Yolanda Duke accompanied by The Tito Puente Orchestra

En el desierto de la salsa, porque cuidado que en lo transcurrido de 2010 no se divisan señales de que la producción discográfica pudiese ser numerosa, sobresale por su musicalidad, excelencia y nostalgia el nuevo cd de la cantante dominicana Yolanda Duke.

La vi a mediados de los 90 en el Festival de Salsa que el fenecido Ralph Mercado produjo cada septiembre, por más de tres décadas, en el Madison Square Garden en Nueva York. Aquella noche cantó acompañada nada más y nada menos que por la Orquesta del Rey del Timbal, Tito Puente.

Y es que a las manos de Tito había llegado un cd que La Duke grabó en tributo a La Lupe y, fascinado, inmediatamente la reclutó como artista invitada en sus giras alrededor del mundo.

Bueno, Tito se murió en el año 2000, pero su legado es cultivado por su hijo Tito Jr., por los ex músicos de su Orquesta, que han editado tres discos identificados como The Latin Giants, y ahora con el lanzamiento del disco "Many Moods" que Yolanda Duke graba con The Tito Puente Orchestra, cuyos derechos los conserva su viuda Margie y sus hijos.

Así como ha sucedido con las orquestas de Count Basie, Duke Ellington y Dizzy Gillespie, que aún operan en tributo a sus fundadores, la oficial de Puente respalda en su primer álbum a La Duke.

"Many Moods" es un cd obligado que debe ordenar por descarga.com porque no espere que llegue a los establecimientos locales. De hecho, antes de ordenar mi ejemplar, llamé a Viera y me dijo que no lo tenía.

Con el swing de Puente, garantizado por su mano derecha José Madera, escucharás a La Duke en boleros en tributo a Mirta Silva y en un repertorio sabroso de salsa, que se nutre de adaptaciones de estándares del jazz tradicional de Cole Porter, algunos inmortalizados por Billie Holiday.

"What Is This Thing Called Love?, "I've Got You Under My Skin", "Misty", "Blue Moon" y "Muchos besos", de Rafael Hernández, son parte de la secuencia.
Aclaro: si le gusto "Jazzin" de Tito Puente con India y la Count Basie Orchestra, "Many Moods" lo supera por la clásica milla.

Esta es Mi Salsa. ¿Qué me dices? - Jaime Torres Torres

Yolanda Duke stellt mit dem Tito Puente Orchestra ein wunderschönes Album vor. Latin Jazz , Swing, Bolero,Guaguanco,Salsa u. Guaracha sind die verschiedenen Titel , in der sie mit ihrer herlichen Stimme in Begleitung des Tito Puente Orchesters Titel wie z. B " What Is This Thing Called Love " oder " La Peleona " ( feat .Jose Alberto El Canaria ) u. " Muchos Besos " - " The Hungry Years " u.a. zu gehör bringt. ( Geplant ist eine Europa Tournee 2010/2011 ) Das Album sollte man sich nicht entgehen lassen.Die New New Yorkerin ist in den USA ein besonderer Star der Jazz-Szene u. Gast in vielen Clubs u. auf Festivals. Die Presse ( Down Beat / Wall Street Journal / Miami Herald / Jazz Times ) überschlägt sich mit besonderem Lob , in Bezug der Vocalistin. Bestellungen / Anfragen über drjazz@drjazz.comDiese E-Mail-Adresse ist gegen Spam-Bots geschützt, Sie müssen Javascript aktivieren, damit Sie es sehen können Im Handel bei www.amigosmusiconline.com / Webseite www.yolandaduke.com
Letzte Aktualisierung ( Montag, 25. Oktober 2010 ) - Mittwoch, 20. Oktober 2010

