Fittingly, Tito Puente's final album (save for a collaboration with Eddie Palmieri) finds the great bandleader-percussionist taking a young audience into the past with an in-concert set of classics including the title track, "Ban Ban Quere," and, of course, "Oye Como Va." The energy never wanes as Puente visits his many styles ("Cha Cha Cha Mambo," for one) and tempos. Particularly hot is the percussive breakdown on "Guaguanco Margarito," which is both smashing and subtle in the way of only the very finest jazz. "I'm gettin' to ya!" the ebullient Mambo King exclaims more than once between songs; he sounds as if he were just as pleased as in the midcentury years he spent inventing this music. Mambo Birdland won a 2000 Grammy (for Best Traditional Tropical Latin Performance), Puente's fifth. --Rickey Wright Amazon.com Music Reviews
I have worn out, if possible, two cd's. I am an avid lover of latin music, danced many a year at the Palladium listening to the likes of Tito. Was so happy for the CD. All of it is superb. Ran can can, oh my goodness. Dance until you have cramps or as Tito puts it, "have an ambulance for me after this one. He will always be the MAMBO KING. His mucical timing, you can't get any better. EXCELLENT, EXCELLENT, EXCELLENT!!!!!!!!
November 12, 2005 |  | Amazing, entrancing, brings back such memories... |  |
It's no mystery why this won a grammy when it was released. It's absolutely stunning. Tito Puente never really failed to please, even when he was experimenting with his sound during the halcyon days of 110 st in Spanish Harlem - when much salsa and latin jazz took on a decidedly psychedlic feel a la the Lebron Brothers and much of what Fania/Allegre was putting out. Even though Tito looked down on much of that Boogaloo vibe, he dipped his hands into it a time or two as well. Even then, he struck gold.
So, with this, one of his final releases (outside of the equally amazing release with El Sol Eddie Palmieri), we get no change from what he normally gives us - absolute gold. It is pleasing from start to finish, with some of the finest musicians and soneros in the business lending their talents as well. What a night it must have been to be at Birdland, and it brings back memories for me when I caught Tito Puente live in San Francisco, as well as seeing him live in Puerto Rico. It made me wish I could have been there for this recording. Dancing with my lovely esposa cubana and sharing the magic that came from that stage.
You simply cannot think about this cd any longer if you do not already have it. Get it now, and then cherish it forever. You will be very, very glad you did.
February 19, 2005I am something of a neophyte to Latin music, and I'm glad I started with this record. The enthusiastic playing and intricate rhythms make it almost impossible to remain in one's chair while listening. One is inspired to get up and move. The ensemble playing is outstanding and the energy is palpable and infectious. This group gets into a groove and never gets out.
Some of the ensemble singing is a bit out of tune. The men's ensemble voices in particular tend to be a touch flat. But the rhythm's the thing here, and it's rock solid. All of the instrumental performances are very polished.
The tunes on this album are heavily folk-influenced (and for all I know they may all be folk songs). It gives one a sense of the history behind the later incarnations of latin jazz. If you buy this CD expecting contemporary Latin jazz, you are in for a surprise. But you won't be disappointed.
I would recommend this CD to anyone who appreciates jazz or Latin folk music. I especially recommend it to those who like to dance! March 7, 2002
If you've recently discovered salsa dancing and your spine now tingles whenever you read the words "salsa" or "mambo" then this review (and album) is for you. Mambo Birdland is especially enjoyable for the newcomer to latin dance music because of the little bits of history and explanation that Tito Puente gives between tracks. Forgive me for saying this but the title track "Mambo Birdland" seems a little artificial and somewhat uninspired but all of this is forgotten when the next song comes on..."Juventud Del Presente" will make you melt. You will be transported back in time to the age of your grandparents when life was simple and innocent, the dance halls clean and classy, and popular dance had some style. You will find yourself in the place of your youth where you met your first love and finally found the courage to ask for a dance. Where, with that special person in your arms and the great music playing in the background, you tasted heaven...okay, I'm starting to lose myself here...the next track, "Ban Ban Quere", is an equally impressive tune and super-fun to dance to. It gives you so much energy to work with on the dance floor. You won't be able to stop yourself from moving. Other honourable mentions go to "Oye Mi Guaguanco" which contains some entrancing vocals, incredible trumpet solo improvisation, all while retaining supreme danceability. The classic tune "Ran Kan Kan" has a very new arrangement. Gone is the great xylophone play of older versions but the new one will grow on you with time and you'll learn to love it. The above-mentioned tracks alone are worth the price of admission. This album oozes with dance energy. Listen to it and you will love it. Dance to it and you will appreciate its magnificence!
March 16, 2001| | | Addicting Latin Jazz by The Legend! | |
I am very honored to have met and shaken Tito Puente's hand in 1997 when he came out to Yoshi's Jazz Club here in the Oakland-San Francisco area. Much like his energetic and charmastically flawless performance that evening, "Mambo Birdland" is a definitive live performance by him. Once more, interludes of speech by the Timbale Master is a wonderful addition considering that this is his last album (aside from his "Obra Nuestra" with pianist Eddie Palmieri).
Each track is definitely upbeat and pure Latino jazz (Tito was known for loathing the term "salsa" to describe this great genre of music), graced with great vocals by Frankie Morales and a spectacular Latin jazz orchestra. Tito combines many traditional rhythms and beats like the cha-cha ("Cha-Cha-Cha Mambo"), cumbia, mambo, and more. His back-up orchestra is also absolutely incredible, each piece of brass is distinguishing and impeccable in their playing. Overall, this is one fine recording that's a must for anyone's music collection. Most of all, this final recording by Tito Puente is an awesome testimony of how grand a figure he IS to the overall spectrum of music.
Yes, Tito will be missed gravely, but like Ella Fitzgerald, Tito Rodriguez and Count Basie, their awesome body of work lives on! August 24, 2000
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