Search Results for: All Stars

Oscar D’ León. Confessions by Oswaldo Ponte by William Briceño Part II

Latin America / Venezuela / Caracas

“Continuing the musical biography of Oscar D’ León. He moved on to new horizons, new learnings, difficult experiences, and decisions, as life always holds a wide variety of surprises over time. One of those changes was his breakup with Dimensión Latina due to various internal group problems.

Photo 1: Oscar D' León — Photo 1: Oscar D’ León

Oscar’s departure caused issues for the group, as several of their scheduled performances in other countries were canceled, and over time, they lost audience, leading most of their members to split up and leave. Nevertheless, the group managed to carry on successfully but without the unique touch or ‘sazón’ that Oscar D’ León provided.

After leaving Dimensión Latina, Oscar ingeniously created La Salsa Mayor in 1976 and was able to release his first discography with his new group, thanks to the record label TH, which provided it because they were very interested in his new project, naming it ‘Con bajo y to’.’ From that moment, Oscar knew that he could consolidate himself with this group or any other, as his exceptional and unparalleled talents, so much originality, had never been witnessed”

“In any generation of Venezuelan artists. He also created another group called ‘La Crítica’ with the purpose that if any member of the Salsa Mayor Group was absent, one of them would substitute. However, the orchestra ‘La Salsa Mayor’ lasted only 4 years due to a strong disagreement Oscar had with his band on stage because the songs played during those two performances ‘were not accepted,’ leading to the closure of ‘Salsa Mayor.’ From that moment, he began to practice with his orchestra ‘La Crítica’ before his performances in Curaçao, where his songs, ‘Suavecito,’ ‘No ha pasado nada,’ served as a way to allude that everything had been overcome.”

“With this group, he achieved significant success. From that era, Oscar D’ León was known as the leading artistic figure in the country and on the American continent, with his music being heard in various homes in Venezuela and other Latin American countries. During that time, he traveled throughout the Latin American continent, the Caribbean islands, and the United States. From that moment, he leveraged his figure as he ventured into artistic promotion. He did so with Daniel Santos, Héctor Lavoe, El Gran Combo de Puerto Rico, and Celia Cruz.

If we have to mention which country Oscar liked or idolized the most, it was Cuba, because ever since he was very young, he loved the music played there, which over the years underwent various transformations in different stages, such as ‘La inmortal guaracha Celia Cruz’ which brought glory to the island; ‘la sonora Matancera’ carried the name of Martí’s land around the world; ‘Dámaso Pérez Prado,’ among other artists who contributed to the origin of Cuban music.”

“When Oscar D’ León first visited Cuba, it was an unforgettable experience and held extraordinary significance not only for the young artist but for the country itself. Its magnitude was such that, first and foremost, the ministers of culture and foreign affairs welcomed him, and every time he performed, large numbers of fans awaited to see and hear him. The respect and admiration for him were immense. In fact, this book mentions that ‘Cuban music,’ among other things, made Oscar D’ León’s existence as an artistic figure and as a person possible.”

Photo 2: Oscar D' León presenting his bibliography — cccc

“For Cubans, Oscar D’ León’s arrival had a profound effect; it was the rebirth of existing music. In short, he rescued it, causing Cuban music, ‘son,’ the central show, and entertainment venues to become their activities for relaxation and fun.

Oswaldo Ponte, in his research, mentions that when he looked for everything related to Oscar D’ León, there was immense admiration for him. Everyone he interviewed, even if they knew he was his manager and his biographer accompanied him, always said incredible things about Oscar. He not only rescued Cuban ‘son’ but also taught them to dance Cuban music, opening the minds and perspectives of Cubans, as Cuban ‘son’ continued to be known internationally. Everyone mentions what a good musician he is, that they can’t believe he isn’t Cuban and has that ‘sazón’ (flavor/charisma).

