That Jazz - Monkey Max Music and File Download

musical elements through travels to Argentina, Brazil, Mexico, Puerto Rico,
Spain, and Venezuela. Listeners sometimes observe that Latin jazz, with its
exotic sounds, seems rooted in nature. For Prado, this was no accident. He
used the sounds of birds, frogs, rushing rivers, and wind as the inspiration
for his mambos.
Check out Prado on Havana 3 a.m. (BMG) and Mondo Mambo (Rhino). Prado
and Machito (who I cover earlier in this chapter) team up with vocalist Beny
More on The Most from Beny More (BMG/RCA), and there’s some fine Cuban
big band music from the 1950s on Tumbao Cubano: Cuban Big Band Sound
(Palladium). Also look for Cuban guitarist Arsenio Rodriguez’ Leyendas
(Sony), as well as Puerto Rican vocalist Tito Rodriguez’ Live at Birdland
(Palladium).
Tito Puente
A category unto himself, Tito Puente (1923–2000) has been the single most
prolific player of Latin jazz since the 1950s. Puente was known as “El Rey” —
The King — of timbales. As a percussionist (he also played vibes, congas, and
bongos), Puente has worked with countless leading players including percussionists
Machito, Mongo Santamaria, Willie Bobo, and Carlos “Patato” Valdez.
As a leader, Puente’s own albums feature talents as diverse as saxophonist
Mario Rivera, flutist Dave Valentin, and rising young pianist Hilton Ruiz.
Always keeping the “Latin” before the “jazz,” Puente has made an amazing
string of recordings that feature a mix of original Latin jazz tunes and
reworked jazz standards, always with hot, driving rhythms.
Add some essential zing to your collection with Dance Mania (BMG), El Rey
(Concord Picante), Salsa Meets Jazz (Concord Picante), and Royal T (Concord
Picante).
George Shearing
Chapter 9: The Perfect Hybrid: Latin Jazz
In a small-group setting, pianist George Shearing (born 1919) went Latin with
great results during the 1950s. His thoughtful, subtle playing made an interesting
combination with claves, congas, maracas, and timbales on albums
such as Latin Escapade (Capital). He collaborated with Cuban percussionists
Armando Peraza and Willie Bobo. Shearing was already popular, so his Afro-
Cuban music reached a wide audience.
The Best of George Shearing (EMD/Blue Note) contains some of Shearing’s
best Latin jazz. See Chapter 7 for more about Shearing.
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