Ernest Anthony “Tito” Puente was born during the roaring 20’s on April 20, 1923 at Harlem Hospital in New York City. His parents were from Puerto Rico. His father, Ernest Puente, was a native of Ponce and of Spanish heritage. He worked as a foreman for the Gem Razor-Blade Factory in New York. Tito’s mother, Ercilla Cruz, was from Coamo. They first arrived in Atlanta, Georgia then moved to Brooklyn, New York before settling in Manhattan. When Tito was born they lived at 1850 Madison Avenue, located in East Harlem otherwise known as Spanish Harlem or “El Barrio”. Within a year young Tito is sent to live in Puerto Rico. At the age of three he returns to New York City.
In 1925 Tito’s brother Alberto was born. He died at the age of four due to a tragic fall from a fire escape while the family was visiting friends. In 1928 Tito’s sister Anna was born. She died in her teens of spinal meningitis.
Tito attended Public School 43 and Public School 184 in Manhattan. He went on to Cooper Junior High School and Galvanni Junior High School. Later he attended Central Commercial High School.
From a very early age Tito, and his younger sister Anna, were encouraged by their mother to study music and dance. By the time Tito was twelve years old and Anna seven years old they were members of the “Stars of the Future”. This was an organization that was formed by the director of a local funeral parlor. It held its meetings at “La Milagrosa” Catholic Church on 115th Street and Lenox Avenue. The church held a yearly event for its most talented children and would crown the winner King and Queen for both their artistic ability and popularity. Young Tito was crowned on four different occasions for his great dancing skills. He was inspired by the likes of Fred Astaire and Ginger Rogers. Tito loved to dance. Story has it that he aspired to become a dancer but those ambitions were aborted by an accident that tore a group of tendons in one ankle. However, it was music that was to become his destiny.
According to Franc Peri, President of Roper Records, and one of the top Latin dancers in the 60’s and 70’s, “Tito was a fantastic dancer, he could dance anything”. It was Tito’s dancing skills, which he developed practicing with his sister, which would become a fundamental aspect and building block to Tito’s approach to his music in later years. Tito always said that the dance played a strong influence on his music. When creating his music he always kept the dancer in mind. Puente realized and understood that his longevity as a musician depended heavily on the dancer. According to Tito, “Any music, to be popular, must have a dance”. 
Tito’s upbringing in Harlem provided him with a rich variety of cultures and diversity. There he studied music at the New York School of Music (125th Street and Lenox Ave.), took piano lessons for approximately one year with Victoria Hernandez, sister of the great Puerto Rican composer and “Hall of Famer” Rafael Hernandez. According to Victoria, the young Tito was not a dedicated and serious student. He also took lessons with Luis Varona, pianist to Machito and who would later play with the Tito Puente Orchestra. Supposedly a pianist named Blue Mountain had also tutored Puente and his sister. He abandoned his piano lessons to dedicate himself completely to percussion instruments. Tito learned snare drum techniques and received a good music foundation from an Anglo named Mr. Williams. He mastered the alto sax from a music teacher his parents rented a room to, Professor Millian. 
In a very short period of time, Puente learned and became very proficient at piano, alto saxophone, vibraphone, bongo, timbales and many other instruments. He sang with a local barbershop quartet and learned a lot about rumbas from a black Cuban drummer that played with the Happy Boys Orchestra. Because of his versatility and incredible musical talent he was much sought-after as a sideman by many dance bands.
Tito, like a lot of other young boys in a multi-cultured environment, would have one ear listening to the great swing bands of Duke Ellington, Benny Goodman, Count Basie, Artie Shaw, Dizzy Gillespie, Stan Kenton etc., and with the other ear would be listening to the tropical music that was being played in his home by his parents and in the neighborhood. His hero was Gene Krupa, drummer to Benny Goodman. According to Tito’s granddaughter Julianne Puente, young Tito at the age of eleven or twelve won a drum contest playing, note for note, the famous solo “Sing, Sing, Sing”. It was Gene Krupa who inspired the young Puente to learn the trap drums. Other important musicians, such as Arsenio Rodriguez, Marcelino Guerra, Noro Morales and Miguelito Valdes also influenced Tito. Besides Tito Rodriguez, he grew up with the Palmieri brothers and Johnny Pacheco.
