Night Beat (CD - 1957)

Personnel: 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.

Personnel: Tito Puente (vibraphone, timbales, percussion); Howard Collins, Al Casamenti, Barry Galbraith (guitar); Jerry Sanfino, Eddie Caine (saxophone); Gene Quill, Allen Fields (alto saxophone); Marty Holmes (tenor saxophone); Joseph Grimaldi (baritone saxophone); Gene Rapett, Mike Shain, Bernie Glow, Francis Williams, Nick Travis, Vincent Frisaura (trumpet); Eddie Bert, Marty Trautman, Bob Ascher (trombone); Jimmy Cobb , Todd Sommer (drums); Mongo Santamaría (congas); William Correa (bongos).

Liner Note Author: Nat Hentoff.

Recording information: Webster Hall, New York, NY (02/08/1957-04/12/1957).

Although Latin percussionists (including Mongo Santamaria) are utilized on this set (a RCA album reissued in 1998 as a Koch CD), most of the selections certainly do not sound like they came from a Tito Puente record. For a change of pace, Puente is heard leading a fairly straight-ahead big band which includes among its main soloists trumpeter Doc Severinen (heard throughout in excellent form) and tenor saxophonist Marty Holmes, who often recalls Paul Quinichette. From the opening stripper-style blues of "Night Beat," through a variety of group originals and an uptempo "Carioca," the music swings and generally avoids most of the expected Latin influences. A very interesting (and musically rewarding) departure for Puente. ~ Scott Yanow

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. minimize