Over the course of their long and magnificent careers, Celia Cruz and Tito Puente performed together many times around the world, earning the titles of “King” and “Queen.” But before these nicknames became popular, there was an indisputable king of Cuban rhythm: Maximiliano Moré, known to all as “el Beny.”

This is the third album on which Master Puente pays homage to the “Bárbaro del Ritmo.” Although the native of Santa Isabel de las Lajas, Cuba had a short life, he enjoyed a magnificent career as the king of soneros on the Afro-Caribbean music scene.

In his time, Moré was acknowledged indisputably as the best Son Montuno artist, and was considered the “Greatest Sonero” in his native Cuba. He was the mold that others in the fabulous musical genre wanted to fit and the example to follow when devouring these mouth-watering rhythms.

Beny never studied music, but his outstanding ability to direct his Banda Grande demonstrated his skills as a musician, possessed of an extraordinary ear and an unparalleled sense of rhythm.

Celia Cruz was a Havana native. The singer first appeared on the scene with La Sonora Matancera, and went on to New York City in 1962. Although it took her a while, the Cuban diva became one of the most famous vocalists on the Fania label, earning herself the title “The Queen of Salsa.”

She recorded more than 70 albums, a feat that earned her a place of honor in the musical genre now known as salsa. Her exceptional tone allowed her to interpret any musical style. This particular album showcases her talents as she performs the beautiful bolero number “Perdón,” penned by the distinguished boricua composer Pedro Flores; and “Preferí perderte” by Jiménez. Both were tremendous duets with the great Ponce native, Pete “El Conde” Rodríguez.

The “guarachera del mundo” starts the album gracefully and stylishly with “Pachito E’ché,” a classical piece. She also takes on the Beny Moré numbers “Rumberos de ayer” and “Ay mi Cuba” (the latter a duet with the Cuban sonero Héctor Casanova); “No me vayas a engañar,” by Farrés; and “Fiesta de tambores,” by Mercarón, using her interpretive strength to pay tribute to the greatest singer of her native country.

The boricua Tito Puente, born in New York, was eventually dubbed “The King of Latin Music.” It’s no wonder. The young neo-boricua enjoyed a long career, recording more than 130 albums. Three of these were dedicated to Beny Moré.

He started out as a dancer, but broke his ankle in a bicycle accident, which took him out of the dance world and placed him smack dab in the middle of the music world.

After the Second World War, Puente studied at the world renowned Julliard, an experience that prepared him for his future in music.

A veritable craftsman on the timbal, Puente was the first musician to bring his instrument to the forefront of an orchestra. Originally, the timbal was played sitting down, at the back of the orchestra. With his magic, talents, and flamboyant style, Tito Puente brought the instrument into rhythmic focus, placing it at the center of the orchestra’s every move.

Puente was also well versed on the piano and trumpet, and was a master at arrangements. Prior to his death, the great musician used to say, “out of sight, out of mind,” reminding us of how important it was to continue playing his music, so that he would never be forgotten.

This album achieves that goal for three of the world’s greatest artists of Afro-Caribbean music. For the younger generations who listen to the production, Puente, Celia, and Moré will live on forever.

Even great composers like Pedro Flores, Landa, and Moré himself give free rein to inspiration with Tito Puente’s musical arrangements on this unforgettable album.

The album also includes the Cuban sonero Justo Betancourt performing Leal’s number “Tú solo tú,” Adalberto Santiago performing Landa’s “A bailar la plena,” and the sonero favorite Héctor LaVoe performing “Tumba tumbador.”

This is a fantastic tribute to an unparalleled and everlasting artist

Written by Juan Moreno Velasquez LESS >