At the age of 13 Puente debuts with the orchestra of Noro Morales at the Stork Club in New York City. Later on he would play with “Hall of Famer” Machito, Jose Curbelo and Pupi Campo. Puente decides at the age of 16 to leave High School and become a full time musician. Around this time, in 1939, that he met at a teenage hangout known as “La Casita Maria”, future “Hall of Famer” Pablo “Tito” Rodriguez. Rodriguez had just arrived from Puerto Rico to live with his brother, the well-known singer Johnny Rodriguez. Tito Puente lived on 53 East 110th Street and Tito Rodriguez lived down the street at 65 East 110th Street. Both Tito’s had a lot in common, they loved music, played percussion instruments and were Puerto Ricans of the same age...they became very close buddies. In December of 1939 Young Puente meets Cuban pianist Jose Curbelo, who had just arrived from Cuba. Jose Curbelo became a very important figure in young Tito’s life, both as a musician and as a businessman. Curbelo had worked for a short time with Xavier Cugat before he began his own group in 1941. His band reached its peak in 1946 when he hired the great sonero Tito Rodriguez and timbalero Tito Puente. In 1959 Curbelo “retires” as a bandleader and forms one of the most successful and powerful booking agency in the East Coast, the Alpha Agency.
Curbelo had all the important performers under contract. He literally had a “monopoly”. Those who did not signed with him would have difficulty getting gigs. Promoters were “obligated” to hire his bands otherwise they would not be allowed to hire any of the bands. 
But Curbelo would become a very important allied to Puente. Besides being his mentor, Curbelo took care of Puente like if he was a younger brother. He would see to it that Puente always worked and received top dollar. He made sure that Tito had everything he needed. Of course, Tito also brought in money for Curbelo. They had a good business and personal relationship. 
Puente played for various other orchestras including Johnny Rodriguez’s Stork Club Orchestra, Anselmo Sacassas, and Vincent Lopez. In June of 1942 Puente joined the Machito Orchestra, replacing Tony Escolies. It was with Machito that Puente was featured as a soloist, forever changing his role as a timbalero. Here Puente brought his timbales to center stage, playing on his feet rather than seated and to the back as was customary. It was Puente who popularized the timbales and because of him, hundreds, if not thousands, followed in his footsteps and became timbaleros. In the same year Tito Puente, along with percussionist Chino Pozo, took a temporary leave from Machito’s Orchestra and went on tour with the Jack Cole Dancers, a very successful dance company.
Shortly thereafter, at the age of 19 he was was drafted into the US Navy. Seaman First Class Puente was assigned to a converted aircraft carrier, the USS Santee. Here Puente played alto and tenor saxophones and drums, entertaining the crew on the ship’s band. His additional duties were loading ammunition into artillery.
While in the Navy during World War II, Puente learned a lot about arrangements from a Navy pilot lieutenant that did arrangements for the Charlie Spivak Orchestra. While serving his country Tito met and learned from many other arrangers and musicians. A few had written for Benny Goodman and some of the other big bands. Puente continued to improve and developed his writing and arranging skills and picked up valuable music experience. While at sea, Tito learned of his sister’s death from spinal meningitis. She was only in her early teens. This was a heavy blow for Tito; he was very close to her...now he had lost both his siblings.
Tito was a war hero, having served in nine battles in the Pacific and Atlantic. He was discharged in 1945 with a presidential commendation. He returns to New York and between 1945 and 1947, with the aid of the GI Bill, he attended and studied at the prestigious Julliard School of Music. Here he learned theory, arrangements, conducting, composition, orchestration and the vibraphone. Under the direction of Professor Richard Bender he studied the “Schillinger” method of musical composition and arrangements. While attending Julliard he worked with a variety of Latin bands, including Frank Marti’s Copacabana Band, Jose Curbelo and Fernando Alvarez with “Hall of Famer” Charlie Palmieri on piano. 
