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Various - Night Beat [Vinyl] [VINYL] Sent Sameday* - Picture 1 of 1

Night Beat by Jimmy Cobb Tito Puente Orchestra/Tito Puente Doc Severinsen Mongo Santamaria (Vinyl, 1957)

Chalkys_OZ (117087)

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About this product

Product Identifiers

Record LabelMusic on Vinyl

UPC8718469532315

eBay Product ID (ePID)15050146561

Product Key Features

Release Year1957

FormatVinyl

GenreInternational

TypeLP

ArtistJimmy Cobb, Tito Puente Orchestra/Tito Puente, Doc Severinsen, Mongo Santamaria

Release TitleNight Beat

Additional Product Features

Additional informationPersonnel: Tito Puente (timbales); Alan Fields, Gene Quill (alto saxophone); Marty Holmes (tenor saxophone); Joseph Grimaldi (baritone saxophone); Edwin Caine, Jerry Sanfino (saxophone); Doc Severinsen, Vincent Frisaura, Francis Williams, Bernie Glow, Gene Rapetti, Mike Shain, Nick Travis (trumpet); Anatole Lorraine, Hale M. Road, Morty Trautman, Bob Ascher, Eddie Bert (trombones); Al Casamenti, Howard Collins, Barry Galbraith (guitar); Alvin Geller (piano); Robert Rodriguez (bass); Jimmy Cobb, Ted Sommer (drums); William Correa (bongos); Mongo Santamaria (congas). Producer: Fred Reynolds. Reissue producer: Donald Elfman. Recorded at Webster Hall, New York, New York on February 8, March 8 and April 12, 1957. Originally released on RCA (LPM-1447) in 1957. Includes liner notes by Nat Hentoff. Although Tito Puente's name is virtually synonymous with mambo, salsa, and Latin jazz, and the album cover features a young Puente hard at work behind his timbales, NIGHT BEAT bears little relation to Puente's usual sound. Instead, this 1957 outing is almost strictly mainstream big-band material, with dashes of swing and supper-club savoir-fare. The large, hard-driving ensemble possesses a great command of dynamics, moving through delicate passages before roaring into crescendos. It is curious that a session led by Puente, and one that also features such fine musicians as bongo player William Correa and conguera Mongo Santamaria, would have such a notably non-Latin feel. Still, there are traces of the classic Puente touch, such as the recurring mambo riff on "Mambo Beat" or the burbling polyrhythms beneath "Emerald Beach." The Puente-penned numbers have a bit more stray and strut, but even these are combined with fairly straightforward big-band blowing. At its best, as on the accelerated take on "Carioca," Puente's ensemble brings together classic swing, edgy bop, and Latin music all in one. For moments like these, and for the anomaly of this session within Puente's discography, NIGHT BEAT is a notable record.

Number of discs1