Yolanda Duke
Many Moods: Yolanda Duke With The Tito Puente Orchestra
CD (Amigos Music 10923), Released 2009;
Editor's Pick:
Yolanda Duke, Tito Puente muse and collaborator since the '80s, has teamed up with the Puente orchestra (Sonny Bravo, Jose Madera, John Rodriguez, Mitch Frohman, Peter Nater, George Delgado etc.) to try and conjure some of that Puente magic. Know what? She does. Duke takes on standards from Cole Porter, the Gershwins, Marcelino Guerra and others. Duke sounds gorgeous, with a full, rich, perfectly seasoned timbre: She's at her peak here, folks. Don't miss it. And listen to the amazing La Peleona with guest José Alberto "El Canario." You'll feel as if Puente is, at least in spirit, alive and well. With guests Bobby Porcelli, Willie Martinez, Frankie Vazquez (coro) and others.
Highly Recommended. (BP, 2009-12-17)
Song titles include:
What Is Ths Thing Called Love?
I've Got You Under My Skin
La Peleona
Myrta Silva's Medley
They Can't Take That Away From Me
Oh God! I Love You
Misty
Muchos Besos
Blue Moon
The Hungry Years
'Til You Come Back To Me
That Old Black Magic
Musicians include:
Sonny Bravo Piano
Champian Fulton (guest) Piano
Gerry Madera Bass
Willie Martinez (guest) Drums
Jose Madera Timbales
John Rodriguez Percussion director, bongo, bell, güiro
George Delgado Conga
Mitch Frohman Tenor sax, flute
Bobby Porcelli Alto sax, flute
Pete Miranda Bari sax
Todd Bashore Tenor sax, flute
John Walsh Trumpet
Richard Viruet Trumpet
Peter Nater Trumpet
Kevin Bryan Trumpet
Reynaldo Jorge Trombone
Noah Bless Trombone
Lewis Kahn Trombone
Sam Burtis Trombone
Frankie Vazquez, Claudette Sierra, Marco Bermudez, Cita Rodriguez, Jennifer Martinez Coro ....and othe - Descarga.com

Povodom izlaska njenog novog albuma "Many Moods", na kojem se nalaze standardi americke i latinoamericke glazbe u latin-jazz aranžmanima, razgovarali smo Yolandom Duke, ucenicom velikog Tita Puentea.
Yolanda nam je izmedu ostalog rekla da joj je Hrvatska ostala u odlicnom sjecanju još od suradnje s Cubismom, te da se nada što skorijem dolasku do nas.

Zašto kažete da je vaš novi album "Many Moods" ostvarenje vašeg dugogodišnjeg sna?
Poceli smo rad na projektu dok je Tito još bio živ. Htjeli smo napraviti album americkih i latinoamerickih standarda u big band aranžmanima. Nažalost, nismo dovršili album jer je Tito preminuo. Momci iz benda i ja smo tada poceli slušati razlicite pjesme iz Velike Americke Pjesmarice te smo odabrali i nekoliko latinoamerickih pjesama i tako je nastao ovaj album.

Kako ste izabrali pjesme za album?
Odabrali smo oko 25 pjesama i onda sam ih ja pocela proucavati. Neke od njih su pjesme koje sam slušala kao dijete, kao na primjer "I've Got You Under My Skin", "What Is This Thing Called Love", stvari koje sam slušala na Frank Sinatra Showu, Ed Sullivan Showu i sl. Uz pjesme Cole Portera, brace Gershwin, odabrali smo i nekoliko latinoamerickih autora kao što su Marcelino Guerra te Rafael Hernandez i Myrta Silva iz Portorika. Tu je i talijanska "Oh God! I Love You (Dio, Come Ti Amo)" Domenica Modugna koju je u engleskoj verziji pjevala Shirley Bassey.

20100415-141648_yolandadukesmall.jpg

Kako takva glazba funkcionira u modernim vremenima i modernom društvu?
To je vrsta glazbe koju svi vole i zato funkcionira. Mi smo joj dali svoj potpis i tako smo stvorili kombinaciju standarda i latin-jazza na ovoj ploci.

Kako je bilo obradivati klasike poput Gershwina i Portera?
To su veliki skladatelji i za mene je to bila velika cast i zadovoljstvo.

Možete li nam reci nešto o glazbenicima koji su svirali na albuma, jesu li svi clanovi Tito Puente Orchestra?
Da , svi su clanovi Tito Puente Orchestra, neki od njih su svirali s Titom po 30-40 godina poput našeg dirigenta Josea Maderae koji je vodio glazbenike i dok je Tito bio živ. Dirigent udaraljki John Rodriguez Jr. je takoder svirao s Titom dugi niz godina, kao i mnogi drugi clanovi orkestra. Ovo je bio veliki projekt u koji je bilo ukljuceno više od 40 glazbenika, puno puhaca, gudaca, pijanista, basista i naravno udaraljkaša.

