Podcasts about Tito Puente

Con Le Orme, Pérez Prado y su Orquesta, Lucho Bermudez y su Orquesta Sabanera, Tito Puente, Adrián Quesada, Ile, Rodolfo Aicardi, Silvie Vartan, Cocki Mazzetti, Doc Watson, Billie Holiday, Jesse O´mahoney, Profesor Longhair, Girgermon y Peter Gabrie.

My soul has a deep passion for all things groove—reggae, jungle, hip-hop, funk, soul, or any style that gets the feet moving and the head nodding. So, for this mix, I decided it was time for a dive into Latin Funk with some greats—Joe Bataan, Tito Puente, and Ray Barretto, alongside lesser-known artists from the 70s onward. Bring on the thin-lofi-guitar solos, wah-wah flavours, rollocking percussion, blazing horns, and as much cowbell as you can handle. PLAYLIST Enrique Olivarez & Los Vampiros - Arriba Tipo Ray Camacho & The Teardrops - Si Si Puede (LOA Remix) - Lack Of Afro Remix Bronx River Parkway - Song For Ray Pucho & The Latin Soul Brothers - Got Myself A Good Man Nico Gomez; Nico Gomez And His Afro Percussion Inc. - Lupita Joe Bataan - Latin Strut (2022 - Remaster) Ray Barretto - Together Tito Puente - Hit The Bongo Luchito; Néstor - Tighten Up La Clave - Latin Slide Mongo Santamaria - Windjammer Ricardo Marrero - My Friend Sherlock Holmes Investigation - Investigation Pucho & The Latin Soul Brothers - Cloud 9 Ray Camacho - Movin' On

This episode of The Other Side of the Bell, featuring trumpeter, vocalist, composer and percussionist Pete Rodriguez, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Pete Rodriguez trumpet interview"   About Pete Rodriguez: Trumpeter, vocalist, and percussionist Pete Rodríguez carries the bloodline of Nuyorican salsa as he takes his unique brand of jazz to exciting new places. Son of salsa singer Pete "El Conde" Rodriguez and godson of Fania Records bandleader Johnny Pacheco, Rodríguez cut his teeth playing with some of the greatest names in Latin music. By age 19, he was musical director of his father's band. As a vocalist, he sang on Tito Puente's Grammy-award winning Mambo Birdland. As an instrumentalist, he's appeared with legends including Celia Cruz, Chico O'Farrill, Bebo Valdez and Eddie Palmieri, including performing on the Brian Lynch/Eddie Palmieri Project's Grammy-winning release, Simpatico. As a bandleader, Rodriguez draws on his diverse upbringing—including living through the birth of Hip Hop in the Bronx and becoming an accomplished classical trumpeter during his adolescence in Puerto Rico—to create his own brand of jazz that defies categorization. The result is music that has been praised as "not only instrumentally ferocious, but texturally rich and at times profoundly intimate," with compositions "rich in musical depth, tone and beauty, as well as rhythm and melody… giving his music an appeal beyond genres." (Downbeat). His music demonstrates his aptitude for hard-driving, modern post-bop jazz, as much as melodic Latin variants and R&B-tinged grooves. Rodriguez has released a series of acclaimed albums as a leader, including Mind Trip, The Alchemist, Caminando con Papi (Destiny Records), El Conde Negro (Destiny Records), Obstacles (Sunnyside Records), and his most recent, I'm Pete Rodríguez, Vol. 1 (Sunnyside Records), named one of the Best of 2024 by the New York City Jazz Record. His forthcoming I'm Pete Rodríguez, Vol. 2 continues his exploration of identity, resilience, and innovation. "As a bandleader he's working on a clean, complex and flexible model of modern Latin jazz … his compositions change shape and character, according to the free flow of the arrangements, among art song and swing and clave. Draped over all of it is Mr. Rodriguez's powerful playing, soft-toned but battling." – The New York Times   Episode Links: peterodriguezmusic.com Pete on Instagram (@prodriguezmusic) on YouTube (@peterodriguezmusic) on Facebook (@prodriguezmusic)   Upcoming Events: Greg Black Mouthpieces, November 7 & 8 North Carolina Music Educators Association Conference, November 9 & 10 Book your alignment here!   Podcast Credits: "A Room with a View" - composed and performed by Howie Shear Podcast Host - John Snell Cover Photo Credit - Pete Rodriguez Audio Engineer - Ted Cragg

We would LOVE to hear what you think. Please drop a line. Infinite and Brick Interview Michael GilasJoin hosts Infinite and Brick for a sun-soaked, heart-on-sleeve conversation with Michael Gilas, the hot adult contemporary songwriter, musician, and artist turning resilience into rhythm. In this episode, Gilas opens up about his transformative journey, the new single that's lighting up playlists worldwide, and the music that saved his life.Episode HighlightsDiscover the story behind Michael Gilas' latest single, “You and Me and Miami,” a vibrant ode to the Magic City that blends heartfelt storytelling with pulsating Latin-infused pop. Distributed by Intercept Music, the track celebrates life, love, and the undeniable heat of Miami's nightlife.Learn how a life-changing horseback riding accident altered the course of Gilas' life—leaving him with a broken neck and wrist, wrestling with pain, depression, and near addiction—and how music became his healing sanctuary.Explore the collaboration that helped shape “You and Me and Miami,” written with Emmy-winning and Grammy-nominated Allan Phillips, a veteran multi-instrumentalist with a pedigree that spans Donna Summer, Kenny Loggins, Al Jarreau, Tito Puente, Sheila E., and Sergio Mendes.Hear about Gilas' personal musical evolution since his debut album, “231 Kensington Road,” created during a period of limited mobility, and produced with Grammy-winning producer Brian Kennedy. Get the inside scoop on the making of the album and the inspiration behind the tracks.A look at Gilas' rising chart trajectory: from the breakout single “Working with the Rain” hitting #21 on the Billboard Adult Contemporary Chart and climbing to #13, to pacings on the World Indie and Euro Indie charts, and the subsequent success of “Can't Hide Beautiful” and its Billboard Hot 100 and AC appearances.Michael's influences and the artists who shape his sound—The Eagles, Steely Dan, Fleetwood Mac, Billie Eilish—and how he blends sun-drenched melodies with universal pop appeal.A candid discussion about the creative process when healing, writing with limited mobility, and turning personal resilience into a universal, feel-good message for late-night drives, beach playlists, and celebratory moments.About the EpisodeInfused with warmth, resilience, and a celebratory vibe, this episode captures the spirit of “You and Me and Miami”—a track that channels the intoxicating pull of new love and the city itself. Gilas discusses his philosophy that music is not just art but a second chance, a vessel for storytelling, and a beacon of hope. He reflects on Miami as a muse and a memory, a place of joy and gratitude for the moments that saved him—and the moments he hopes to create next.Why ListenIf you love contemporary pop with Latin flavor and heartfelt storytelling.If you're inspired by artists who reinvent themselves after hardship.If you enjoy behind-the-scenes insights into hit-making, collaborations with legendary producers, and chart-topping momentum.If you want a candid, uplifting conversation about resilience, gratitude, and chasing memories that make life worth singing about.Release DetailsSingle: You and Me and MiamiArtist: Michael GilasWriter(s): Michael Gilas, Allan PhillipsProducer: Allan PhillipsDistributor: Intercept MusicAlbum reference: 231 Kensington Road (debut album)Notable collaborators: Grammy-winning producer Brian Kennedy; James Fauntleroy (songwriter/producer) among those who have joined Gilas' creative circleSupport the show

