When I was 13 years old I started attending Music and Art high School , located on West 157th St. and
Convent Ave. in Manhattan. each day I would take a bus from my home in Brooklyn , then a train one and a
half hours to Spanish Harlem. When I exited the subway there were many bodegas and record shops along
Broadway and Amsterdam avenues. Each morning came the sounds of Jose Curbelo and Abanaquito came
blaring out of the small speakers on to the street. This was my introduction to Tito Puente in 1952..Tito Puente
and Tito Rodriguez both playing in Jose Curbelo's band. This
experience made me want to investigate Latin
music. There was only one student in school of Puerto Rican heritage. He told me about the Palladium Ballroom
in Manhattan. I started to go to the Palladium when
I was 15 years old.
The owner , being Jewish let me in even
though I was under age. I would stand in front of the
bandstand and watch and listen and learn from the newly formed Tito Puente orchestra. Every time Tito would break a timbale stick I would run and fight for it with the many young fans and budding drummers. I collected his broken sticks and finally bought a pair of ZimGar Mexican made cheapy timbales. I would come home from
school and practice with Tito's recordings . I was a terrible timbale player, but by playing along developed a feel for Latin music.
When I finally spoke to Tito for the first time,
it was like going to school with a MASTER. His vibe playing inspired me
to learn vibraphones , which I later passed along to my brother Andy. I started to play with small Latin bands in NY and played in the
Catskill Mountain Hotels where Tito Puente, Charlie
Palmieri, Joe Cuba , Machito and the Lecuona Cuban
Boys were all holding court in the summertime.
I think that I have every Puente album ever made, and when asked by many what is the best Latin Dance album of all time , I simply say DANCE MANIA-circa 1956. I even learned to dance to Tito's music(as best I can) . Tito Puente was my mentor, teacher and inspiration and a true friend. Salsa music , as we call it today would not have existed without the greatness and creativity of Tito Puente. He will live in our hearts and soul through his music and the many scholarships he has set up for young musicians. Rest in Peace El REY DEL
TIMBAL.
When I was 13 years old I started attending Music and Art high School , located on West 157th St. and
Convent Ave. in Manhattan. each day I would take a bus from my home in Brooklyn , then a train one and a
half hours to Spanish Harlem. When I exited the subway there were many bodegas and record shops along
Broadway and Amsterdam avenues. Each morning came the sounds of Jose Curbelo and Abanaquito came
blaring out of the small speakers on to the street. This was my introduction to Tito Puente in 1952..Tito Puente
and Tito Rodriguez both playing in Jose Curbelo's band. This
experience made me want to investigate Latin
music. There was only one student in school of Puerto Rican heritage. He told me about the Palladium Ballroom
in Manhattan. I started to go to the Palladium when
I was 15 years old.
The owner , being Jewish let me in even
though I was under age. I would stand in front of the
bandstand and watch and listen and learn from the newly formed Tito Puente orchestra. Every time Tito would break a timbale stick I would run and fight for it with the many young fans and budding drummers. I collected his broken sticks and finally bought a pair of ZimGar Mexican made cheapy timbales. I would come home from
school and practice with Tito's recordings . I was a terrible timbale player, but by playing along developed a feel for Latin music.
When I finally spoke to Tito for the first time,
it was like going to school with a MASTER. His vibe playing inspired me
to learn vibraphones , which I later passed along to my brother Andy. I started to play with small Latin bands in NY and played in the
Catskill Mountain Hotels where Tito Puente, Charlie
Palmieri, Joe Cuba , Machito and the Lecuona Cuban
Boys were all holding court in the summertime.