Što ljudi dobiju od vas i vašeg orkestra na nastupima uživo?
Dobiju najbolje od mene i najbolje od benda jer proživljavamo svaku pjesmu i dajemo 200 % od sebe.

Kako je Tito Puente utjecao na vaš život i vašu glazbenu karijeru?
Bio je moj ucitelj i mentor. Za mene je rad s njim bio kao pohadanje glazbenog fakulteta. Od njega sam jako puno naucila.

20100415-141603_titopuente.jpg

/ foto: Peter Maiden

Nastavili ste prenositi Titovo ime i nasljede nastupajuci s njegovim orkestrom. Možete li usporediti nastupanje s Titom ranije u vašoj karijeri i nastupanje s njegovim bendom danas?
Tita više nema, ali njegov duh je još uvijek tu jer smo svi mi dio Tita Puentea. Svi glazbenici su svirali s Titom preko 20 godina i njegovi su ucenici te zato smatram da sviramo kao da je Tito još uvijek s nama.

Tko su vaši najveci glazbeni uzori osim Tita?
Ella Fitzgerald, Benny Goodman, Louis Armstrong, Billie Holiday, te od latinoamerickih glazbenika Machito i Graciela Perez-Grillo koja je za mene jedna od najvecih vokalistica svih vremena.

20100415-141727_yolandaduke1.jpg

Vaš koncert u Zagrebu koji se trebao održati nedavno je na žalost bio otkazan. Postoje li planovi za vaš nastup u Zagrebu uskoro?
Iskreno se nadam da cu opet nastupiti u Zagrebu. Nastupala sam tamo jednom s Cubismom i to mi je iskustvo ostalo u lijepom sjecanju. Nadam se da ce ljudi u Hrvatskoj cuti moj novi album, a ako se javi zainteresirani koncertni promotor rado cu se odazvati.

Moram reci da mi je Hrvatska uistinu ostala u sjajnom sjecanju te se nadam kako cu vrlo brzo imati priliku opet nastupati pred vašom divnom publikom koja me jako lijepo primila.

Jeste li još uvijek u kontaktu s nekim od clanova Cubisma?
Cujem se s nekima od njih još uvijek preko e-maila.

Kako je vaša glazba prihvacena u razlicitim dijelovima svijeta? Koja mjesta su vam najdraža?
Glazba je jezik koji svi razumiju. Nije važno pjevam li na španjolskom, engleskom, hrvatskom ili grckom jeziku, ljude samo zanima glazba koju cuju. Imala sam izvrsna iskustva posvuda. Ljudi u Hrvatskoj su znali podivljati od oduševljenja kad sam pjevala "Definitivamente" ili "Bamboleo". Slicna sam iskustva imala i na primjer kad sam u Južnoj Africi pjevala "Misty" ili "Muchos Besos".

Što možemo ocekivati od vas u buducnosti?
Nastavit cu gdje sam stala sa "Many Moods", obradivat cu i snimati što više pjesama uz koje sam odrasla i koje sam naucila od Tita i koje uistinu uživam izvoditi.

kraj - Marko Vukušic

Many Moods
Yolanda Duke With The Tito Puente Orchestra
Amigos Music & Marketing

Latin Jazz is a music that simultaneously touches upon the past, present, and future, a triangle that is often hard to manage. The past set the foundation for the style, and as a result, young musicians need to do a comprehensive study of the music's history. The influence and knowledge that comes from this study allows them to move forward, but totally accurate recreations of past musical statements often escape the younger generation. They simply didn't experience the music at it's prime and they rarely capture the true soul and essence of the era. As a result, the present becomes a bit of a contradiction with young musicians trying to push the music into a future based upon their knowledge of a past that they can't quite capture. More experienced musicians hold the key to this classic performance sound, and when our greater society values their work, they have sufficient opportunity to pass on their knowledge. All too often, popular culture looks towards the latest fad though, leaving these musicians with rare performance opportunities. This unfortunate fact robs a younger generation of a chance to learn and keeps the world blind to the music of the masters. In the end, this convoluted situation stunts the music's growth, leaving the genre with a questionable future. Vocalist Yolanda Duke supports the past, present, and future of the music with the able help of the former Tito Puente Orchestra on Many Moods, showing the inherent power of big band Latin Jazz in the hands of masters.

