Home New York Report CRAFT LATINO ANNOUNCES FIRST-EVER VINYL REISSUE FOR TITO PUENTE’S “MAMBO DIABLO”

CRAFT LATINO ANNOUNCES FIRST-EVER VINYL REISSUE FOR TITO PUENTE’S “MAMBO DIABLO”

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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 todayMambo 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. 
Puente and his all-star Latin Ensemble put their magic touch on standards like Billy Strayhorn’s “Lush Life,” the Jerome Kern/Dorothy Fields classic “Pick Yourself Up,” and Paul Desmond’s “Take Five” (made famous by Dave Brubeck). At the same time, their sublime rendition of “Lullaby of Birdland” features a cameo by the song’s composer, George Shearing, on piano. The classic bolero, “No Pienses Así,” courtesy of the legendary Cuban composer Pérez “Pepe” Delgado. Mambo Diablo also features several originals, including “China” and the joyful title track, which opens the album. Led by Puente on the vibes, “Mambo Diablo” showcases the talents of his band members, including Sonny Bravo (piano), Bobby Rodriguez (bass), Jose Madera (congas, percussion), Johnny “Dandy” Rodriguez (bongos, percussion), Jimmy Frisaura (valve trombone, trumpet, flute), Mario Rivera (flute, saxophone) and Ray Gonzalez (trumpet, flugelhorn). 
Reflecting on the album, Guzman argues that Mambo Diablo—and its tracklist’s diversity—allows fans to witness the full scope of Puente’s musicianship: “Puente is about much more than being a richly rhythmic drummer.”
While Puente was in his early 60s when Mambo Diablo was released, he was still very much in the prime of his career—with plenty more to accomplish. In the following years, he would perform at the 1996 Summer Olympics’ closing ceremony, appear in various films (including 1987’s Radio Days, 1992’s The Mambo Kings, and the 2000 documentary Calle 54), and even make a cameo on The Simpsons. At the time of his death, his catalog boasted over 100 albums and more than 400 compositions, while his lengthy list of collaborators included such legends as Quincy Jones, Dizzy Gillespie, and Celia Cruz. During his five-decade-long career, Puente received many honors, including five GRAMMYS®, Billboard’s Latin Music Lifetime Achievement Award, and the prestigious National Medal of Arts from the United States government.
Release Date: May 26, 2023
Click here to pre-order Tito Puente’s Mambo Diablo on 180-gram vinyl. 
Mambo Diablo tracklist (vinyl)
Side A:
1. Mambo Diablo
2. Take Five
3. Lush Life
4. Pick Yourself Up
Side B:
1. Lullaby of Birdland
2. No Pienses Así
3. China
4. Eastern Joy Dance
*Digital version tracklist same as vinyl tracklist
ABOUT CRAFT LATINO
Craft Latino is home to one of the largest and most prestigious collections of Latin music master recordings and compositions in the world. Its rich and storied repertoire includes legendary artists such as Antonio AguilarJoan SebastianPepe AguilarCelia CruzHéctor LavoeWillie ColónRay BarrettoLa LupeRuben Blades, and the Fania All Stars, to name just a few. Renowned imprints with catalogs issued under the Craft banner include MusartFaniaTHPanartWest Side Latino, and Kubaney, among many others. Craft creates thoughtfully curated packages with a meticulous devotion to quality and a commitment to preservation, ensuring that these recordings endure for new generations to discover. Craft Latino is the Latin repertoire arm of Craft Recordings. For more info, visit CraftRecordings.com.
A graduate of Empire State College with a dual major in journalism and Latin American studies, Editor-in-Chief Tomas Peña has spent years applying his knowledge and writing skills to the promotion of great musicians. A specialist in the crossroads between jazz and Latin music, Peña has written extensively on the subject. His writing appears on Latin Jazz Network; Chamber Music America magazine and numerous other publications.

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