Aldemaro Romero OAB (Valencia, Estado Carabobo, 12 de marzo de 1928 - Caracas, Venezuela, 15 de septiembre de 2007) fue un músico, compositor, arreglista y director de orquesta venezolano. Fue el segundo de los cuatro hijos de Rafael Romero Osío y Luisa Zerpa de Romero, ambos nativos de Valencia. Comenzó sus estudios musicales con su padre, quien era director de la Banda del Estado Yaracuy. A los 9 años, ya era cantante y el primer locutor de radio infantil en la emisora La Voz de Carabobo. Allí animaba un espacio llamado La Hora Infantil junto a su hermana Rosalía Romero, menor de edad igual que él. Además, en dicho espacio también vendía publicidad. En 1942, la familia se trasladó a Caracas y recibió como regalo de una de las abuelas de Aldemaro, una pianola, la cual fue transformada rápidamente en piano, y en la cual adquirió el futuro músico el primer conocimiento del instrumento. El padre de Aldemaro intentó disuadirle de iniciar carrera como músico y lo hizo inscribir en una escuela técnica industrial. Sin embargo el futuro artista no continuó sus estudios ya que había hecho planes para seguir el oficio de músico.[1]? Durante el período de 1942 a 1948, Romero hizo contactos con varios músicos aficionados en Caracas y comenzó a tocar en clubes nocturnos. Paralelamente, tomaba clases de música con el compositor venezolano Moisés Moleiro. Su primer trabajo es como pianista en salones nocturnos y en orquestas de baile siendo la primera de ellas la orquesta Sonora Caracas. En 1944, firma un contrato con la emisora caraqueña Radio Libertador en la cual funge de pianista de planta. Allí conoce al director de orquesta popular Luis Alfonzo Larrain, con quien toma clases de música y de quien recibe fundamentos de disciplina, de los cuales hará uso más tarde cuando dirija sus propias agrupaciones. Larrain le asigna, gracias a su talento, el triple rol de subdirector, arreglista y pianista de su orquesta. Con esta agrupación inicia su carrera de compositor con el bolero "Me queda el consuelo". Se separa después de esa orquesta al unirse a la agrupación bailable de los cantantes populares Rafael "Rafa" Galindo y Víctor Pérez, continuando su rol de pianista. En 1948, se independiza creando su primera orquesta de baile llamada "Aldemaro Romero y su Orquesta" la cual dura hasta 1950, cuando tiene una actuación en la cinta venezolana "Tres meses de vida". Realiza actuaciones en radios caraqueñas y en 1952, llamado por su amigo, el tenor Alfredo Sadel, se marcha a Nueva York firmando contrato con la disquera transnacional RCA Victor para grabar con orquestas de estudio. En 1954, esta empresa inicia una serie exitosa de álbumes en formato LP de 12 pulgadas, de música latina popular, en arreglos estilizados, denominada Dinner In.... El joven Aldemaro Romero así forma parte de una lista de músicos veteranos tales como, el argentino Terig Tucci, el mexicano Pablo Ruiz, el brasileño Rafael "Fafa" Lemos Junior y el cubano René Touzet la pléyade de artistas que dio vida a esta serie discográfica. El álbum grabado por Romero fue Dinner in Caracas, su primer disco LP, realizado con músicos estadounidenses y dos venezolanos, uno de ellos el propio Romero, y el otro, el contrabajista. Esta grabación fue realizada en formato monaural, en momentos en que la estereofonía y la grabación multipista aún no hacían su aparición formal. Con este álbum, Romero superó los registros de venta hasta entonces conocidos en el mercado discográfico de América del Sur y concluye esta serie en 1956, con Dinner In Colombia, grabado en los estudios de RCA Víctor Mexicana. Luego, grabó numerosos álbumes en diferentes países, entre ellos, Cuba. En este país, realiza la dirección y el arreglo para el tema "Alma Libre" grabado a dúo por su amigo Alfredo Sadel y Benny Moré. En Estados Unidos, su capacidad como arreglista y director lo condujo a colaborar con orquestas y cantantes populares, como Dean Martin, Jerry Lee Lewis, Stan Kenton, Machito y Tito Puente, además de dirigir la orquesta de solistas de los empleados de la empresa automotriz General Motors.[2]? En 1957 creó en Estados Unidos una Gran Orquesta bajo el género del mambo y fue contratado para los Carnavales de Caracas en el Hotel Avila. Ese año lo hizo acompañando al vocalista cubano Miguel de Gonzalo. La orquesta es considerada como una atracción extranjera por no ser venezolanos sus integrantes, exceptuando al propio Romero. Sin embargo esto no es obstáculo para que sus presentaciones fueran exitosas. Paralelamente, firmó un contrato con la empresa venezolana Discos Cymbal para la realización de discos de música venezolana. En algunos casos lo hizo bajo el mismo formato de la serie discográfica de RCA Víctor "Dinner in..." y en su mayoría, grabados en Estados Unidos. Durante su permanencia con Discos Cymbal, Romero volvió a grabar el repertorio de Dinner in Caracas en abril de 1959 con tecnología multipista, pero el disco resultante fue denominado Caracas at dinner time. En 1960 volvió a Venezuela, para ser el productor y presentador del programa televisivo "El show de Aldemaro Romero" en el cual cumplía otras funciones más, entre ellas la de escenógrafo. Allí acompañaba o presentaba a cantantes venezolanos y extranjeros de la época como el cuarteto Los Cuatro y Simón Díaz quien recién iniciaba su carrera de actor y cantante popular. Para septiembre de 1964 participó en una presentación donde ejecuta jazz demostrando su versatilidad musical. Hacia 1965, grabó con el desaparecido vocalista juvenil Cherry Navarro el pasodoble "Adiós, Madrid" en un atisbo de lo que sería posteriormente, el movimiento de la Onda Nueva. En 1967, el productor y locutor Renny Ottolina llamó a Romero para componer los temas incidentales y principales de la escenificación para la televisión del cuento infantil "El angelito más pequeño". Destaca de todos estos temas, el Sueño de una niña grande, vocalizado en esa oportunidad por el ya desaparecido actor y cantante venezolano Germán Freites. Hacia 1968 firmó un nuevo contrato con RCA Víctor en Italia, para grabar en ese país la segunda parte de "Dinner In Caracas".

Tom Brokaw famously described America's World War II servicemen as the “Greatest Generation”. But according to the historian David Nasaw, the Americans who fought in the Second World War are better understood as The Wounded Generation. His eponymous new book describes the pain and hardships that 16 million veterans endured upon their return home - a tragic story of PTSD, racism and family breakup. Brokaw celebrated the nobility with which these ex-soldiers got on with civilian life without either complaining or even talking about the war. But for Nasaw, this silence wasn't just stoicism—it was often undiagnosed and sometimes even untreatable trauma.1. WWII Was America's Longest and Most Brutal War The average soldier served nearly three years in uniform (compared to less than one year in WWI), with 75% deployed overseas. Combat on the European front was relentless, especially in the final year, with severe manpower shortages keeping GIs on the front lines for weeks or months without relief.2. Millions Returned with Undiagnosed PTSD Veterans came home with what we now recognize as PTSD, but it was neither diagnosed nor treated. Unable to talk about their experiences, many self-medicated with alcohol. The silence wasn't stoicism—it was trauma. Writers like Salinger and Vonnegut could only process their experiences through fiction years later.3. The GI Bill Excluded Most Black Veterans While celebrated as transformative legislation, the GI Bill's benefits were distributed by local officials. In the South, this meant Black veterans were systematically denied college access (segregated schools were full) and unemployment benefits (they were told to return to sharecropping). Only Northern Black veterans like Harry Belafonte, John Coltrane, and Tito Puente could fully access their benefits.4. America Faced Its Worst Housing Crisis Ever No homes had been built during the Depression or the war years, creating unprecedented shortages when 16 million servicemen returned. This housing crisis, combined with fears of renewed economic depression, added to veterans' anxiety about rebuilding their lives. Politicians like JFK and Jacob Javits fought hard for veterans' housing subsidies.5. The War's Aftermath Lasted Decades 1946 saw record divorce rates and increased lynchings as racial tensions exploded. Veterans who liberated concentration camps or survived POW camps (especially in the Pacific) carried lifelong trauma. Nasaw's central message: wars don't end with peace treaties—the harm to soldiers and civilians lasts for generations.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Envía tu comentarioUn reconocido promotor de la televisión organizó en La Habana el festival Cincuenta años de música cubana. Invitó, con carácter honorífico, a músicos cubanos ausentes de la Isla por años y hasta por décadas. La lista incluía, además de músicos, a periodistas y otras personalidades.Entre esa legión de invitados de honor, llegó a Cuba un joven nacido en Nueva York, de padres puertorriqueños: Tito Puente.¿Qué justificaba la presencia de Tito entre tantos valores musicales cubanos?¿Fue este su primer encuentro con Cuba?En este episodio encontrarás las respuestas.En el Calendario Musical de Cuba, el flautista y director danzonero Belisario López, el pianista, compositor y director Juan Bruno Tarraza y el inmenso Bebo Valdés.Support the show¡SUSCRÍBETE!: https://www.buzzsprout.com/1702252/subscribe