Placing Jazz Roots Over Latin Rhythms

Duke reaches into the Tito Puente Orchestra's jazz roots with several interpretations of jazz standards, placed over Latin rhythms. The Puente Orchestra screams into a hard hitting up-tempo arrangement of Cole Porter's “What Is This Thing Called Love," framing Duke's powerful vocal with lush harmonies and tight rhythmic hits. As thick string patches float over a ferocious rhythm section groove, trumpet player John Walsh deftly twists jazz inflected melodies around the clave. Duke returns with a strong second reading of the melody, sending the band into a wild mambo that sends the band flying towards a climax. Sharp rhythmic hits give way into interlocking melodies over a steady cha cha cha on “They Can't Take That Away From Me," leading into a cleverly interpreted version of the Gershwin lyrics from Duke. A quick interlude leads into a lyrical flute solo from Bobby Porcelli, who spins memorable lines around the unstoppable rhythmic groove. The band shines in a smartly arranged shout section that inspires a clever performance from Duke, who revisits the melody with class and energy. Brash attacks from the full band launch the groove into a strutting cha cha cha on “Blue Moon," leaving Duke to skillfully present a personalized version of the melody. The band falls into a laid back swing behind tenor saxophonist Mitch Frohman, whose smoky tone and relaxed phrasing recalls classic big band performance. Upon her return, Duke grabs the band and leads it through switches between cha cha cha and swing with a confident vocal performance. A bombastic bass foundation powers beneath an up-tempo vamp from the horns over a son montuno on “That Old Black Magic," until Duke puts a fun twist on the Harold Arlen classic, singing the lyrics in Spanish. Alto saxophonist Bobby Porcelli explodes into a furious stream of bop flavored lines and Afro-Cuban phrasing, delivering an unforgettable solo. Duke opens into an enthusiastic pregon over a quick coro, pushing the arrangement into an unstoppable momentum as she returns to the melody. These pieces provide Duke and the Orchestra with some serious jazz credential, as they show their intimate familiarity with standards alongside their ability to navigate the clave with ease.

Digging Deeply Into The Greater World Of Latin Music

Duke also leans into the traditional world of Latin music with several numbers that reflect the mambo era roots of salsa. Images of Palladium era performances comes to the forefront as the band tears into “La Peleona," setting up enthusiastic performances from Duke and guest vocalist Jose “El Canario" Alberto. Repeated coros provide the opportunity for both Duke and Alberto to jump into inspired pregones, demonstrating their ability to spontaneously create clave shaped phrases. The band sends this track to amazing heights, supporting Duke and Alberto with an addictive rhythmic drive and leaping into exciting mambos that push the groove to awe-inspiring limits. The winds blanket a relaxed bolero with lush harmonies, established a broad setting for a collection of legendary songs on “Marta Silva's Medley." Duke obviously holds a close connection to these pieces, interpreting the Puerto Rican composer's pieces with a personal touch that resonates brightly within the recording. Arranger Ray Santos works magic on this collection, alternating the band between a broad supporting role and shifting them into the spotlight with gently phrased melodies and sweeping dynamics. A dramatic string introduction sets a somber mood on “Oh God! I Love You," transitioning into a intimately exposed duet between Duke and pianist Sonny Bravo. As Bravo brings the introduction to a close, the band explodes into a driving son montuno that establishes a dance vibe behind Duke's English lyric. Flying string passages dart between heavy horn hits as Duke performs the melody with stylistic flair, ending the piece with a powerful series of pregones. Duke and the group confidently display their roots on these tracks, showing the full spectrum of Latin music, from lush boleros to driving dance tracks.