Tito felt that his studies at Julliard were not enhancing what he wanted to learn to play. Julliard being a conservatory of music involved in the classics and not into Latin the way Tito was playing it. Puente leaves Julliard but he continued to improve his composition and arranging skills. Musicians like Stan Kenton were of great influence on him. He also continued to use and master the vibraphone, which he began to feature on his interpretation of ballads and introduced it to the mambo. He is also credited with originating and introducing the solo on timbales.
In September of 1947 he joins the Pupi Campo Orchestra as a drummer, contractor and musical director. Here he meets Jimmy Friasura who would become a very close friend and play for Tito for the next 40 years. One of the outstanding pianists to play with Pupi Campo’s Orchestra and Tito Puente was a very talented composer and arranger by the name of Jose Esteves Jr., known as “Joe Loco”, because he would take American arrangements and give it a Latin swing. Puente and Joe Loco worked together on a few arrangements performed by Campo’s orchestra that at the time was beginning to make a name for itself as one of the top Latin bands.
It was during the era of the Palladium Ballroom, the most colorful “dancehall” in America, beginning in the late forties and early fifties, that Machito along with Tito Puente, Tito Rodriguez and a few others began to change the direction and style of music in the “Naked City”. The Palladium created steady work and allowed Tito Puente and Tito Rodriguez to express their creativity. For over fourteen years Puente performed regularly at the Palladium Ballroom. In May of 1956 Puente was crowned and baptized “El Rey del Timbal” at a dance held in New York’s Manhattan Center.
It was in Mexico and New York City where Cuban music, especially the mambo, took a life of its own outside of Cuba. And it was at the Palladium in New York City in the early 1950’s that mambo reaches its zenith. Here the mambo was refined by the dancers and like a “bug” it spread to the rest of the country and eventually the world. Here the orchestra of Machito, Rodriguez and Puente played for all ethnic and Anglo audiences. The “Big Three” developed sophisticated arrangements and incorporated jazz-influence instrumental solos. It was here where the stage was set for the explosion of “Salsa”, as we know it today. Machito, Rodriguez and Puente were the Father, the Son and the Holy Ghost of the Latin music dance scene in New York City.
The Palladium played a fundamentally important role in unifying the “uptown”, largely Hispanic and the “downtown”, largely white residents. The Palladium was a true melting pot of Blacks, Jews, Italians, Irish, Spaniards, Chinese, Cubans and Puerto Ricans. From the upper class to the lower class, people were there to listen to the great music and dance. On Wednesday nights “Killer Joe” would kick-off the evening with dancing lessons on the mambo. 
At any given night you were able to catch a glimpse of celebrities such as Marlon Brando, Sammy Davis Jr., Kim Novak, Le Roi Jones or Marlene Dietrich. Many of the great Jazz legends, like Dizzy Gillespie, Stan Kenton and Woody Herman would, after finishing their own gigs, stop by to listen, learn and absorb the Afro-Cuban sounds of Machito, Rodriguez and Puente. 
Puente’s style was always a bit more “jumpy”, more nervous if you will, than Rodriguez’s. Puente’s arrangements were more “complex”, his brass writing was heavier and he was a great arranger, composer and performer. Rodriguez was a bit smoother and his arrangements seemed a bit simpler. However, Rodriguez’s band’s combination of Cuban oriented tunes and tight solo-filled instruments was as good as any orchestra on the scene. In addition, Rodriguez was a masterful singer, both as a sonero and as a bolerista. Tito Rodriguez was the consummate professional.