Bailable frenesí que en los 50 enloqueció al mundo de la mano de Dámaso Pérez Prado (1917-1989). Unico ritmo que pudo mantener el pulso al emergente rock n roll de Elvis o Bill Haley. Brando, Kim Novak, Sofia Loren o Silvana Mangano, entre sus practicantes distinguidos. "Mambo Nº 8, "Cerezo Rosa" o "Patricia” llenaron la pistas brillantemente coreografiados y servidos por una espectacular orquésta “a la americana” comandada por el gutural grito de Dámaso pero también Tito Puente, Tito Rodriguez , Benny Moré o la propia Sofia.... ¡Pista! Pista para bailadores. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

HPR All Things Considered host Dave Lawrence remembers a lively and fascinating guest — Latin Music / Latin Jazz pioneer Eddie Palmieri. The giant passed at 88 last week, and today Dave digs into the vaults and shares highlights from a 2012 conversation ahead of an island tour. They go back over the ways Eddie was shaped and influenced, with stories that take us back to how his brother was a primary force in his musical development, the impact Tito Puente had on both of them, and much more.

Bailable frenesí que en los 50 enloqueció al mundo de la mano de Dámaso Pérez Prado (1917-1989). Unico ritmo que pudo mantener el pulso al emergente rock n roll. Brando, Kim Novak, Sofia Loren o Silvana Mangano, entre sus practicantes distinguidos. "Mambo Nº 8, "Cerezo Rosa” "Patricia” o "Mambo Jambo“ llenaron la pistas con interesantes coreografías y espectaculares orquéstas “a la americana” comandadas por el gutural grito de Dámaso pero también Tito Puente, Tito Rodriguez en míticos lugares como el Palladium.... ¡Pista para bailadores!. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

Coot's Sunkissed Mix 20251, Scott Diaz - The Ocean Was Always You (Edit)2, Dos Hombres Sonido - Que Tal America (Dave Lee Extended Mix)3, Island Groove - Just Remember (Island Groove Vibe Mix)4, The Cool-Notes - You're Never Too Young (Mannix 12 Inch Disco Remix)5, Thick Dick - Insatiable (Rasmus Faber Extended Remix)6, Scope - Deep Inside (Extended Mix)7, The Rurals - Mountain Cloud (Original Mix)8, Wall Of Sound - Critical (Club Mix)9, Reel People - Can't Stop (Dennis F's Falling 4 U Mix)10, Tiger Stripes - A Dance11, Prins Thomas - Traæns 512, Vincenzo - Keep Moving 13, Paul Simpson Connection - Treat Her Sweeter (Dr Packer Remix)14, DSK - Holdin' On (U.S. Remix)15, Jask - Beautiful (Jocie in My Room Mix)16, Banda Sonora - Guitarra G (G Club Original Mix)17, Tito Puente, Jr. - Oye Como Va (Joey Musaphia Main Mix)18, Lost Tribe - MuSika19, Mambana - Felicidad (Low Steppa Extended Remix)20, Double Dee - Found Love (Paul Gotel's Euphonic Soundscape)

En una conversación exclusiva, José Nelson Díaz entrevista al legendario pianista y compositor Eddie Palmieri, con motivo de la presentación del icónico álbum Masterpiece, grabado junto a Tito Puente. A lo largo de esta enriquecedora charla, Palmieri repasa momentos clave de su carrera, que abarca más de seis décadas de innovación en la música latina, destacando su aporte al jazz latino, la salsa y su compromiso con la excelencia musical.La entrevista, guiada por la experiencia y el estilo distintivo de José Nelson Díaz, ofrece una mirada íntima a la colaboración entre dos gigantes de la música: Puente y Palmieri, revelando anécdotas, retos creativos y el legado cultural de Masterpiece, un disco ganador del Grammy. La conducción de Díaz logra resaltar cada detalle con respeto y profundidad, brindando una pieza imperdible para los amantes de la música tropical y el jazz latino.

In this heartfelt episode of 'You Are Beautiful,' host Lawrence Zarian, affectionately known as LZ, welcomes legendary percussionist Sheila E. They discuss the power of self-love, forgiveness, and healing from childhood trauma. Sheila opens up about her journey from being a rape survivor at age five to finding solace and purpose in music. They also explore her deep connections with industry legends like Prince and Tito Puente, her family's musical legacy, and her views on current socio-political issues. The episode is filled with touching anecdotes, including Sheila's first performance, her Grammy wins, and the profound impact her father had on her career. Through candid conversations, Lawrence and Sheila inspire listeners to embrace their authenticity and find beauty in life's challenges.00:00 Welcome and Introduction01:34 Special Guest: Sheila's Joyful Memories03:19 Sheila's Heartfelt Story08:57 Finding Forgiveness and Healing13:21 Growing Up in a Musical Family15:55 Meeting Legends and Inspirations19:07 Reflections on Immigration and Current Events23:04 Fan Moments and Personal Connections23:46 Tito Puente: A Musical Influence25:40 The Joy of Soloing26:26 Meeting Prince for the First Time29:32 The Best Part of Prince32:50 Musical Inspirations and Sounds34:19 Memorable Moments and Influences36:54 Rapid-Fire Reflections on Music Icons39:07 Unexpected Hobbies and Personal Insights42:36 Performing for Family and Grammy Achievements45:47 Concluding Thoughts and Gratitude

1969 was a big year for Carlos Santana. He played Woodstock one week before his debut album was released and he saw it rise the charts and sell millions in the US. With the wind at his back, he and his band came back with momentum and on September 23, 1970 they released Abraxas which would go onto sell over 5 million copies. To some, it was an introduction to the fusion that Santana and his band created by blending jazz, rock, blues, soul, latin music and psychedelic sounds. Their rendition of Peter Green's (Fleetwood Mac) Black Magic Woman led many American rock fans to believe it was an original (much like Jimi Hendrix and All Along The Watchtower). As this classic turns 55, we gave it out track x track rundown and it had us movin' and groovin'! Thanks to the beats from Michael Shrieve (drums), Jose "Chepito" Areas (percussion, congas) and Michael Carabello (percussion, congas) the band created rhythms that not only made you get up and dance but laid down a groove that was easy for Carlos to play over. Only Carlos Santana can squeeze so much emotion out of every note while keyboardist and vocalist Greg Rolie (Santana, Journey, The Storm) delivers fierce organ and piano textures while offering vocals that fit the tracks. However, most of the songs are instrumentals and the two big hits were covers as Oye Come Va was a Tito Puente song. But because the band put their personal style into the songs, though they weren't much different from the originals, they are now the standards for each. This album was released before we were born so we don't know a world without it but it stands as about the finest offering from Santana is his long and celebrated career. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

1969 was a big year for Carlos Santana. He played Woodstock one week before his debut album was released and he saw it rise the charts and sell millions in the US. With the wind at his back, he and his band came back with momentum and on September 23, 1970 they released Abraxas which would go onto sell over 5 million copies. To some, it was an introduction to the fusion that Santana and his band created by blending jazz, rock, blues, soul, latin music and psychedelic sounds. Their rendition of Peter Green's (Fleetwood Mac) Black Magic Woman led many American rock fans to believe it was an original (much like Jimi Hendrix and All Along The Watchtower). As this classic turns 55, we gave it out track x track rundown and it had us movin' and groovin'! Thanks to the beats from Michael Shrieve (drums), Jose "Chepito" Areas (percussion, congas) and Michael Carabello (percussion, congas) the band created rhythms that not only made you get up and dance but laid down a groove that was easy for Carlos to play over. Only Carlos Santana can squeeze so much emotion out of every note while keyboardist and vocalist Greg Rolie (Santana, Journey, The Storm) delivers fierce organ and piano textures while offering vocals that fit the tracks. However, most of the songs are instrumentals and the two big hits were covers as Oye Come Va was a Tito Puente song. But because the band put their personal style into the songs, though they weren't much different from the originals, they are now the standards for each. This album was released before we were born so we don't know a world without it but it stands as about the finest offering from Santana is his long and celebrated career. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

When this drummer was a kid, his father introduced him to an array of music, from Tito Puente to Dobie Gray. “He bought himself a La-Z-Boy chair. He would sit there after dinner, smoke a cigarette, and zone out listening to music.” Bad for the lungs, great for the soul. The making of a musician. Presented with the Bronx Music Hall.

