In 1984, Chris Warwick, in the process of setting up his own label, set off for New York after hearing Tito Puente in London, to record the maestro’s big band, using a stereo mike and digital recorder. The ambition was to record the ‘live’ sound of the band and not to use any studio mixing techniques, but to rely on a Soundfield Ambisonic microphone or a Holophonic Surround Sound head. The results, as evidenced in this reissue, are in most cases, very successful. With no chances for retakes, a saxophone soloist (probably Mario Rivera) strays somewhat off-key on ‘Barbarabatiri’, but the overall vigour, extrovert percussion, and sense of ensemble carries the whole thing off well.

The title track matches vocals, brass and reed ensemble playing very well with the ‘kitchen department’, and Warwick mentions that sometimes you can hear the sound of the band-members’ children dancing around and singing along, at the Club Broadway at 96th in New York, where the recording was done. But it’s not all bombast, and ‘Oye Como Va’ has a gentle rhythm intro, and a relaxed tempo that works well for vocalists and players alike.

Some of the arranging work is by trombonist Jimmy Furzier, and a good example of his work is the interaction of stabbing brass and percussion on ‘Que Bueno Baila Usted’. But the whole album has highlights, and it is great to be transported right into the atmosphere of it playing live in a NY club setting. More rough edges overall, but far more exciting than the following year’s Mambo Diablo (reviewed in Jazzwise July 2023). Buyers of the CD get a bonus track – ‘Bata 6/8’ – not on the LP version.