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Categories JAZZ Tito Rodriguez - Three Loves Have I : Cha-Cha-Cha/Mambo/Guaguanco - 180g LP Mono
Tito Rodriguez - Three Loves Have I : Cha-Cha-Cha/Mambo/Guaguanco - 180g LP Mono
Product no.: PPANLPM1389In stock
Available delivery methods: UK Tracked with Signature, UK Express, Airmail Tracked with Signature, UK Standard, Heavy Item
Pure Pleasure / Rca - PPAN LPM-1389 - 180 Gram Virgin Vinyl - AAA 100% Analogue
Pure Analogue Audiophile Mastering by Ray Staff at Air Mastering London
Limited Edition - Pressed at Pallas Germany - RCA LPM-1389
Re-mastered by Ray Staff at Air Mastering!
A native of San Juan, Puerto Rico, Tito Rodriguez came to New York City in 1939 to sing with his brother's band. He learned to play a variety of instruments before succeeding as a vocalist with Enric Madriguera, Xavier Cugat, Noro Morales, and José Curbelo. In 1947 he started his first band with René Hernández, Cachao Lopez, and Victor Paz.
Several of the great Latin-American singers went on to form their own aggregations, but Rodriguez was the most successful. One reason is the music, which has the hip drive of Tito Puente (whom he copied during the Palladium battles of the "two Titos") and the Palmieri brothers. Eddie Palmieri and company perform on some of his best albums. In fact, he and Puente, "the two Titos" headlining at New York City's famous Palladium, were rivals for the title of Mambo King until Perez Prado took it.
While Tito Rodriguez played mambo on a par with the others, it was his voice that set him apart. Whether it's mambo, Latin twist, or sentimental ballads, Rodriguez rarely strayed far from authentic or progressive Latin. Indeed, no other performer epitomizes the Latin showman as well as he: top vocal stylist, versatile musician, sophisticated arranger-composer, handsome bandleader, leader of the New York Latin scene. Tito Rodriguez' music is quintessential.
Given the popularity of all three rhythms listed in the title, it's no surprise that Tito would think of them as his "loves" – especially since they'd all helped spur on new energy in Latin music! But over and above the rhythms, the album itself is one of Tito's greatest from the '50s – spare, lean, and with a style that's both lively and jazzy – never dipping into some of the too-heavy modes that Tito succumbed to in later years. Tracks are all short, with lots of horn work on top of the percussion.
Side A:
1. Sweetness of You
2. Yambere
3. Asi...Asi
4. My Tobi's Blues
5. A Llegado El Guaguanco
6. This is Mambo
Side B:
1. Violets and Violins
2. Barito
3. Baranga
4. Cha-Cha-Cha Para Ti
5. Sabroso Mambo
6. Guaguanco Bonito
Pure Pleasure Records
The Restoration of the Art of Sound
180g Vinyl Mastered From The Best Available Sources
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records. During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production. To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
There really is nothing quite like it. It’s the touch, the feel, you have to stop and stare, the cover, the real thing, even the smell.
Its tangible, you can feel it, see it, study it, muse/dream over it, it’s real, someone has spent hours and hours over its construction and presentation. Pure Pleasure Records is just that, Pure Pleasure and that is what it has set out to be. The music and the physical record. Something to keep, treasure, admire and above all enjoy.Of course with vinyl it’s not just a record, it’s the cover, the sleeve notes, you are holding a unique package, produced by craftsmen.
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