Gia Fu is a DJ, record collector, and music producer from Hong Kong. In this episode, she joins Albina Cabrera to explore the invisible bridges between Afro-Caribbean rhythms and the migrant histories of the Chinese diaspora. From her early encounters with Spanish and salsa as a university student to the creation of Canton Mambo, Gia shares a curated songbook that documents tracks referencing China and Asia within Latin music. Drawing from Cantonese heritage, Chinese folk traditions, and the New York salsa scene, Gia reimagines the archive through an affective and decolonial lens. She also reflects on “Lotus,” a composition that blends a traditional Chinese melody with arrangements by Ricky González and Nicky Marrero. Listen to this episode in English on the El Sonido: Cancioneros podcast feed and follow along with subtitles in Spanish on KEXP’s YouTube channel. An original KEXP production. Songbook curated by Gia Fu:“Hong Kong Mambo” – Tito Puente“Mambo de la Luz” – Orquesta de la Luz“Rush Hour in Hong Kong” – Louie Ramírez“Canton Mambo” – Gia Fu“Lotus” – Gia Fu Credits:Host & Producer: Albina CabreraProduction Assistant: Dev Vasquez GonzalezEditing & Mixing: Jackson Long & Albina CabreraEditorial Review: Dusty HenryEditorial Director: Larry Mizell Jr.Original Podcast Music: Roberto Carlos Lange (Helado Negro) An original KEXP production. Where the music matters.Support El Sonido: kexp.org/el-sonido Gia Fu es DJ, coleccionista de discos y productora musical nacida en Hong Kong. En este episodio, explora junto a Albina Cabrera los caminos invisibles que unen a la música afrocaribeña con la historia migrante de la diáspora china. Desde sus primeros acercamientos al español y a la salsa durante su juventud universitaria, hasta la creación de Cantón Mambo, Gia comparte un cancionero que documenta canciones sobre China y Asia dentro de los ritmos latinos. Con influencias que cruzan la cultura cantonesa, el folklore chino y la escena salsera neoyorquina, Gia Fu reimagina el archivo desde una mirada afectiva y decolonial. En este episodio también habla de “Lotus”, una composición que fusiona una melodía tradicional china con arreglos de Ricky González y Nicky Marrero. Escucha este episodio en inglés en el feed de El Sonido: Cancioneros y con subtítulos en español en nuestro canal de YouTube de KEXP. Una producción original de KEXP. Cancionero curado por Gia Fu:“Hong Kong Mambo” – Tito Puente“Mambo de la Luz” – Orquesta de la Luz“Rush Hour in Hong Kong” – Louie Ramírez“Cantón Mambo” – Gia Fu“Lotus” – Gia Fu Créditos:Producción y conducción: Albina CabreraAsistencia de producción: Dev Vasquez GonzalezEdición y mezcla: Jackson Long & Albina CabreraEdición editorial: Dusty HenryDirección editorial: Larry Mizell Jr.Música original del podcast: Roberto Carlos Lange (Helado Negro) Una producción original de KEXP. Donde la música importa. Apoya El Sonido: kexp.org/el-sonidoSupport the show: http://kexp.org/elsonidoSee omnystudio.com/listener for privacy information.

Sintonía: "Bossa em Re" - Luiz Bonfá"Bolinha de papel (Little Paper Ball)" - Joao Gilberto; "Oba-La-La" - Sergio Mendes; "O Pato (The Duck)" - The Ramsey Lewis Trio; "Brazilandia" - Tito Puente And His Orchestra; "A primeira vez" - Joao Gilberto; "Outra ves" - Sergio Mendes; "Street Dance" - Stan Getz; "Se acaso voce chegasse" - Elza Soares; "Perdido" - Enoch Light; "Manha de carnival (Morning of Carnival)" - Stan Getz; "So danço o Samba" - Zé Maria; "Amor por amor" - Luiz Bonfá; "Ciume" - Zoot Sims and His Orchestra; "Recado Bossa Nova" - Zoot Sims and His Orchestra; "Bossa Nova a la Puente" - Tito Puente and His Orchestra; "Mas que nada" - Zé MariaTodas las músicas extraídas del primer CD de la recopilación (2xCD) "Strictly Bossa Nova: 40 Original Bossa Nova Grooves on 2CDs" (Not Now Music, 2017)Escuchar audio

My guest, Bobby Sanabria, is a 7 time Grammy nominee. He is noted drummer, percussionist, composer, arranger, conductor, producer, documentary filmmaker, bandleader...and most important to me, educator. He has played with some of the all time greats, including Dizzy Gillespie, Mongo Santamaria, Tito Puente, Celia Cruz, Ruben Blades, Randy Brecker, to named a few. He was named Percussionist of the Year in 2011 and 2013 by Jazz Journalist Association. He has a radio show in the New York area entitled, "Latin Jazz Cruise" on WBGO FM (wbgo.org). Simply a magnificent episode not to be missed! Produced, directed, edited and hosted by Stephen E Davis.

Cerramos la semana con el Territorio Comanche. Miqui Otero nos habla del libro de Peter Ames Carlin, "Este grupo se llama R.E.M",  Santi Segurola  nos explica las reglas de los Enhanced Games (Olimpiadas del Dopaje), Joana Bonet describe a las mujeres de Mar-a-Lago y Núria Torreblanca homenajea a Tito Puente, cuando se cumplen 25 años de su muerte.  

Cerramos la semana con el Territorio Comanche. Miqui Otero nos habla del libro de Peter Ames Carlin, "Este grupo se llama R.E.M",  Santi Segurola  nos explica las reglas de los Enhanced Games (Olimpiadas del Dopaje), Joana Bonet describe a las mujeres de Mar-a-Lago y Núria Torreblanca homenajea a Tito Puente, cuando se cumplen 25 años de su muerte.  

