The bard celebrates two other fine practitioners of the art, and laments a lost brewer
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Searle on Jazz: Afro-Cuban artistry
Tito Puente and his Orchestra:Live at the 1977 Monterey Jazz Festival (Concord) & Shirley Horn: Live at the 1994 Monterey Jazz Festival (Concord)
This right-wing conspiracy theory is used to justify the coercive measures against gender, race and labour rights that best serve capitalism, attests GAVIN O’TOOLE
KENNY MONROSE recommends a new exhibition that highlights the significance of Black British music
ANGUS REID is bowled over by an exuberant film about the making of Keith Jarrett’s legendary concert
MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
The year 1977 was the 20th anniversary of California's Monterey Jazz Festival, and among the customary musical eminences making their first appearance were the tempestuous Ernesto "Tito" Puente and his Latin Jazz Orchestra.
Puente (pictured), from Puerto Rican roots, was born in Spanish Harlem in 1923.
He studied piano, alto sax and trap drums before focusing on timbales, eventually joining the prominent Afro-Cuban band led by Machito.
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