He was famous not only in Cuba but also in other countries. An example of this was Oscar’s participation in the Rome Festival when he sang a song by Adalberto. Mr. Adalberto Álvarez passed backstage and commented: ‘Cuba will never be able to repay Oscar for what he has done for Cuban music. He has kept it alive; if it hadn’t been for him, for Johnny Pacheco, for Celia Cruz, for La Sonora Ponceña and others who took it upon themselves to keep ‘son’ alive outside our country’… ‘and of all of them, the fundamental leader was Oscar D’ León because he is the most connected to authentic Cuban musical roots.'”

“In short, every time Oscar goes out to sing and dance, he is representing Cubans. For Cubans, dancing is almost a ritual. In 1950, they danced ‘son,’ ‘danzón,’ ‘mambo,’ ‘chachachá,’ ‘rumba,’ and other dances, some of which lasted a very short time, such as ‘dengue,’ ‘monzambique,’ ‘pilón,’ ‘carioca’; and others transcended time, like ‘conga’ and ‘rumba.’ Salsa is the continuation of, or the same as, ‘son,’ which can be danced with the same style or with different styles.

Photo 3: Oscar D' León in concert — Photo 3: Oscar D’ León in concert

Oswaldo Ponte began his promoter plan by hiring figures, among whom was Oscar D’ León. Becoming a serious entertainment promoter, he took the risk of doing it internationally (outside Venezuela) where he bought a contract from Guillermo Arena to present Celia Cruz with La Sonora Matancera. He also partnered with Juan Caravallo and managed to present the biggest show in Higuerote, Venezuela; with this great step, he was becoming a potential successful entrepreneur in international shows.”

“In 1983, he hired Oscar for 3 performances with ‘Roberto Blades,’ two at the Ávila Hotel and one at San Jacinto Park (both in Venezuela). At that time, Oscar was returning from Cuba, and with a new event, Oswaldo, upon seeing the show, pondered the difference between the two artists.

The Panamanian star was well-managed by his team. However, when it came to judging which was the better show, it was Oscar D’ León’s. When Ponte went to talk with him, he proposed becoming his manager on the condition that Oscar follow his instructions, as he always directed everything, which Oscar accepted. From that moment, many things changed not only artistically but also personally, offering the public not just Oscar D’ León and his orchestra, but Oscar D’ León himself, giving more charm and charisma to his audience.

One of the challenges he had to face was a stagnation in record sales. His new record productions weren’t taking off, so he decided to rely on television. Venezuela was both a recipient and a transmitter country, so his performances were broadcast on different television channels that gave great musical importance, such as ‘Siempre en Domingo,’ which covered the center and north of the American continent, and ‘Sábado Gigante,’ which covered South America, thus giving him international exposure.

One of his best and most unforgettable collaborations was with singer Celia Cruz, who was a great friend of Oscar’s. They participated in many events, one of which was in 1993, where Ralph Mercado did what he called ‘The Perfect Combination,’ which consisted of combining stars for public performances.

Participants included Oscar D’ León, Celia Cruz, Marc Anthony, La India from New York, Tito Nieves, Tony Vega, Cheo Feliciano, José Alberto El Canario, and Domingo Quiñones, of which the most recommended songs were ‘El Son de Celia y Oscar’ and ‘Vivir lo nuestro’ by Marc Anthony and La India. At that time, Oscar had left the TH label and was now with Ralph Mercado; his colleagues were Tito Puente, Celia Cruz, Sergio George, Cheo Feliciano, Tito Nieves, La India, José Alberto El Canario, and other significant stars.

There are many other details and more events up to the present day, but it would be too much to explain in one article. What is very clear is that Oscar D’ León has conquered countless goals in his life, and we can all do the same in the different areas in which we operate, if we set our minds to it with determination and an iron will.

Photo 4: Oscar D' León and his bibliography — Photo 4: Oscar D’ León and his bibliography

To learn more about this, we recommend reading ‘Oscar D’ León, Confesiones De Oswaldo Ponte’ by William Briceño, published by Fundación Simón Bolívar.”