Little has been said or written about the impact and contribution that Machito, Rodriguez and Puente (as well as many other Latin artists) made to race relations, both in New York City and around the world with their music. Puente’s musical talent allowed him to bridge racial, cultural and generational gaps. People from all walks of life and economic backgrounds attended his concerts as well as bought and danced to his music.
In 1949, Puente along with a few others left Pupi Campo and formed “The Picadilly Boys”, so baptized by dance promoter Federico Pagani. The band consisted of Luis Varona on piano, Frankie Colon on congas, Manuel Patot on bass; Angel Rosa was the singer, Chino Gonzalez on second trumpet, Jimmy Friasura on lead trumpet with Puente on drums, vibraphone and timbales. The Picadilly Boys made its debut at “El Patio” club at Atlantic Beach, NJ on July 4, 1949. In September of 1949, “Hall of Famer” Vicentico Valdes debuts with Puente. Eventually Puente added a third trumpet, Tony DiRisi and bongosero player Chino Pozo. In 1950 Charlie Palmieri became the pianist, replacing Gil Lopez. Shortly thereafter “Hall of Famer” Mongo Santamaria replaced Frankie Colon on congas and Willie Bobo joined the orchestra replacing Manny Oquendo. Puente’s first six recordings where for the newly formed Tico Record company.
Puente’s reputation as a sizzling arranger quickly grew and led to numerous assignments from prominent bandleaders. Even Tito Rodriguez hired Puente to arrange charts for four numbers he recorded with his Mambo Devils on Gabriel Oller “Spanish Music Center” label on August 31, 1949 at the SMC Studios. The recordings were “Un Yemerico”, “Mango del Monte”, “Guarare” and “Frisao con Gusto”.
Puente, from the very beginning, always seemed to be on the cutting edge in the development and evolution of Latin and Latin Jazz. Always the innovator, pushing the envelope, experimenting, as well as recycling and reinterpreting traditional and non-traditional concepts and instrumentation.
Puente subsequently moved to Tico records and changed the group’s name to Tito Puente and his Orchestra. In 1956 Puente switched to RCA. Under the RCA label, he produces some of his best albums, including “Cuban Carnival”, “Top Percussion”, “Mucho Puente”, and “Dance Mania” considered by many critics to be Puente’s career watershed. This album featured, for the first time, the Puertorican singer Santitos Colon who had joined Puente in 1956. 
Puente’s first big hit was “Abaniquito” in 1949, featuring Vicentico Valdes. This was his second recording...it was one of the very first mambos to become a big hit among non-Latinos. The tune was greatly helped by the likes of DJ’s like Dick “Ricardo” Sugar on WEBD. Dick was responsible for introducing and popularizing this tune on the airwaves. “Abaniquito” got a tremendous response on the air. People began asking who was this fellow. From there on end it was all uphill for Puente. 
During this period there was a strong rivalry between Tito Puente and Tito Rodriguez...although downplayed by many, it did exist. The rivalry brought out the best in both. It forced each to become the best he could be...they became better showmen and their artistic and creative output was probably, to some extent, fueled by this arch-rivalry. In 1952 Puente releases a total of thirty-seven recordings...each and everyone were “swinging” tunes! They both understood that rivalry was good business...but theirs got out of hand. With the passing of time it became more and more personal and bitter. It was a constant source of friction and frustration as they would “fight” over who should get “top billing”. Eventually it led to them not appearing on the same stage. They were never able to put aside their difference and they would never talk to each other again. However, in public they both “pretended” that there was nothing to it. In spite of their rivalry, they both had the outmost respect for each other’s musical talent.
Between 1949 and 1960, Puente employed some of the most dynamic and incredible performers in the Latin scene, such as the Cuban sonero Vicentico Valdes, Charlie Palmieri, Mongo Santamaria, Willie Bobo, Patato Valdez, Bobby Rodriguez, Gilberto Monriog, Santos Colon, Doc Severinson, Francisco Aguabella, “Hall of Famer” Ray Barretto, Julio Collazo, Ray Coen and Vitin Aviles.