On the June 1 mega stuffed edition of the Music History Today podcast, there's a lot of history made by the Beatles, Sting, Springsteen, Bowie, the Runaways, and Tito Puente. Also, happy birthday to a lot of people, as well, including Pat Boone and Alanis Morrissette. For more music history, subscribe to my YouTube Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

On the May 31 edition of the Music History Today podcast, there's history made by Ginger Spice, Jimi Hendrix, the Who, the Eagles, and the Sex Pistols. Also, happy birthday to Azealia Banks and John Bonham. For more music history, subscribe to my YouTube Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

Subscriber-only episodeTus comentarios son muy valiosos. Envía un mensaje de texto.DISCOMANÍA Y ALGO MÁS, La música en la prensa , nos remonta, en el tiempo, al mes de junio de 1957. En los diarios, novedades del sello Fama. Zarzuelas españolas en discotecas Montilla. Tito Puente y su Orquesta, con Vicentico Valdés, en el Lp Mambo en Broadway. Noticias del Benny: salió hacia Puerto Rico y seguiría viaje a Medellín, Colombia. En la sección El cartero , responde a nuestra amiga Lucy Sandoval. La televisión presenta al tenor Manolo Álvarez Mera, ganador de un Disco de Oro; detalles de su nuevo Lp, y su debut en Caracas. La Orquesta Aragón respalda a Joseíto Fernández, creador de La Guantanamera . Una compañía de victrolas pretendía subir el precio al consumidor. Fernando Mulens firma con la casa disquera Kubaney. Y El reporte final se refiere a una discoteca mexicana de José Antonio Méndez. ¡SUSCRÍBETE!: https://www.buzzsprout.com/1702252/subscribe

Karl Perazzo is a World Class percussionist who has played with Carlos Santana for 33 years. He's played with the best in Pop, Jazz, Rock and Latin music including Cal Tjader, Dizzy Gilespie, Sheila E., Mariah Carey, Paquito D'Rivera, Tito Puente and Ruben Blades. He's performed on American Bandstand, Soul Train and the American Music Awards.My featured song is “It Don't Matter” from the album East Side Sessions by my band, Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Connect with Karl at:Instagram (@karlpperc)—---------------------------------------ROBERT'S SINGLES:“THE RICH ONES ALL STARS” is Robert's latest single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

John Santos is a 7x Grammy nominated Latin percussionist. He's one of the world's foremost exponents of Afro-Latin music. He's performed or recorded with Carlos Santana, Dizzy Gillespie, Tito Puente, Eddie Palmieri, Paquito D'Rivera, The Buenavista Social Club, Billy Cobham, Regina Carter and Arturo Sandoval among many others.My featured song is “It Don't Matter” from the album East Side Sessions by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here .To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------ROBERT'S SINGLES:“SOSTICE” is Robert's newest single, with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with John at:www.johnsantosofficial.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Warren Wolf's History of the Vibraphone pays tribute to 11 legendary vibe players, including Lionel Hampton, Gary Burton, and Dave Samuels, presenting a deep dive into the vibraphone's jazz legacy. Starting in classical music under his vibraphonist father's guidance, Wolf trained on vibraphone, marimba, xylophone, drums, and piano from a young age in Baltimore. Influenced by his dad's extensive jazz record collection and the local organ trio jazz scene, he eventually studied under Dave Samuels at Berklee, where he later taught. Wolf's rich blend of early classical rigor and exposure to jazz and R&B shaped his style, which now spans swing to fusion.  In History of the Vibraphone, Wolf performs each track as an homage to original artists, joined by saxophonist Tim Green, pianist Alex Brown, bassist Vicente Archer, and drummer Carroll “CV” Dashiell III. Standout selections like Gary Burton's “Captain Señor Mouse” and Samuels's “Spring High” reflect Wolf's influences and his mission to celebrate lesser-known vibes players. Currently a professor at Peabody Conservatory, Wolf remains dedicated to jazz education. Baltimore's thriving scene is central to his work, with venues like Keystone Korner and An Die Musik hosting vibrant jam sessions. Wolf's upcoming tour hints at a possible sequel to this record, potentially honoring Red Norvo, Tito Puente, and Mike Mainieri. ⁠https://njjs.org/⁠ https://www.warrenwolf.com/ History of the Vibraphone https://open.spotify.com/album/0raNJZzMHYyOr9R398NJ3E?si=CkIRJL2-Rm2iFwruCESL-Q

Episode 594 also includes an E.W. Poetic Piece titled "Blue, White, Yellow, Green." Our music this go round is provided by these wonderful artists: Thelonious Monk, Tito Puente, Say She She, Lael Neale, Branford Marsalis & Terence Blanchard. Photo by Krista Campione Photography. Commercial Free, Small Batch Radio Crafted in the West Mountains of Northeastern Pennsylvania... Heard All Over The World. Tell Your Friends and Neighbors.

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Conrad Herwig, commercial and jazz trombonist from New York City. About Conrad: New York jazz artist CONRAD HERWIG has recorded nearly 30 albums as a leader, receiving four GRAMMY®-nominations for his own projects. His latest CD release is The Latin Side of McCoy Tyner (Savant; 2024). This albums marks 27+ years of the “Latin Side . . .” series, and is a follow-up project to The “Latin Side of ...” tributes to Charles Mingus (Savant 2022), Horace Silver (Savant; 2020), Joe Henderson (Half Note; 2014), Herbie Hancock (Half Note;2010) Wayne Shorter (Half Note; 2008), Miles Davis (Half Note; 2004), and John Coltrane (Astor Place; 1996). These exciting and individualized projects feature an array of special guests including Randy Brecker, Ruben Blades, Michel Camilo, Joe Lovano, Eddie Palmieri, Paquito D'Rivera, Dave Valentin and many of the hottest players on the international scene. Herwig is equally facile in a non-Latin arena. He has been voted #1 Jazz Trombonist in DownBeat Magazine “Jazz Critic's Poll” and nominated for “Trombonist of the Year” by the JazzJournalists Association on numerous occasions. In constant demand as a sideman, Herwig has performed with Joe Henderson, Horace Silver, McCoy Tyner, and Joe Lovano (featured as a soloist on Lovano's GRAMMY® Award winning 52nd St. Themes CD). In the Afro-Caribbean genre he has toured with legends such as Eddie Palmieri, Tito Puente, Paquito D'Rivera, and Michel Camilo. He is a longtime member of the the Mingus Big Band (where he has served as musical director and arranger including on the 2011 GRAMMY®-winning “Live at the Jazz Standard”). In other big band settings Herwig has also performed and recorded with Clark Terry, Buddy Rich, Frank Sinatra, Miles Davis & Quincy Jones, and the Gil Evans Orchestra. All told Herwig has appeared on more than 200+ albums in what is now a 40 year career. In 2006 Herwig received the Paul Acket Award (formerly the “Bird Award”). The prize, presented at the North Sea Jazz Festival, is intended for an artist who, according to the international jury, deserves the attention of a broader audience. Herwig is also a recipient of performance and teaching grants from the National Endowment for the Arts. Conrad was elected to the Board of Advisors of the International Trombone Association and has taught at Mason Gross School of the Arts in the prestigious jazz program at Rutgers University in New Brunswick, N.J. where he currently serves as Artistic Director and Chair of Jazz Studies.

Canciones brasileñas grabadas por Cal Tjader ('A felicidade'), Kevyn Lettau ('Beatriz', 'Retrato em branco e preto'), Los Hombres Calientes ('Corcovado'), Patato y Totico ('Mas que nada'), Die 12 cellisten der Berliner Philarmoniker ('Mas que nada'), Gaby Moreno & Van Dyke Parks ('O cantador'), Soledad Bravo ('Fantasia', 'Mambembe', 'Ese negro'), Tito Puente & India ('Wave') y Hector Martignon ('Bala com bala').Escuchar audio