Bridging The Gap Between Jazz And Latin Dance Music

Duke bridges the gap between the two worlds with several pieces that combine elements of both jazz and Latin dance music. The band struts into a screaming blues introduction on “Misty" as Duke comfortably place the familiar Errol Garner melody over a relaxed swing melody. Trombonist Sam Burtis displays some serious swing chops on his improvisation, hitting every edge of his register as he flies through the changes. The band provides carefully placed hits as Duke revisits the melody with a keen sense of swing and creative phrasing. Duke and the orchestra place a jazz spin on the classic Puerto Rican composer Rafael Hernandez's piece “Muchos Besos," filling out the song with colorful harmonies. The smart arrangement from José Madera stretches the limits of the song and in turn pushes Duke into an impassioned melodic reading. This piece serves as a deserved feature for Duke, but the band simply shines underneath her performance, skillfully outlining rich harmonies. The woodwinds slide between long brass chords as the rhythm section walks through a medium tempo swing on Cole Porter's “I've Got You Under My Skin," leading into Duke's coyly relaxed interpretation of the familiar tune. A hard swinging shout section sends the band charging into a double time rumba, where conguero George Delgado explodes into a virtuosic solo. As Duke revisits the melody, the band playfully rides between swing and double time rumba, encouraging subtle twists in Duke's performance. Duke and the Orchestra emerge from these pieces as a group that easily walks between musical contexts with professionalism, soul, and skill.

Carrying A Classic Sound Into The Future

Duke and the former Tito Puente Orchestra storm through Many Moodswith an overwhelmingly appealing flair, showing the power sitting in these musical masters. Duke performs with a commanding presence throughout the album, maintaining her distinct identity through many different settings. She stands apart as one of the few vocalists with the power and clave insight to truly fuel an authentic Afro-Cuban context while maintaining the subtleties and flavor of jazz. Duke's strong talent shines consistently throughout the album, but a massive star burns behind her. The untouchable arrangements and incredible band not only supports Duke, but steals the show with their classic sense of drive, taste, and momentum. The great contributions of arrangers Madera, Hernandez, Santos, and more really feed the band a sense of classic mambo era Latin Jazz. In addition, the string arrangements beautifully complement the overall big band charts, acting as another section of the mambo big band orchestra. The band plays these charts with an authentic flavor that simply can't be matched. These musicians had significant contact with Puente for years, and many of them played with Machito and Tito Rodriguez. The collaboration between Duke and the Puente Orchestra on Many Moodsholds massive potential, working in the present to carry a classic sound into the future.
- Chip Boaz, All About Jazz, Oct 23, 2010

Yolanda Duke with the Tito Puente Orchestra
Many Moods
Amigos Music
2009

Even though "El Rey," the master timbalero and bandleader Tito Puente, is no longer with us, his explosive Latin ensemble soldiers on, ably supporting vocalist Yolanda Duke on Many Moods, the orchestra's first recording since Puente's passing in May 2000.

Duke, who sang with Puente's band from the early 1980s onward, is charming on standards by Cole Porter, the Gershwins, Errol Garner, Rodgers and Hart, and Harold Arlen / Johnny Mercer, even more so on three Latin sketches and a similar number of original compositions by Domenico Modugno, Neil Sedaka and Stevie Wonder. Duke's strong, clear voice is slightly accented, her rhythmic approach decidedly Latin, a tendency that is indelibly underscored by the formidable Puente orchestra.

Duke is clearly more comfortable on the explicitly Latin tunes, singing with abandon; there are times, on the other hand, when she seems less than at ease on the English numbers, especially Garner's "Misty" and Porter's "What Is This Thing Called Love." When that happens, her experience and charisma combine to carry her through. Duke sings "That Old Black Magic" in Spanish. She is aided and abetted on "La Peleona" by guest vocalist Jose Alberto "El Canario," and by a background chorus on "Myrta Silvia's [three-part] Medley" and Wonder's "'Til You Come Back to Me."

While the orchestra remains for the most part unassuming, there are brief yet bracing solos along the way by Bobby Porcelli (alto sax, flute), Mitch Frohman (tenor sax, flute), trombonist Sam Burtis, trumpeter John Walsh and conguero George Delgado. Duke's personal appearance (sultry stare, raven hair crowned with saffron) mirrors her vocal style: bold and uninhibited. Coupled with the intrepid Puente orchestra, it makes for a near-perfect match.