In 1957 the Cuban government invited Cuban artists from around the world to return home to celebrate all the great Cuban musicians from its previous 50 years. Tito Puente was the only non-Cuban invited to the festivities because of his enormous contributions to Cuban music. He was given formal recognition by the Cuban government during its ceremonies. Mario Bauza was largely responsible for Puente’s inclusion at this affair. 
The 60’s saw Puente fully immersed in his passion to combine Jazz and Latin music. A passion that was fueled by his mentors Machito and “Hall of Famer” Mario Bauza. It had been his belief that this “marriage” could become a powerful force in music, thereby enhancing the musical experience of the listener and dancer. He teamed up with bandleader and trombonist Buddy Morrow and began a series of recording sessions where both of them performed with two full and completely different orchestras. Different in every respect, in rhythm, in bass and in sax sections, as well as different arrangements with the intended result of sounding as one. The project culminated in the LP recording “Revolving Bandstand” under the RCA label.
With this recording, Latin Jazz received a “shot in the arm”. It would have a direct affect on some of the younger musicians that would be making a name for themselves in the years to come...notably, Ray Barretto who first played with Puente in “Dance Mania” and also recorded on the “Revolving Bandstand” sessions. 
Puente continued in the sixties to be as prolific in his recording output as he was in the fifties, producing 35 LP’s. In fact, between 1950 and 1969 he produces 68 albums. Accompanying many of these recordings were some of the most talented singers in the industry, such as Rolando La Serie, Chivirico Davila, Gilberto Monroig, Vicentico Valdes, Santos Colon, “Hall of Famers” La Lupe and Celia Cruz, with whom he would eventually do nine albums and perform with approximately 600 times. Puente also hosted his own television show on Spanish television in New York, “El Mundo de Tito Puente”. Charlie Palmieri joined him as his advisor and right-hand man.
Tito Puente also worked as a consultant, arranger and musician for Roper Records during the 60’s and 70’s. This is the first time this information has ever been revealed to the public. Under this label, Tito’s name was not mentioned on many of the albums...probably because he had other contractual relationships, mainly with Tico Records. According to Franc Peri, Tito did between 40 and 50 tunes in approximately twelve albums and nine 45’s. He recorded under the name of Tito Puente and “The Latin All Stars” or under the “Roper Dance Orchestra”. Many of Puente’s musicians, like Jimmy Friasura worked on these recordings. Others like Charlie Palmieri and Al (Alfredito) Levy participated in these recordings with Puente.
The Roper Dance Orchestra was the music sold to all dancing schools at the time, like the Arthur Murray Dance Studios. Anglo’s learned how to mambo and cha-cha to these arrangements “courtesy” of Tito Puente! Only a very serious student of Puente’s style could have detected “El Maestro” in these recordings. 
One of the LP’s is titled “South of the Border”. On this album Tito Puente and his “Latin All Stars” play strictly Sambas and Paso Dobles. In another album titled “A Latin Happening” Tito and “The Latin All Stars” are featured with the “Dancing Strings” of the “Munich Symphony Orchestra”, performing such classics as “Santa Isabel”, “Compadre Pedro Juan” and “Siboney” among others.
Under the Roper label Tito also recorded some real gems in 45’s. Tunes like “Piano Serenade Merengue” and “With a Little Bit of Luck” with Charlie Palmieri on piano. Other 45’s were “Complication”, “La Guesta”, “Barqhino”, “Agua”, “Malagon”, “Presente” and “Canarsie Mambo”. All the recordings for the Roper label were instrumental. Many of these tunes are still being used in some of the top “Ballroom Competitions” around the world. Thousands of Jewish gatherings around the world have and continue to play Tito Puente’s version of “Hava Nagila” or dance schools play “Hokey Pokey” without realizing that it is Tito Puente disguised as the “Roper Dance Orchestra”.