This episode of The Other Side of the Bell, featuring trumpeter, Sal Cracchiolo, is brought to you by Bob Reeves Brass. Tickets for the Youth Trumpet Scholars Trumpet Trilogy can be purchased here. About Sal Cracchiolo: Salvator William Cracchiolo II was born in Long Beach, California as the son of two talented music teachers.  His father, Sal Cracchiolo I, owned a music studio where he taught piano and played professional accordion.  His mother, Edith, was his first trumpet teacher and started Sal on trumpet at the age of 12.  He played in concert, marching and jazz band in high school.  By his Junior and Senior year of High School, he was attending Cerritos College playing in their jazz and concert bands. He started working as a professional musician at 15 in nightclubs with various R & B and Latin bands.   In 1975 he started a long musical friendship with Poncho Sanchez, which ultimately let to 18 albums.  Between working with Poncho, in the 1980s, he was a member of the Pasadena City College Big Band under the direction of saxophonist, Gary Foster.  While in this band, Sal played with such jazz greats as Warren Marsh, Lee Konitz, and Peter Erskine. In the late-80s, Poncho traveled internationally.  Since then, with Poncho and other acts, Sal has traveled to 45 countries globally.  With Poncho, he has played and recorded with Dizzy Gillespie, Freddie Hubbard, Cal Tjader, Chick Corea, Stanley Turentine, Tito Puente, Mongo Santamaria, Clare Fischer, Gary Foster, Arturo Sandoval, Eddie Harris, Joey DeFrancesco, Dianne Reeves, Justo Almario, Andy Martin, Celia Cruz and Pete Escovedo.  He performed for and with these artists at the Monterey, Playboy, Concord, and Nice Jazz Festivals plus many others throughout the U.S., Europe, Canada, Mexico, South America, Thailand and Japan. He has also done worldwide tours with such artists as Tom Jones, Vicki Carr, Harry Connick and Brian Setzer. He was with the Clayton/ Hamilton Jazz Orchestra and has played with them since 2003. The CHJO has been rated as the #1 Big Band in the USA by Downbeat Magazine from 2007 to 2010.  He also performing with his own sextet featuring his wife, Melanie Jackson, on vocals  In 2001 “Fly” was nominated for a Latin Grammy. He has performed on the latest albums of Michael Buble, Gladys Knight, Joss Stone, Jamiroquoi, and Dr. Dre and on various sountracks for HBO. In 2001,  their CD, “Fly”, was nominated for a Latin Grammy.  In 2002 they performed at the Du Maurier Vancouver International Jazz Festival.  In 2003 they will be performing for the warm-up for the Playboy Jazz Festival. In 2004 through 2006  Sal and Melanie's sextet was sponsored by the California Arts Council.

GRAB YOUR

#144. Ron talks with drummer/composer Mario Gutierrez about his solo project niecesandnephews, joining Ghost Funk Orchestra, growing up on Tito Puente, bringing positive energy to the studio and the stage.This episode is sponsored by DistroKid. Get 30% off your membership at distrokid.com/vip/independentmindedSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Carlos Santana introduces Tito Puente's song to a new generations of music fans. 

On this week's episode, 85-year-old TikTok star and author, Annie Korzen, tells us about growing up in New York City and about the time she stumbled on a street fair on the Upper West Side filled with people dancing in the street to music from none other than Tito Puente!Check out Annie on TikTokHave fun like Annie? Donate to the B+ FoundationBuy Annie's book!!This week's Rachel's Recs: Summer Streets & The Commodore IIWhat did you think of this week's episode?They Had Fun on Instagram, YouTube, and our website

Tito Puente's musical tutelage and Oye Como Va.

Doc opens talking about longevity and the endearing name Tito in sports, art and surgery. Doc uses examples of Tito Fuentes in sports and Tito Puente in art. Klapper Vision is the Dodgers' Julio Urias' shoulder injury. The Weekend Warrior Clinic opens for listeners.

Get ready for an unforgettable episode of Pop Culture Weekly! Kyle McMahon is live from the West Lawn of the United States Capitol for rehearsals for PBS annual A Capitol Fourth 2024.  He chats with the incredibly talented stars like Darren Criss, Fitz & Noelle of Fitz & The Tantrums and Loren Allred, known for her mesmerizing vocals in "The Greatest Showman." He's joined by a diverse array of stars who bring their unique flair to the celebrations. Pianist Chloe Flower talks about her love of high fashion and how it perfectly complements her captivating performances. Then, Olympic gymnast Shawn Johnson East gives us a glimpse into her exhilarating experience of participating in the Fourth of July festivities, likening it to the thrill of competing at the Olympics again. We also catch up with Sister Sledge featuring Sledgendary, who share the joys and challenges of performing beloved American classics while navigating family dynamics on stage.Our episode wouldn't be complete without insights from the charming host Alfonso Ribeiro shares his enthusiasm for traveling America in his RV, his passion for golf, and the unifying spirit of the Fourth of July. Meanwhile, Sheila E. reflects on her new salsa album and the lasting impact of iconic artists like Tito Puente and Celia Cruz on her musical journey. And of course, Kyle talks with Broadway star Darren Criss, who takes you behind the scenes of his performances for "A Capitol Fourth," celebrating the phenomenal work by Capital Concerts and providing crucial details on how to catch this must-see event. Tune in and join the celebration!PBS A Capitol Fourth airs live on PBS July 4th, 2024 at 8pm EST as well as Facebook and YouTube. The special will remain on demand on YouTube, Facebook, and the PBS site.Kyle McMahon's Death, Grief & Other Sh*t We Don't Discuss is now streaming: https://www.deathandgrief.show/Chapter-One-The-Diagnosis-AKA-WTF/---------------Get all the Pop Culture Weekly podcast info you could want including extra content, uncut interviews, photos, videos & transcripts at: https://podcast.popcultureweekly.comWatch celebrity interviews at: https://www.facebook.com/realkylemcmahon/videosor Kyle McMahon YouTube at: https://www.youtube.com/officialkylemcmahonRead the latest at http://www.PopCultureWeekly.comFollow Kyle on:Twitter: http://www.twitter.com/kmacmusicFacebook: http://www.facebook.com/realkylemcmahonInstagram: http://www.instagram.com/kmacmusicYouTube: https://www.youtube.com/@popcultureweeklyWebsite: http://www.kylemcmahon.mePop Culture Weekly twitter: http://www.twitter.com/popculturepodca

Send us a Text Message.Is our guest possibly the reincarnate of Tito Puente? In the episode with Tito Puente Jr, he mentioned that our guest is almost like watching his father perform. Our guest is Wally El Timbalero. Wally tells me that he was mesmerized by seeing Tito Sr. perform on Sesame Street which sparked his passion into learning everything about him. Wally also shares some interesting talents that most people don't know about. We also put him through, In Four Beats or Less:1. Who's on your Mt Rushmore of drummers?2. Favorite Tito Puente song?3. What other social media drummer are you following?Check out Wally's links:https://www.instagram.com/wallyeltimbalero/HELP SUPPORT the podcast.Drums and Rums | creating podcasts and music | Patreonhttps://cash.app/$drumsandrumsWant to Support the Show.

Riwo finishes up Caribbean Month talking about the Queen of Salsa, Celia Cruz. This colorful Cuban singer part of Tito Puente's Orchestra and the only female in the Fanta All-Stars. Her story is full of Azucar (sugar) sweetness. She released 37 albums and has even more collabs including one with Wyclef Jean. 

This time we felt like exploring the interplay of basketball and jazz, focusing in particular on a great jazz advocate like Kareem Abdul Jabbar [pictured], on the soundtrack of the HBO series "The Winning Time", on an oneiric game played with a basketball fish, and on Stanley Clarke's tribute to this sport, to which he devoted as many hours as he did to the study of the bass, while growing up in Philly. The playlist features Nicholas Britell, Robert Glasper; Jeff Beal; Poncho Sanchez, Tito Puente; Steve Lacy, Don Cherry; Freddie Hubbard; Kris Allen; The Jazz Passengers; and Stanley Clarke. Detailed playlist at https://spinitron.com/RFB/pl/19064879/Mondo-Jazz (up to "Basketball") Happy listening!

