RAREST FINDING Tito Puente & Booklet: Early 50s? HEAR

$

104

ARTIST : TITO PUENTE & HIS ORCHESTRA
TITLE: HOLIDAY IN SAN JUAN

LABEL & RECORD #: Tourist Record #5736   (195?) Since Vicentico Valdez was the vocalist we have to assume that the recordings are fron the 1949-1953 period after 1953 Vicentico left Puente...(TICO, RCA or SEECO recordings? I will find later because two reviewers mention RCA, another TICO...if somebody knows send me a note please so I can ammend the remarks)) Vicentico mentions 1949 in one track!

JUST FOUND: in 1949 TICO partners George Goldner & Pancho Cristal fought and TICO stopped recording the great tracks we all remember!...Their stars (Puente, Rodriguez, almost every single name you remember from those glorious year) went to other labels, one of the rarest movements was made by Tito Puente who allegedly recorded these tracks for SEECO under the Tropical subsidiary which is a collector's item...Thanks Collector Robert Colon from Ponce, PR!)

REMARKS: SIMPLY...When I found this one I almost fell down...If you were living in San Juan in the early 1950s you will remember most of the places shown there! The price for this introductory issue was $1.50 including the rare LP! SORRY FOR THE STARTING BIDDING..THAT IS WHAT I PAID FOR IT...PURE NOSTALGIA, BOTH THE MAGAZINE AND THE RECORD!!!

RARITIES:

1: Track #1 "El Yoyo" there's a female voice identified as Ercilia Rivera...Tito's mother was named Ercilia Puente (she was using Tito's father, Ernest, last name..Was Tito's mother  that voice, a sister, no! Her sister 1st name was Ana....a daughter?) Who was the girl group accompanying the band in a few tracks?.

2: The Puerto Rican Tourism Magazine (which I remember late in the 50s) do not show the date of issue but it states "Volume 1"....and included the LP as an itroductory offer for the "excessive" amount of $1.50"...as far as I know starting with the 2nd issue and later the magazine was free!

The ads are very interesting for those who visited the island in the late 40' & early 50s (El Nilo, El Calypso Night Club with Pedrito Altieri performing...famous because it belonged to one "Jayuya" who later was found killed in a remote section of Isla Verde where the El San Juan Hotel is...Then it was remote!)...It shows the various night clubs in the city and the artist who were performing, the restaurants, the great 1950s Hotels (Caribe Hilton $25.00 per night, David Car Rental $5.00 per day!!!etc...well a great tourist guide. A 200% COLLECTOR'S ITEM...both the Magazine & The LP!

WEB REMARKS: Vocals by Vicentico Valdes & Ercilia plus a chorus!!

TITO PUENTE...THE MASTER....The excellence embodied by this unparalleled artist whose talents ran the gamut from musician, composer, director, and arranger paints a perfect picture of the dimension and magnitude of his talent. Puente was known around the world as "The Timbal King," but he was also skilled at the bateria, congas, claves, piano, saxophone, and clarinet, which allowed him to create a school for every musical genre he entered. Attempting to tell his story requires going back to the very beginning of every musical movement he participated in over the course of his long and successful career. He was a great among greats. He gained his experience among the consecrated artists who would write the history of contemporary music. It would be impossible to name all the stars that Puente shared his music with or the countless performances he gave as "His Excellency, the World Ambassador of Latin American Music." Puente received the highest awards, distinctions, and praise for his more than 100 albums, 400 compositions, and countless arrangements for diverse artists and musical genres. Among those was the coveted Grammy, which he won five times. With the death of Maestro Tito Puente on May 31, 2000, an important chapter in the history of Latin American music closed forever. At the same time, he became a legend.

