a full descarga album in 1956, Puente in Percussion. It is a percussion-heavy set of descargas featuring Mongo Santamaría, Willie Bobo and Carlos "Patato" Valdés. Like Cuban Jam Session Vol I, the album features variations on mambo themes, although the focus of Tito's recordings is the percussion section, lacking a pianist to play the guajeos. The album featured guest bassist Bobby "Big Daddy" Rodríguez to play tumbaos on a couple of tracks. In 1957, Puente recorded his critically acclaimed Top Percussion, the follow-up to Puente in Percussion. It features Mongo Santamaría, Willie Bobo, Francisco Aguabella and Julito Collazo. The album closer is a 7-minute descarga-jazz with guest Doc Severinsen on lead trumpet. In 1958, Walfredo de los Reyes, the timbalero in Cuban Jam Session Vols I and II, recorded Sabor cubano with pianist Yoyo Casteleiro, a horn section, and singers Kiko Rodríguez and Martha Rams. The album included Chico O'Farrill's "Descarga", Mario Bauzá's "Mambo Inn" and a guaracha titled "Cuban Jam Session" credited to Rafael Hernández. 1960s: from Havana to New York In 1960, Walfredo de los Reyes recorded his second descarga LP as a leader, Cuban Jazz. Unlike his previous album, this one featured a heavy percussion section courtesy of Los Papines. In addition, Cachao performed on bass. That same year, trumpeter Rolando Aguiló released two albums entitled Cuban Jam Session on Maype. Although his style has been described as leaning towards "soft mambo" and cha-cha-cha, his sessions have been praised due to Juanito Márquez's performance on electric guitar, cited by some critics as a "mystery guitarist" due to the absence of credits on the LP. Around the same time, another LP by the title of Cuban Jam Session was recorded by an ensemble directed by trumpeter Carlos Arado, who like Aguiló had been a member of Orquesta Hermanos Castro, for the label Sirena. Cachao left Cuba in 1962, staying in Madrid for a year before moving to New York, where he joined Tito Rodríguez's orchestra. Cachao's influence is notable in jams such as "Descarga Cachao" and "Descarga Malanga". Around the same time, Cachao recorded a series of descarga-like tunes with Joe Cain's orchestra, which featured a mix of American and Cuban musicians. The resulting album, Latin Explosion, was re-released on CD together with Cuban Jam Sessions in Miniature under the title From Havana to New York. During the early 1960s, the descarga genre was revitalized in New York