Frenette's love of music started at the age of 5 while playing the bongos and listening to records with his parents. Artists like Perez Perado, Tito Puente, Herb Albert, Johnny Cash and Tom Jones were constantly spinning on the record player. By the age of 10, Matt was learning his rudiments in a marching and concert band. Some of Matt's early influences include Mitch Mitchell, Ginger Baker, Keith Moon, Michael Shrieve, Danny Seraphine,Billy Cobham, and later influences include Manu Katche, Steve Gadd, and Richard Bailey. Frenette is a founding member of Streetheart and his legacy as the other half of one of rock's greatest rhythm sections is still a part of Canadian rock legend. Matt's fierce approach to every song and powerful grooves he created were a big part of the musical foundation that Streetheart built their unmistakable sound on in the early days. In 1979 Matthew left Streetheart to join Paul Dean's new band Loverboy. Originally, Matt Frenette played drums for a side-project band, Headpins while Bernie Aubin played drums for a fellow Vancouver band, the soon to be renamed Loverboy. But within months, Aubin and Frenette swapped bands, where each continues to play to the present Alongside fellow Loverboy founding members Mike Reno, Paul Dean, Doug Johnson, with Ken "Spider" Sinnaeve, Matt Frenette has been "Working for the Weekend" since forming in Calgary, Alberta over 36 years ago. Loverboy has sold more than 10 million albums, earning four multi-platinum plaques, including the four-million-selling "Get Lucky." In 1982, as a member of Loverboy, Frenette went on to win a "still-record" six Juno awards. Matt's solid groove, versatile musicality and his visually exciting performance has created a demand for his appearance in many different artists' recordings, videos and tours, such as: Tom Cochrane, Bryan Adams, Kim Mitchell, Colin James and many other talented musicians.   Some Things That Came Up:  -1:30 Rich saw Matt with Loverboy at The El Paso Coliseum, 1985!  -3:00 Matt broke through the bass drum head! Very memorable -5:00 Matt has had many drum techs over the years -5:40 “Turn Me Loose” was a breakout hit!  -13:00 Evolution of a band  -14:20 The year that was 2020  -17:00 Practicing at 2112 drum shop  -23:00 Started drumming at 5 and never had any other job!  -24:30 First kit was secured on trade from a retired jazz drummer  -26:00 Community center marching band grade 8-10 -30:00 The band STREETHEART from Regina -32:50 The sweetest audition that Dad set up!  -40:36 Mike Reno on vocals!  -44:15 The beauty of the drums on “Turn Me Loose”  -44:50 Recorded live to tape with no click; everyone live on the floor -45:30 Bruce Fairbairn produced and a young Bob Rock engineered  -48:30 Gaffed headphones to his head.  -50:20 Guttural grounding sounds  -57:50 A mutual friend in Lee Kelley  -1:05:00 Played everyday to “Tom Jones:LIVE” record  -1:05:50 The two drunks at the Buddy Rich Big Band show. Buddy lit the fire under young Matt -1:14:50 Dad wanted Matt to go on the road and NOT finish grade 12! He believed!  -1:16:00 Historical-=6 Juno Awards+ many others  -1:18:00 21 years with Yamaha and 42 years with Zildjian    Follow:  www.loverboyband.com IG: @loverboyband FB: @loverboyband   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits! Check out Rich's books on Amazon!    Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com

This week we take the time machine back thirty years to 1993, an exciting era when Latin Alternative acts like Los Fabulosos Cadillacs and Gustavo Cerati were finding a wider audience and veteran Salsa artists like Tito Puente and El Gran Combo continued to get their musical groove on!

https://podcasts.apple.com/us/podcast/drums-and-rums/id1503281559?uo=4This podcast was taped on 2/2/24 at Gamirey Studios. I never got the opportunity to see Tito Puente perform live, but I caught Tito Puente Jr at one of his shows put on by the Jazz Society of Palm Beach. Tito Jr. embodies his father's performance with the same energy while sharing the story of his father.  We got a chance to sit down at Gamirey Studios in Miami. He shared great stories about growing up the son of the Latin king, his dad's early music journey and the influence he had on not just Latin musicians, but all musicians. We also put him through, In Four Beats or Less:1. Who's on your Mt Rushmore of drummers?2. Favorite venue you've played?3. Traditional or match grip?4. 4. Which social media drummer do you follow?This might be up there on the top of all of the podcasts I've done.Also I want to give a shout out to fellow podcaster and musician Brad Brock for helping with the video and audio for this one.Check out Tito's links:https://tito-puente-jr.myshopify.com/collections/allhttps://www.facebook.com/TitoPuenteJrhttps://www.instagram.com/titopuentejrwww.youtube.com/titopuentejrhttps://open.spotify.com/artist/2ROkqvVDXj5JgmN6z2uFrM?si=u_XS1_r3RraU9TsVV410xwDon't forget to LIKE this video and SUBSCRIBE to our channelHELP SUPPORT the podcast.https://www.patreon.com/drumsandrums/postshttps://cash.app/$drumsandrumsCHECK out  https://www.drumsandrums.com/FOLLOW us :https://www.instagram.com/drumsandrumhttps://www.facebook.com/drumsandrums/https://www.tiktok.com/@drumsandrumshttps://twitter.com/drumsandrumsSupport the show

Thanks for tuning in. The Drums and Rums podcast is coming back from a hiatus with a great guest who continues the legacy of the king of Latin percussion and its also his father, out guest is Tito Puente Jr.Don't forget to LIKE this video and SUBSCRIBE to our channelHELP SUPPORT the podcast.https://www.patreon.com/drumsandrums/postshttps://cash.app/$drumsandrumsCHECK out  https://www.drumsandrums.com/FOLLOW us :https://www.instagram.com/drumsandrumhttps://www.facebook.com/drumsandrums/https://www.tiktok.com/@drumsandrumshttps://twitter.com/drumsandrumsDon't forget to LIKE and SUBSCRIBE to the YouTube channel and FOLLOW US ON APPLE PODCASTS or where ever you listen to podcasts and don't forget to RATE us a 5 star and leave us a review.  The Timbales! 1. Tito Puente and the Timbales: Tito Puente, hailed as the “King” of Latin music, left an indelible mark on percussion. His signature instrument? The timbales—a pair of cylindrical drums with a distinct sound. Tito Puente's influence extended beyond Cuba, introducing timbales to audiences worldwide. Timbales Unveiled: What are they?Are played with the sticks and consist of two single-skinned, metal-shelled cylindrical-shaped drums. The "timbales" are actually a mutation of a drum that migrated originally out of India and Africa years ago in the shape of giant kettle drums that were strapped to the sides of camels, horses and elephants. Eventually this drum made its way to Europe and Spain, and had mutated and shaped to what is known today in Europe and the West as the, "Timpani" drums. Cuban music is a melting pot of African and Spanish (European) influences and cultures. The shells are made of either brass or steel and set on a stand. The larger timbale, called "hembra" (pronounced embrah), and the "cha cha" bell (smaller bell), are traditionally positioned to the left side of the "timbalero" (one who plays the timbales). The "macho" timbale (smaller drum), the "mambo" bell (larger bell), and the "cymbal" are traditionally positioned to the right of a right-handed player. "Cascara" literally means "shell" in Spanish, and the "paila" or cascara is the traditional pattern played by the timbalero player on the side of the macho timbale (smaller drum) It can also be played on the cymbal, cowbell or woodblock. In some cases, Cuban musicians will use the word "pailas" for the timbales and "cascara" for playing on the shell or sides of the drums. All patterns are based on the clave and emphasize the accents within the rhythm. Tito Puente's mastery of these drums significantly shaped Afro-Cuban music in America. Tito Puente Signature Series Timbales: In honor of this iconic musician, Latin Percussion (LP) created the Tito Puente Signature Series Timbales. Available in brass, bronze, or stainless steel, these timbales capture the essence of Puente's rhythm. Thunderous Beats: Puente's timbales produce a deep, complex tone with exceptional projection. Their 15-inch and 16-inch diameters, coupled with 10-inch extra-deep shells, create a sound that resonates like thunder. Legacy Lives On: Tito Puente's timbales continue to inspire percussionists globally. From the 1996 Olympic Games closing ceremonies in Atlanta to countless stages, these drums echo Puente's enduring legacy. So next time you hear the rhythmic heartbeat of timbales, remember the man who made them dance—the incomparable Tito Puente.Tune in for part 3 of celebrating the life and music of Tito Puente. Support the show

