Herman's Heat & Puente's Beat [Bonus Tracks]

Performer: Woody Herman
Producer: Paul Klein
Distributor: Universal Distribution

Notes: Personnel: Woody Herman (clarinet, alto saxophone); Tito Puente (timbales); Marty Flax, Joe Romano, Jay Migliore (tenor saxophones); Al Belletto (baritone saxophone); Willie Thomas, Danny Stiles, Hal Posey, Al Forte, Bobby Clark, Ernie Royal, Steve Lipkins, Nick Travis, Marky Markowitz (trumpets); Willie Dennis, Roger DeLilio, Jimmy Guinn, Frank Rehak, Billy Byers, Bill Elton (trombones); Sam Marowitz, Al Cohn, Pete Mondello, Paul Quinichette, Danny Bank (reeds); Al Planck (piano); Major Holley, Robert Rodriguez (bass); Jimmy Campbell (drums); Gilbert Lopez, Raymond Rodriguez, Raymond Barretto (percussion). Recorded in New York in September 1958. Includes liner notes by Nat Hentoff. Personnel: Woody Herman (clarinet); Marty Flax, Jimmy Migliore (reeds, tenor saxophone); Al Belletto (reeds, baritone saxophone); Bobby Clark , Hal Posey, Danny Stiles, Al Forte (trumpet); Jimmy Guinn (trombone); Major Holley, Robert Rodriguez (bass instrument); Jimmy Campbell , Jimmy Campbell (drums); Ram�n Rodr�guez (percussion); Joe Romano (reeds, tenor saxophone); Willie Thomas (trumpet); Willie Dennis (trombone); Al Planck (piano); Ray Barretto (congas, percussion); Tito Puente (timbales); Gilbert Lopez (percussion). Liner Note Authors: Nat Hentoff; Roger Kash. Recording information: 08/1958. Tito Puente and Woody Herman teamed in 1958 for a mutually satisfying meeting in the same way that Charlie Parker, Dizzy Gillespie, and Machito found common ground in the late '40s. Puente's Latin rhythms and beats meshed with the swing and bebop of Herman's band on half of the disc's cuts, and the results were hot and delightful. With Puente heading the rhythm section and playing timbales, Robert Rodriguez on bass, and assorted percussion from Gilbert Lopez, Raymond Rodriquez, and Ray Barretto, the band stays locked into the Latin groove while the saxophonists and trumpeters weave in, out, and around the beat. There are also more conventional Herman swing numbers such as "Blue Station" and "Woodchopper's Ball," where the standard Herman stomping sound is in effect. ~ Ron Wynn Woody Herman and Tito Puente teamed in 1958 for Herman's Heat & Puente's Beat, a mutually satisfying meeting in the same way that Charlie Parker, Dizzy Gillespie, and Machito found common ground in the late '40s. Puente's Latin rhythms and beats meshed with the swing and bebop of Herman's band on half of the disc's cuts, and the results were hot and delightful. With Puente heading the rhythm section and playing timbales, Robert Rodriguez on bass, and assorted percussion from Gilbert Lopez, Ray Rodriguez, and Ray Barretto, the band stays locked into the Latin groove while the saxophonists and trumpeters weave in, out, and around the beat. There are also more conventional Herman swing numbers such as "Blue Station" and "Woodchopper's Ball," where the standard Herman stomping sound is in effect. [This version of the album includes bonus material.] ~ Ron Wynn

JazzTimes (p.98) - "[With] solid anchoring courtesy of Belletto's baritone sax, and blazing trumpet work by Willie Thomas."

Woody Herman was one of the most highly regarded band leaders in pop history, leading several incarnations of his "Herd" to fame and musical excellence with an upbeat style that combined the bounciness of swing music with the melodic sophistication of jazz. He got his start in vaudeville as a child star, and played saxophone professionally as a teenager. By age 20, he was leading his own orchestra and had switched to his signature instrument, the clarinet. From the 1930s through the '80s, the Woody Herman Orchestra underwent subtle stylistic mutations to reflect the times, but maintained a consistent level of mastery, partly the result of Herman's talent for hiring young, promising players. He continued to tour and record right up until his death in 1987.

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