
Los Angeles, CA (March 29, 2023) – Craft Latino proudly announces the first-ever vinyl reissue of Mambo Diablo, the acclaimed 1985 album from legendary bandleader and percussionist TITO PUENTE. Offering a lively blend of standards and originals (including fan favorite “Mambo Diablo“), this long-out-of-print classic finds the King of Latin Jazz putting his twist on classics like “Take Five,” “Lush Life” and “Lullaby of Birdland“ (featuring its composer, George Shearing, on piano). Set for release on May 26 and available for pre-order today, Mambo Diablo was cut from the original master tapes (AAA) by Kevin Gray at Cohearent Audio. Pressed on 180-gram vinyl and housed in a tip-on jacket, the album also features its original liner notes by the Emmy®-winning journalist and longtime New York City TV reporter Pablo Guzman. Additionally, Mambo Diablo will debut on hi-res audio (192/24).
This special reissue arrives as Craft Latino celebrates the centennial of Tito Puente. Puente’s vital contributions to Latin music will be honored throughout the year through special reissues (including an April release of the bandleader’s 1972 classic, Para los Rumberos), exclusive digital content, and much more.
Tito Puente (1923–2000) lived countless musical lives during his five-decade-long career. When he signed with Concord Picante in 1983, the celebrated songwriter, bandleader, producer, and percussionist enjoyed living legend status with no signs of slowing down. For more than 30 years, the New York–born, Puerto Rican timbalero had reigned as the King of Latin Jazz, while his hugely popular records (and hits like 1962’s “Oye Como Va“) brought Afro-Cuban and Caribbean rhythms into the mainstream, popularizing styles like mambo, cha-cha-chá, and son. In the ’70s, Carlos Santana’s hit renditions of “Para los Rumberos” and the aforementioned “Oye Como Va” introduced Puente to a new generation of fans. At the same time, the ’80s ushered in yet another career resurgence for the prolific bandleader.
1985’s Mambo Diablo is an exceptionally high point in Puente’s catalog during this period. It marks the bandleader’s third release with Concord Picante (the then-recently established Latin arm of Concord Records). A refreshing blend of classic and original material, Mambo Diablo deftly bridges the gap between Latin and jazz. It is a testament to Puente’s versatility as a musician (his outstanding work on the vibraphone can be heard throughout the album) and as an expert arranger. “His ideas, segues, choruses, and handling of [the] ensemble’s sections simply [sparkle],” praises Pablo Guzman in his liner notes.
