem like a travelogue.
But opposition to American involvement in Vietnam and the love-everybody
sensibilities of the psychedelic era leveled many of the walls
existing between Latinos and the rest of the country. At the same
time, rock and roll ushered out what was left of the big bands,
including the Latin mambo orchestras like Puente's. Eventually,
New York's Latin ballrooms closed due to lack of interest.
But just as it appeared that Puente had lost his popularity,
Santana recorded a faithful version of Puente's "Oye Como
Va" on his Abraxas album--still considered by most
to be the guitarist's best release. The song became a Top 20 hit
on pop radio, introducing millions of non-Latinos to ass-shaking
rhythms far more complex than those found in most rock and roll.
Santana wisely followed up with a cover of Puente's "Para
Los Rumberos" on the band's third album.
Latin pride resurfaced as a parallel to the civil rights movement.
New York's young Latinos were heavily affected by the attention
stirred up by the Black Panthers, as well as by the "black
is beautiful" theme running through the soul music of the
late '60s and early '70s. As a result, traditional Cuban/Puerto
Rican sounds were shaped into a new street dancing music called
salsa. Though Puente had been on the scene for decades, he was
considered a primary figure in the new movement--though not without
some resistance to the limited categorization: "The only
salsa I know comes in a bottle," he said. "I play Cuban
music."
Puente has since reconciled himself to the term, and has become
a patriarch of the music style often called "the soul of
the barrio." Not many musicians, Latin or otherwise, have
survived early big band associations to become a figurehead in
another major musical movement. It's a well-deserved honor: Puente's
percussion-heavy ensembles simultaneously create the ultimate
in seductive dance music and proud, unadulterated paeans to Latin
heritage--a sizable accomplishment for someone who'd been nicknamed
Ernestito (later shortened to Tito) because of his short stature.
Puente's become a permanent presence in a profession that continues
to discard one style for another: The bandleader released his
100th album way back in 1991. The Concord/Picante label diligently
records classy projects bearing his name, his shows sell out,
and damn near every rock fan over the age of 16 can hum his Santana
hit. Maybe Castro even bites his cigar when Puente's tunes crank
up on Radio Cuba, jealous over the greater influence the unassuming
musician has had on U.S. shores.
Tito Puente performs at 7:30 p.m. Wednesday, June 17,
at UA Centennial Hall. All seats are reserved. Tickets
are $24 and $27, available at Hear's Music, the Centennial Hall
box office and all Dillard's outlets. Call 621-3341 for
tickets and information.
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