- Jack Bowers, All About Jazz

By BILL HIGGINS
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Elle MacPherson, Elizabeth Hurley
Model-actresses Elle MacPherson and Elizabeth Hurley compare outfits at the benefit for the Children's Action Network.
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* (Person) Elizabeth Hurley
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If there are really only a half-dozen top-notch, stylishly fun events in Los Angeles each year, then Friday's celebration of Valentino's 40 years in fashion was one of them.

Rita Wilson, Kate Capshaw, Tom Hanks and Steven Spielberg hosted the Children's Action Network benefit held in a spectacular 15,000 square-foot clear tent atop the Pacific Design Center's parking garage. Dozens of low, banquette-style red couches surrounded an ill-fated three-step platform that was the center of crisscrossing runways.

The idea, said Wilson, was to have something like a European couture show but "looser, more like a party, indicative of L.A."

The evening began with a champagne reception, then moved on to a high-energy fashion show that ran a brisk 15 minutes. Capshaw said she enjoyed the concept of the crossed runways because "you get a glimpse of the fashion and you're hungry for more."

Reactions to the runway show ranged from Anthony Keidis of the Red Hot Chili Peppers who found it "confusing because I was trying to keep my eye on this one girl" to Lilly Tartikoff who called the show "sexy, exquisite and expensive." Barbara Davis said "they were the most beautiful bare girls in the most beautiful clothes." Anjelica Huston said of Valentino: "He cuts well."

Fifteen minutes after having served its purpose, the runway platform had a scene-stealing moment: It caught fire. Lit from beneath, the electrical wiring in one corner went up in flames. The size of the fire would roughly fill an office trash basket. But its two-minute duration was enough to curl plastic and fill the tent with acrid smoke after being extinguished with a dry chemical fire extinguisher.

It was a tribute to the night's vitality that the fire was merely a blip and the crowd stayed on to dance to the 10-piece salsa band backing Yolanda Duke and to dine at a buffet supervised by chefs flown in from New York's Cipriani.

Among the fashionable on hand who helped raise $200,000 for CAN at the event designed by Merv Griffin Productions' Paul Cunliffe and KCD's Julie Mannion were Peter and Tara Guber, Mark and Lezlie Johnson, Sid and Lorraine Sheinberg, Andy Spahn and Jennifer Perry, Herb Ritts, Elizabeth Hurley, Sam Mendes, Mike Marcus, Walter Parkes and Laurie MacDonald, Nan Kempner, Fred and Rikki Rosen, Charlize Theron, Sofia Coppola and director Spike Jonze, Milla Jovovich, Claudia Schiffer, Naomi Campbell, Elle MacPherson, Minnie Driver and Rosanna Arquette.

http://www.variety.com/vstory/VR1117789508.html?categoryid=38&cs=1 - Variety, Hollywood

By Carol Archer

The idea for the salute to Mr. Puente began in January with Yolanda Duke, the popular Latin songstress who spent many years performing with the Tito Puente Orchestra, sharing the stage with the Maestro himself in concert appearances all over the world. She and her husband, Andy Grullon, expressed their desire to pay tribute to Tito with Margie Puente and with friend Bob Sancho. They contacted New York Congressman Jose Serrano, Senator Reverend Ruben Diaz and Councilman Miguel Martinez with the idea.

A proclamation has been issued declaring April 14- 20 as 'Tito Puente Week' in New York to honor Mr. Puente's contribution to our culture, and Margie Puente will be present to receive the proclamation in honor her late husband at the library of Hostos Community College. The timing is fitting, as the famous bandleader, who was raised in the barrio of New York City and died in 2000, would have been 85 years old on April 20.

To celebrate the occasion, Yolanda Duke, also known as La Duke, will sing at the event, performing some of the songs from her new CD, entitled “Many Moods,� a big band-flavored collection of American and Latin classic songs that she recorded with the Tito Puente Orchestra. The project was the culmination of a long-time dream she shared with Tito to record beloved standards, and is dedicated to his memory. The popular Dominican singer Jose Lacay is also slated to perform.

