In what is perhaps the most admirable reissue campaign in Latin music history, Emusica head Giora Breil commissioned Joe Conzo to compile and annotate a four-volume collection from the dawn of Tito Puente's leadership of a band, a series of 156 songs recorded from 1949 to 1955 and released on the Tico label as 78 rpm records. Although Puente was recording for RCA around the same time (those sides appear on The Complete RCA Recordings, Vol. 1), these Tico songs present a far different side of the Latin maestro, and there are few parallels between the material. Where Puente was recording plentiful swing crossovers for RCA ("Tuxedo Junction" and "Take the 'A' Train" in addition to his early masterpiece "Ran Kan Kan"), his material for Tico found him keeping mostly to what his core audience in Spanish Harlem wanted to hear: plentiful hard mambos with the occasional bolero or ballad and, overall, few direct concessions to mainstream music. This was the equivalent of Duke Ellington on OKeh or Charlie Parker on Dial -- recordings for the hardcore faithful that showed a band as it existed instead of as it wanted to be sold. However, despite assumptions either way, that doesn't necessarily make this a better or worse set than the fruits of the RCA years, and indeed, for a crossover audience whose numbers usually overwhelm the core base, Puente's Tico recordings will be less familiar and even less dynamic. But the level of musicianship was high, with future heroes Mario Bauzá and Mongo Santamaria heard throughout. In at least one area, however, Puente's band wasn't at its peak, and that was in the vocals. Vicentico Valdes is heard most often here, and although he's a fine singer, he is no equal of the great Cuban, Beny Moré (especially when he tries on a Moré classic like "Babarabatiri"). But even though it lacks the epoch-shifting importance of "Ran Kan Kan" or "Oye Como Va," The Complete 78s, Vol. 1 is a treasure trove for Latin fans.