I’m wasn’t a music major in college. I don’t have a vast library of music in my home. I barely have any jazz music, and even less could be considered Latin jazz. Or mambo. Or whatever other categorization people use for the music of Tito Puente. So, take everything I say with a grain of salt, OK?
Pardon the language, but I could listen to Tito Puente all day long. Seriously, all the fucking day long. Have your tired it? Oh, you really must. His stuff is genius. He does this rendition of “Take Five,” the classic Jazz piece by Paul Desmond made famous by the Dave Brubeck Quartet. You know it, trust me. EVERYONE with ears has heard it. If you are deaf, then please accept my sincere apology and even more sincere condolences. “Take Five” is like a slice of red velvet cake accompanied by a frothy cappuccino that is spiked with Kahlua. Exquisite. You can watch this groovy video over at YouTube to jog the memory:
Exquisite. Dave Brubeck plays the piano in this piece. Paul Desmond is the cat playing the alto sax. There’s something unique about the time signature that I don’t understand, but, for Pete’s sake, who the heck has to understand it to enjoy this song. It melts me. It makes me want to cry. It sinks in deep, deep into a warm place at my core, and grooves. Exquisite.
So, the original is the definition of cool. Tito’s version? Well, imagine Latino cool. Better yet, imagine Tito Puente cool. Check it out here:
What do you think? The original is in a class all it’s own, for sure. Tito’s version, though, is a great homage with Tito’s undeniable fingerprint. That piano riff that starts the song out remains the same. Then the layers start, and that’s where the jazz becomes Latin jazz. Tito just take it someplace different without losing the whole point of the groove. I feel it in that same place. It feels a little different, a little sassier.
The recorded track that I play over and over again is about 6 minutes long. Almost from the start, you know you’re listening to a Tito Puente track, but it isn’t until minute 5 that you can actually HEAR Tito’s signature sound. The master timbalero doesn’t make his presence known until the end of the song. And THAT, my friends, is what makes him great.
Tito Puente didn’t always have to have the spotlight. When he was on stage, he owned the stage and the audience. I went to one of his live performances when I was still in college. It was phenomenal. There was no mistaking why anyone was there. You went to see Tito do his thing. And his thing was magic. However, when you listen to one of his CD’s, you get a different take on the man. The showman, the ham, the rebellious timbalero sort of disappears. He fades in and out of your consciousness. Some times he’s right there, in your face, undeniably Tito. Then on the next track, he’s gone. He’s in the background somewhere, just another layer adding character to the piece. I love that about him.
Not to knock Kenny G, but every Kenny G song is so obviously a Kenny G song meant to spotlight Kenny G. The dude has talent, no doubt. And he’s also the secret in the secret sauce. Not much of a secret, really. With a Tito Puente album, you have to follow his thread. He weaves in and out of the melodies, taking center stage for a spell, then adding richness to the chorus behind a classic piano piece in “Take Five.” Like I said, I don’t know the music lingo. What I do know is that Tito Puente loved the music, adored the music, and, above all else, respected the musicians who gave of themselves to play the music. He honored them by sharing the spotlight with them.
So, the one thing I learned from Tito Puente is to always be generous in your work.
Illuminate Possibilities 