Another aspect of the tribute to Puente is a bust of his likeness created by one of Puerto Rico's up-and-coming sculptors, A. Rivera, which will be on display at the Museum of San Juan Puerto Rico. - R&R Nielsen, April 8, 2008

Melkoinen maine on myös Puenten 13-jäsenisellä vakiobändillä eli "mambo-orkesterilla", joka tuntee nimen Latin Jazz Ensemble. Siihen kuuluu useita jo vuosikymmenet Puenten matkassa ollutta muusikkoa, kuten 70-vuotias basisti Robert Rodriquez ja kuusikymppiset pianisti Sonny Bravo ja saksofonisti Robert Porcelli. Vanhan kaartin Puente-muusikoita ovat myös saksofonisti Mario Rivera, pasunistit Luis Kahn ja Reynaldo Jorge ja bongosoittaja John Rodriquez Jr. Joukkoon mahtuu yksi nainenkin eli laulusolisti Yolanda Duke. - Bandit

CATANIA - Tito Puente, il "re del mambo", ha abdicato. Dopo cinquant'anni di regno, ha ceduto lo scettro alla regina Yolanda,

biondissima cantante dominicana partorita dalla mente di Federico Fellini e disegnata dalla mano di Botero che farebbe apparire anoressica persino Giunone. Tocca a lei strappare la scena all'ultrasettantenne percussionista per trascinare il pubblico che riempiva Villa Bellini in calienti rumbe e cha-cha-cha cantati a squarciagola. - Giuseppe Attardi

Hollywood se vistio de Valentino para celebrar los cuarenta años del disenador en el mundo de la moda. Sus fieles amigas y seguidoras, como Elizabeth Hurley, Claudia Schiffer, Naomi Campbell, Elle McPherson y Rosario Nadal desfilaron en la gala con algunas de sus espectaculares creaciones de fiesta. La gala tuvo lugar en el Centro de Diseno de Los Angeles y fue presentada y dirigida por Steven Spielberg y Tom Hanks, acompañados de sus respectivas esposas, Cate Capshaw y Rita Wilson. El show estuvo a cargo de la gran interprete Yolanda Duke acompañada por la orquesta de Jose Alberto El Canario. El traje rojo lucido por Yolanda fue confeccio-
nado especialmente para ella por Valentino. - Soledad Sierra

... ... A key ingredient in recreating this atmosphere is Yolanda Duke, who joins Tito and the band two thirds throughout the set. In towering neon platform shoes, flashy flared purpel spandex pants and bugles beads bustier, the voluptuous Diminican Diva with the crown of long golden hair dominates the stage from the moment she appears.
Confident and sexy, she evokes the era when lusty blonde bombshells like Jayne Mansfield and Marilyn Monroe wore their curves with pride.
She acknowledges him as her musical godfather, and credits him with teaching her how to sing Salsa and La Clave.
He even served as best man at her Las Vegas wedding last year.
She quickly learned that language is no barrier, whether in Tokyo, Paris, or Belgrade.

"Let me tell you something," She says.
" Music has only one language. It fills the body with happiness. That's how I feel every time I go to a different country, with a different language where they don't understand our language.
But they really enjoy it, they feel my music."
" And she adds," It fills me up, because I see people vibrating with our music." - Candece Oehler, Seattle

NEW YORK/WORLDWIRE/Nov 11, 2007 --- Yolanda Duke, versatile and popular singer affectionately called, "La Duke," announces a huge musical project. Her upcoming launching includes an album, accompanied by the orchestra of the late king of Latin Music, Tito Puente, and performances at an international level.

La Duke has finished the new production, in which an orchestra of more than 33 musicians participated, in the style of the Big Bands. The singer was immersed in the development, working at Bennett Studios.

In La Peleona, recorded before in the decade of the 50s by Machito and Graciela (famous interpreters of Afro Cuban Music), the veteran vocalist sings a duet with popular salsero Jose Alberto El Canario.

Yolanda Duke was always regarded as one of the favorite interpreters of the orchestra of El Maestro Tito Puente, with whom she traveled to 35 countries of Asia, America, Europe and the Australian Continent.

La Duke's representative, Andy Grullon, reported that the members of The Tito Puente Orchestra are very excited about their participation in this project, which constitutes the continuation of the international trajectory that El Rey Tito Puente accompanied by Yolanda Duke had followed.


- worldwide