Thanks for tuning in. The Drums and Rums podcast is coming back from a hiatus with a great guest who continues the legacy of the king of Latin percussion and its also his father, out guest is Tito Puente Jr.-  Tito's AWARDS and RECOGNITION He received five Grammy Awards during his lifetime, as well as a post hu mous Grammy Lifetime Achievement Award -In 1984, he received an honorary Decree from the Los Angeles City Council.-In 1990, he received a Star on the Hollywood Walk Of Fame.[15]- In 1995, Puente received the Billboard Latin Music Lifetime Achievement Award.[12]-In 1995, Puente was awarded an Honorary Doctorate of Music from Berklee College of Music.[13]-He guest-starred on several television shows, including Sesame Street and The Simpsons two-part episode "Who Shot Mr. Burns?". September 17, 1995-Puente performed at the closing ceremonies at the 1996 Summer Olympics in Atlanta, Georgia. The timbales he used are displayed at the National Museum of American History in Washington, D.C.-In 1997, he was awarded the National Medal of Arts.[14]-In 1999, he was inducted into the International Latin Music Hall of Fame.[17]-On May 19, 1999, he received an honorary Mus.D degree from Columbia University.[18][19]- On August 20, 2000, East 110th Street in Spanish Harlem was named 'Tito Puente Way'. -In 2004, An amphitheater was named after him at Luis Muñoz Marín Park, next to the Roberto Clemente Coliseum, in San Juan, Puerto Rico. -On June 5, 2005, Puente was honored by Union City, New Jersey with a star on the Walk of Fame at Union City's Celia Cruz Park.[16] -On September 10, 2007, a United States Post Office in Spanish Harlem was named after him at a ceremony presided over by House Ways and Means Committee Chair Charles Rangel and Rep. José Serrano. -In 2011, the US Postal Service issued a commemorative postage stamp in his likeness as part of their Latin Legends series. [20] -On October 11, 2022, Puente was honored with a Google Doodle in honor of Hispanic Heritage Month.[21]Tune in tomorrow for part 4 of celebrating the life and music of Tito Puente.Where we'll talk about the Musicians Influenced By himDon't forget to hit that like button and SubscribeDon't forget to LIKE this video and SUBSCRIBE to our channelHELP SUPPORT the podcast.https://www.patreon.com/drumsandrums/postshttps://cash.app/$drumsandrumsCHECK out  https://www.drumsandrums.com/FOLLOW us :https://www.instagram.com/drumsandrumhttps://www.facebook.com/drumsandrums/https://www.tiktok.com/@drumsandrumshttps://twitter.com/drumsandrumsDon't forget to LIKE and SUBSCRIBE to the YouTube channel and FOLLOW US ON APPLE PODCASTS or where ever you listen to podcasts and don't forget to RATE us a 5 star and leave us a review. Support the show

Thanks for tuning in. The Drums and Rums podcast is coming back from a hiatus with a great guest who continues the legacy of the king of Latin percussion and its also his father, out guest is Tito Puente Jr.Don't forget to LIKE this video and SUBSCRIBE to our channelHELP SUPPORT the podcast.https://www.patreon.com/drumsandrums/postshttps://cash.app/$drumsandrumsCHECK out  https://www.drumsandrums.com/FOLLOW us :https://www.instagram.com/drumsandrumhttps://www.facebook.com/drumsandrums/https://www.tiktok.com/@drumsandrumshttps://twitter.com/drumsandrumsWho Was Tito Puente? This week we celebrate the fascinating life of Tito Puente, the “King of Mambo.” Born as Ernest Anthony Puente Jr. on April 20, 1923, he left an indelible mark on the world of music. He passed away on June 1st 2000. Here's a glimpse into his remarkable journey and some of the things each day this week we'll dive into.Early Years: Tito Puente was born in New York City's Spanish Harlem to Puerto Rican parents. His father worked at a razorblade factory, and Tito initially took piano lessons. However, an ankle injury led him to switch to percussion, drawing inspiration from jazz drummer Gene Krupa. Puente's talent blossomed with his drumming lessons, and in the '40s he joined the Machito Orchestra when their drummer was drafted for World War II. This was his big break, and Puente played with them until he was also drafted into the Navy. After the war, Puente went to the Julliard School of Music on the G.I. Bill to study music and orchestration, and in 1948 he formed his own band and began developing his distinctive performance style.Career:  Tito Puente was known for his blending of Latin and jazz sounds, for placing percussion in the spotlight, and for celebrating the music with dancing and joy during his performances. His band became a regular sound at the Palladium Ballroom, where the Tito Puente Orchestra packed in the crowds and helped popularize mambo. Over the years he became known as "El Rey," the king of mambo music, and he collaborated with many other major performers, including Celia Cruz. Puente began recording with RCA Victor in the 1950s. He continued to record, collaborate, and perform for the next several decades. In the 1990s, he played himself in the movie, Mambo Kings, which helped drive a renewed awareness of his music. When he died at age 77, he was still regularly performing.Legacy: Tito Puente's influence transcends borders. His compositions continue to resonate, and his virtuosity lives on. Whether you're dancing to his beats or appreciating his melodies, Tito Puente's legacy has been recognized in many ways. He received five Grammy Awards during his lifetime, as well as a posthumous Grammy Lifetime Achievement Award; among other honors, he also received honorary degrees, presidential recognition, and the Key to New York City.Tune in tomorrow for part 2 of celebrating the life and music of Tito Puente.Support the show

#257: Today, we're saying goodbye to a space with a storied legacy in this city – the Conga Room. The Latin nightclub opened in 1998, and brought in artists ranging from Celia Cruz and Tito Puente to Maluma and Bad Bunny.  The club's star studded list of investors included Jennifer Lopez, Sheila E., comedian Paul Rodriguez, and actor Jimmy Smits.  This week, the Conga Room is closing its doors.  The legacy of the club will live on through a non-profit called Conga Kids, a program bringing music and dance of the African diaspora to classrooms across L.A. But it is still the end of an era. One of the Conga Room's original investors, Jimmy Smits, talked with me about the club's legacy.  

This week Christina Abreu drops in to discuss Cuban-American history, Cuban music, and the representation of Cubans in film. We explore the origins and characteristics of Cuban music, as well as the migration of Cubans to the United States in the 1950s. We also discuss the relationship between Cuban-Americans and other Latino groups, as well as the integration and segregation within Cuban-American communities. This is a fun podcast and deep dive into Cuban American history. I hope you dig it.About our guest:Christina Abreu is associate professor of history and director of the Center for Latino/Latin American Studies at Northern Illinois University. Her research focuses on the role of race, nationalism, and migration in the Cuban and Spanish Caribbean diasporic communities of the United States with a particular emphasis on popular culture.  Her first book, Rhythms of Race: Cuban Musicians and the Making of Cuban New York City and Miami, 1940-1960, examined the relationship between black and white Cuban musicians and the Cuban and broader Latinx communities of New York City and Miami in the 1940s and 1950s. In her second book, Patria over Profits: The Story of Afro-Cuban Boxing Champion Teófilo Stevenson, she offers a cultural history of the life and times of Afro-Cuban boxing champion Teófilo Stevenson, winner of three heavyweight boxing Olympic gold medals in 1972, 1976, and 1980. In detailing Stevenson's triumphs in the ring, another more complex and interconnected story emerges about revolutionary Cuba and the island's Afro-Caribbean connections, race and black athletic activism, Cuban exile culture and politics, and international sports celebrity. Patria over Profits is under contract with the Sport and Society series at the University of Illinois Press.

SynopsisThe Palladium Ballroom once stood at the corner of 53rd Street and Broadway in New York City. It opened on today's date in 1946, and in its heyday, was the mambo capital of the world, showcasing performances by Latin superstars like Tito Puente, Tito Rodríguez and Machito.The Palladium closed in 1966, but its dance floor and bandstand were re-created for the 1992 film The Mambo Kings, in which Puente plays himself.The spirit of the Palladium was also evoked in a more recent chamber work by Puerto Rican composer Dan Román. Fascinated by both the music of contemporary minimalist composers and the popular dance forms of Puerto Rico, he combines the two in his four-movement work Musica de Palladium for violin, viola, cello and piano.The work's final movement, “Sensacional,” is, according to Román, “a collage of aural images taken from mambos and other dance music of Machito, Tito Puente and Tito Rodríguez.”Musica de Palladium was written for the New World Trio and recorded by them, joined by violist Steve Larson.Music Played in Today's ProgramDan Román (b. 1974): ‘Musica de Palladium'; New World Trio (Annie Trepanier, vn; Carlynn Savot, vcl; Pi-Hsun Shih, p); Steve Larson, vla. innova CD 904