The 1970’s saw Puente’s cha-cha, “Oye Como Va”, originally recorded in 1962, become an international hit by Santana in his second LP “Abraxas” under the Colombia label. This was followed by another Puente number “Pa’ los Rumberos”, which was originally recorded in 1956, and re-recorded by Santana in his third release, Santana III (1972). This too achieved international fame. Puente continued to innovate, experiment and create while still maintaining the essential ingredients and integrity of Latin music. The decade of the 70’s ended with Puente earning the first of his five Grammy Awards for his 1978 album “Homenaje a Beny”...a tribute to the great Cuban sonero Beny Moré. 
Carlos Santana as well as other West Coast groups were inspired and looked to Puente for leadership. Groups like Malo, led by Jorge Santana, El Chicano, Tierra and the Aztecs were all emulating “El Maestro”. This was not limited to the West Coast. Back in the East you had young musicians like “Hall of Famers” Larry Harlow and Willie Colon, Johnny Rodriguez, Dave Valentin, Sonny Bravo and many others who were being inspired by Puente’s musical style and concepts. Puente’s legacy as a master musician was also having a profound affect on artist’s abroad. Rising stars like “Hall of Famer” Oscar D’Leon from Venezuela, Ruben Blades from Panama and groups like Lobo and Melon from Mexico.
The beginning of the eighties saw the release of his LP “On Broadway” under the Concord Picante Label. Because of Tito Puente and his Latin Jazz Ensemble, Latin Jazz continued to strive and move in a positive direction. Puente’s refreshing and innovative arrangements were instrumental in expanding the market horizon for Latin Jazz. Because of Puente, Latin Jazz got a much needed “boost” as he continued the musical legacy of such great artists as Mario Bauza, “Hall of Famer” Chano Pozo, Mongo Santamaria, Dizzy Gillespie, Willie Bobo and Carl Tjader. 
Puente continued employing some of the leading virtuosos of Latin music. Performers such as Alfredo de la Fe on violin, Bobby Rodriguez on bass, Johnny Rodriguez on bongos, Sonny Bravo on piano, Francisco Aguabella on congas, and others like Jorge Dalto, Jose Madera, Jerry Gonzalez, Ray Gonzales, Edgardo Miranda, Mario Rivera and Jimmy Friasura.
In 1980 Tito Puente realizes a longtime dream by establishing the Tito Puente Scholarship Fund. Originally it was affiliated with the Julliard School of Music, but eventually the project went on its own. The scholarship fund is used to help musically gifted youngsters pursue their musical education. Puente was very proud of this foundation which he was able to underwrite with annual fundraisers featuring his own orchestra and other artists.
By the mid 1980’s the amount of awards and recognition’s bestowed on Puente begins to accelerate at an unprecedented rate in Puente’s career. In 1985 he receives a Grammy for “Mambo Diablo”. In 1989 he receives another Grammy for “Goza Mi Timbal”. In 1987 he receives NARAS Eubie Award and is voted top percussionist in “Downbeat” readers’ poll. In total Puente received five Grammys and eight nominations. In February of this year he won his fifth Grammy for the best traditional tropical Latin performance for “Mambo Birdland”.
In 1992 Puente was the musical coordinator for the film “The Mambo Kings”. In addition, he recorded sound tracks and acted in the film. Prior to this he had played on numerous film sound tracks as well as appearing in various films such as “Zoot Suit”, “Radio Days” and “Armed and Extremely Dangerous”.
Throughout the years Puente had worked with such artists and/or had appeared on various television programs with Placido Domingo, Arturo Sandoval, Gloria Estefan, Cachao, Bill Cosby, Jay Leno, The Simpsons, Sesame Street and Sheila E.