Becoming the King of Mambo

Following his continued work as a sideman with Machito and Curbelo, Puente formed his own band, The Picadilly Boys, in 1948. A regular at New York's famed Palladium, Puente — along with Perez Prado and Tito Rodriguez — helped popularize the new dance music from Cuba called the mambo, a fast, staccato Afro-Cuban form that Puente defined in the New York Post as "a particular rift that's repeated several times." Mambo, along with cha-cha, guaguanco, merengue, and other Latin styles, were later known collectively as " salsa, " but Puente has rejected the commercialized term, arguing that what he plays is music, not sauce. With early hits with Tico Records such as Ran Kan, Abaniquito, El Yoyo (with Ercilia...we havt assume that all the tracks in this LP were from his 1st years at TICO...late 40s!), and Picadillo, Puente "electrified dancers across America and ... catapulted into the front rank of Latin bandleaders," according to Birnbaum. By the mid-1950s Puente had succeeded in gaining both a large Hispanic and Anglo following. In a 1956 poll conducted by the New York daily La Prensa, Puente was voted "King of Latin Music," beating out his competitors Prado and Rodriguez. Two years later, RCA released Dance Mania, which became a perennial international best-seller.

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Record Grading: Standard guidelines for grading records comes down to a subjective judgment that may vary from person to person. We grade records and LP covers visually AND (when possible) play-tested. We make every effort to give full disclosure (remember that the LP has at least 12 tracks and the grading may vary between each other)  and your satisfaction is guaranteed. Don't assume that our vinyl determination of "Very Good+" is the same as yours!

RECORD OR COVER GRADED VG or LESS WILL BE "SOLD AS IS"

MINT: Unplayed, still sealed.
 

NM RECORDS: are shiny, with no visible defects, they might have one or 2 minor superficial scuff and they should play without any noise. Writing, stickers or other markings cannot appear on the label, nor can any “spindle marks” from someone trying to blindly put the record on the turntable. Major factory defects also must not be present; a record and label obviously pressed off center is not Near Mint. If played, it will do so with no surface noise. (NM records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.)

NM COVERS:

have no creases, ring wear or seam splits of any kind.

Picture Sleeves: should look as if they never housed a record. This is a great reason to remove your 45s from their picture sleeves and keep them separate. Just keeping the 45 inside the sleeve will cause damage than can reduce the grade of the sleeve. 

VG++ (Excellent) RECORDS: 
Barely noticeable play wear and background noise. May have surface scuffs and/or superficial marks, which will be inaudible or indiscernible from the background, no scratches. Very nice, flaws noted.

VG++ COVERS:
Artwork is still as close to perfect as can be. Some impression to the cover (minor outer ring wear) but no ink wear! Some slight creases to the corners, but not wrinkled and obtrusive to the eye. The corners can show white (where the artwork pasted slick was) meaning, slight wear. No seam splits or writing on the cover or taped repairs can make this grade.  

VG+ RECORDS:

may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that do not affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, but repeated playing has not misshapen the hole. There may be some very light ring wear or discoloration, but it should be barely noticeable.

VG+ COVERS:
should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable location. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint.

VG+ PICTURE SLEEVES:
might show some very light creasing where it is obvious that a record once resided (or still does reside). A VG+ picture sleeve might have some very minor seam wear or a split (less than one inch long) at the bottom, the sleeve’s most vulnerable location. 

VG RECORDS:

They have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail. When played, a VG record has surface noise, and some scratches  may be audible, especially in soft passages and during a song’s intro and ending. But the noise will not overpower the music otherwise. Minor writing, tape, or a sticker can detract from the label. Many collectors who have jukeboxes   will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape.

VG COVERS and PICTURE SLEEVES:
will have many signs of human handling. Ring wear  in the middle or along the edges of the cover where the edge of a record would  reside, is obvious, though not overwhelming. Some more creases might be  visible. Seam splitting will be more obvious; it may appear on all three sides,  though it won’t be obvious upon looking. Someone might have written or stamped  a price tag on it, too.

RECORDS GRADED VG OR BELOW WILL BE "SOLD AS IS"

Items are to be paid within 5 days (if not paid by that time it will be subject for relisting) of auction close and will be shipped within 48 hours of receipt of payment. Paypal is the preferred method of payment.
 
Carlos A. Flores 25830 Crippen Dr. Land O' Lakes, FL  34639

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