Customer Reviews

Top Percussion

5 star:		(7)
4 star:		(2)
3 star:		(3)
2 star:		(0)
1 star:		(0)

 

 

A truly unbelievable record, and a wonderful introduction to both Latin percussion and the Afro/Cuban folkloric tradition. Though Puerto Rican by birth, Tito was an initiate to the Cuban Santeria religion, and in this album he pays homage to the spiritual and musical roots of the Mambo and Cha Cha styles for which he became most famous. Tito, Mongo, Willie Bobo, Julito Collazo, etc., all play at an unsurpassed level of virtuosity and creativity, maintaining a dizzying array of poly-rhythms that provide a virtual catalog of the West African rhythms that filtered through Cuba to become the Latin music we know and love today. As honest, beautiful, and interesting a record as any Tito Puente made. An absolute must for anyone with even the slightest interest in Latin music, drumming, Cuban culture and experience, Tito Puente, or even rhythm in general. Go get it!!!

Great sample of Tito's understanding of Afro music. If you're looking for actual songs/mambos you won't get it here. This is pure, unadulterated percussion and a lot of Afro-Cuban chants. There's 2 sizzling tracks with Tito and famous percussionist Willie Bobo wailing on timbales. The 12th track is one of the most beautiful afro-cuban jazz suites I've ever heard and is a testament to Tito's genuis in composition and arrangment.

In case anyone had any doubts -- at all -- that Tito could play the real, hardcore, pure Afro-Cuban percussion, then this album should settle that question. With Mongo Santamaria and several other percussion heavyweights on board, Tito pounds away on some of the toughest-sounding rhythm work imaginable. The second half of the album gets funkier and more slinky, with a subtle, jazzy bass added into the mix. This is a killer instrumental album, formidable and funky in every aspect. Recommended!

Tito Puente assembled an all-star cast of latin percussion virtuosos and afro-cuban musicians for this album, and they strut their stuff with great gusto. This album is worth the price of admission for "Ti Mon Bo" alone! Having played "Ti Mon Bo" for a good number of people with all sorts of musical tastes, the result is always the same: Jaw-dropping awe, usually followed by adjectives like "awesome" and "tight". I still often find myself thinking the same thing after what must be near 100+ listens.

This album is pure afro-cuban music, NOT the mambo Puente is most famous for. There are a good number of chants and songs laid over Puente's second-to-none percussion. His skills are still showcased, though.

On a technical note, you can hear the slight hiss of the original master tapes just before and after each track, but it is not distracting in any way during the music. In fact, it seems to add to the authenticity and charm of the album. The stereo separation and depth of sound is remarkably enveloping by today's standards, and even more by the standards of the 1950's.

To sum up: A great cast creates great music.

This is an absolutely essential disc for people interested in Afro-Cuban music, especially percussion. All classic 1957 recordings including "Ti Mon Bo". If you're used to Puente's newer stuff (mambo, etc), this will surprise you. All the best players, too.

Total mastery of the timbales and a lesson on conga playing by Tito Puente and his guest like the inmortal Mongo Santamaria (hear "Ti Mon Bo")

For any serious afro-percussion musician this is a must-have record. Indeed a record that shows the incredible playing abilities of Tito Puente at the peak of his timbale playing ability.

This percussion heavy recording finds Tito and a group of masters including Francisco Aguabella in fine form. Skip Tito's more recent smooth outings and proceeed directly to this masterpiece.

Recorded in 1957, this is truly an unbelievable record, and a wonderful introduction to both Latin percussion and the Afro/Cuban folkloric tradition. Though Puerto Rican by birth, Tito was an initiate to the Cuban Santeria religion, and in this album he pays homage to the spiritual and musical roots of the Mambo and Cha Cha styles for which he became most famous. Tito, Mongo, Willie Bobo, Julito Collazo, etc., all play at an unsurpassed level of virtuosity and creativity, maintaining a dizzying array of poly-rhythms that provide a virtual catalog of the West African rhythms that filtered through Cuba to become the Latin music we know and love today. As honest, beautiful, and interesting a record as any Tito Puente made. An absolute must for anyone with even the slightest interest in Latin music, drumming, Cuban culture and experience, Tito Puente, or even rhythm in general. Go get it!!!

Elequara
Bragada
Obatala Yeza
Alaumba Chemache
Oguere Madeo
Obaricosu
Four By Two, Part 1
Conga Alegre
Ti Mon Bo
Mon-Ti
Hot Timbales Night Ritualmusicians:

Tito Puente (timbales) Bobby Rodriguez (bass) Jimmy Cobb (drums) Mongo Santamaria, (percussion) Willie Bobo, (percussion) Francisco Aguabella, (percussion) Enrique Marti (percussion) Julito Collazo (percussion, background vocals) Marcelino Guerra, (vocals) Mercedita (vocals) Evaristo Baro (bass) Gene Quill, (alto saxophone) Allen Fields (alto saxophone) Marty Holmes (tenor saxophone) Joe Grimm (baritone saxophone) Francis Williams, (trumpet) John Frosk, (trumpet) Gene Rapetti, (trumpet) Doc Severinsen, (trumpet) Jimmy Frisaura (trumpet) Eddie Bert, Bob Ascher, (trombone) Sonny Russo (trombone) Alvin Gellers (piano) Barry Galbraith (guitar)

This album is the epitomy of Afro-cuban improvisation at its best.
Ti-mon-bo is one of my favorite songs of all time. some of the songs on this album set the standards among mainstream america in afro-cuban percussion. i guaratee that you will not be able to stand still while you listen to this album. clean and tasteful improvisation. with
the best percussionists of the time.

ozzie

Buy this! This is one mofo of a Latin Percussion Classic from the late '50s! In fact, every 'tune' here was recorded in one friggin' day! ONE! How long does Maddona need in the Studio to to make an album? 6 months? a Year?!

"Top Percussion," is called what it's called because it has only one tune "Night Rituals" with a full Jazz band with Doc Severinsen soloing on trumpet, everything else is layered percussion with only two jams that have even as little as a repetitive bass-line through it. FANTASTIC! Who wants that boring, horn-stuff anyway! The tunes you can hear here are off side one which is much tamer and 'traditional' than side 2 which flat out BURNz! Tunes 7 through 10 are just about the COOLEST demonstration of Virtuoso Latin Percussion playing anywhere. I usually program one or two tunes off side one for variety along with all the tunes from 7 to 10 and let it go on for hours while I work on Calculus problems or read Science News. Talk about music that puts you in a ritual-like trance! Lawd Haf Mecy! Who needs Punk Rock headaches when you have this to offend your neighbors with.