At the 1996 internationally televised closing ceremonies of the Summer Olympics in Atlanta, Georgia Tito Puente was presented as a featured solo artist with Gloria Estefan. It has been estimated that over a billion people saw him perform...the largest viewing audience in the history of the event. On August 4, 1990, Tito Puente was given the high honor in Hollywood with a star on the Hollywood Walk of Fame. Shortly thereafter, in 1991, Puente accomplished what very few artists had been able to do; he released his 100th album, El Numero Cien, #100 (technically his 112th album when you take into account some of his recompilations...and who knows, even this figure may not be accurate) under the RMM records label. This recording was produced by Sergio George and co-produced by “Hall of Famer” Johnny Pacheco.
Puente continued to receive numerous awards and recognition, including honorary doctorates from State University of New York in Old Westbury (1987), Long Island University (1994), Bloomfield College in New Jersey and Hunter College. He had performed for heads of State throughout the world, including the last four Presidents of the United States. On September 29, 1997, President Clinton bestowed upon Puente the National Medal of the Arts at the White House. In 1977 he was inducted into the Jazz Hall of Fame. The United States Postal Service Caribbean division put out a cancellation stamp in Puente’s honor. In 1998 he was inducted into the International Latin Music Hall of Fame.

Puente never seemed to tire. The older he got the more energetic he seemed to become and the better his music sounded. His virtuosity seemed to be reaching higher levels of intensity. Throughout the nineties, this silver-haired Czar of Latin music continued touring around the world at a frantic pace. At times he was performing as many as 30 Jazz festivals a year...from England to Singapore, from Japan to Russia. All this while he continued to perform at concerts, club dates and dance halls throughout the United States.
No one has ever been able to document a complete and final discography with dates of Tito’s recordings. It has been estimated, but never confirmed, that Puente, in addition to his 118 LP’s (not counting his recompiled recordings, recordings he did for other labels and artists, as well as some of the early 45’s and 78’s) had over 450 compositions to his credit and over 2,000 arrangements. It has been estimated that Tito Puente’s “live” performances exceeded 10,000. 
Assuming the above to be correct, when you do the math, you quickly realize what an incredible and prolific talent Puente was. When you take into account Puente’s 50 plus year career, it translates into an average of a new composition every 5 1/2 weeks, an arrangement every 9 days, 200 live performances a year! Tito Puente was probably one of the most important Latin music artists of the 20th Century. His musical genius stands as a testament as one of the most incredible Latin musical giants who achieved legendary status while he was alive. There is no doubt that history will dedicate one of its greatest chapters to this amazing “Americano”. Tito Puente’s musical legacy is to Latin music what Beethoven’s legacy is to classical music. 
Tito Puente’s musical genius coupled with his warm, charismatic and flamboyant stage manner made him the most admired and loved individual in all of Latin and Latin Jazz. His appeal cut across all ages and nationalities. No other musician has had as strong an influence on other musicians and musical genres as this towering musical legend. 
His arrangements, creativity, passion and musical savvy were second to none. He managed to keep his music “happening” for over five decades. Tito Puente’s music was pure excitement. His creative arrangements always kept the dancer in mind. His music never complicated the melody. As a master percussionist he understood instinctively that the rhythm always had to be rich...he created and built on top of this rhythm while he never let you forget its existence. This was his genius! He understood that it is the rhythm that moves people...it is the reason that when you listen to Puente’s music you must dance...you can’t help yourself...you’ve got to move! Tito Puente knew better than anyone else what made the dancers move.
On May 31st, 2000, at the age of 77, Tito Puente died at NYU Medical Center in New York City. He is survived by his wife Margie, his three sons Ronald, Richard and Tito Jr., and his daughter Audrey. This writer wishes to express his deepest sympathy to his family. May he rest in peace.
I will always remember him as a funny and gracious human being. I feel honored to have known him. Tito always talked about being the first timbalero to play on the moon. I once told him “...Tito, you need to get ready, just in case”. I even gave him the title for the tune that he should play...”Lunadillo”. He replied, “I like that...that’s good”.

P.S. Tito Puente's Restaurant and family would like to thank Mr. Joe Hernandez for his fabulous contributions he and his family have made to the Tito Puente's Restaurant family.  You are a true friend. Thank you - Oscar.