Raúl Eliza: from the army barracks to the stage and recording studios

It is increasingly common to find Puerto Rican artists who have had something to do with the United States Army, and our guest today is yet another example of how the music scene is not entirely separate from the military world. Bandleader and drummer Raúl Eliza has told us his fascinating story, focusing on his most important facets: military and art.

Puerto Rican bandleader and drummer Raúl Eliza playing live at Christmas

Adolescent musical tastes and the beginning of military life

In the 1980s, Raúl was a young resident of the Fairview neighborhood, located between the city of San Juan and Trujillo Alto, who was an obsessive fan of rock music. Of course, that was until he turned 19, when he enlisted in the U.S. Army in search of his purpose in life.

According to his own tale, his poor academic performance and lack of interest in other disciplines led him to join the navy, where he would love his profession shortly after. At first, he and a group of friends joined up to opt for a different alternative to the one they had, move forward from the stalemate, and be able to travel the world, but in his case, he ended up in love with this world.

In fact, a short time after entering military service, he was involved in the Gulf War, which consisted of the Iraqi occupation of Kuwait and its subsequent liberation by a US military coalition. During those days, Raúl realized that he was into something greater than himself and that the shallowing mindset with which he chose that life could turn into something bigger.

So, the then-soldier dedicated himself to doing his work as good as possible, bringing with it rewards like the opportunity to go to college, become an officer, receive medals, and much more.

Introduction to salsa

After three or four months of enlisting, he started to feel a wave of nostalgia for his country. He wanted to see his family and missed the music and food of his homeland. Then his sister sent him a package with two cassettes, one by Frankie Ruiz and the other by Eddie Santiago, which he says changed his life completely. He used to listen to them on old-fashioned players with headsets while cleaning the boat or doing the rest of his other assigned tasks.

Raúl Eliza in his uniform — Raúl Eliza in his service dress uniform

Subsequently, his brothers sent him cassettes by La Fania, Alex D’ Castro, Gilberto Santa Rosa, Cano Estremera, and many others. This made him reconnect with his roots and realize that he wanted a career in music at some point, which he would end up doing years later.

Raúl’s role as the United States representative for the Supreme Headquarters Allied Powers Europe

As the end of his military career approached, Raúl was designated as the United States representative for the Supreme Headquarters Allied Powers Europe (military wing of NATO) during President Donald Trump’s first term.

This was a tough stage of his service, as the president had a lot of run-ins with other member countries due to the excessive economic and armament burden borne solely by the United States. For this reason, every time he made some sort of announcement about that, Raúl received thousand calls from representatives of other countries asking him for explanations. He had his own office and received orders directly from the Pentagon.

Thanks to his position, he had a lot of freedom, so he always played salsa music in the background, and when his officers got into his office, they laughed and danced along with the tunes Raúl was listening to at that moment. Everyone knew that when he was in charge, there was always salsa music playing in the room.

Raúl in front of a tank — Raúl Eliza in front of an army tank while on duty

The beginning of his musical career

Finally in 2018, Raúl retired from military service, but already in 2017, he was making arrangements to devote himself to music once his duty with the army had been fulfilled. Specifically, he was in talks with Puerto Rican artists who were sending him samples and demos based on original songs that he had previously sent them. He was also writing his own lyrics and taking bass lessons to get ready for the future.

Once in Puerto Rico in 2018, he released his first single with his orchestra Conciencia Clásica, which is so named because his music was intended to raise awareness to his fans on social issues such as war, the injury suffered by the civilian population during periods of armed conflict, post-traumatic stress in soldiers, and racism, to name a few.

Artists he has collaborated with

Throughout his short career, Raúl has been blessed to count on the support and collaboration of music greats like Andy Montañez, Willito Otero, Jerry Medina, Carlos Esteban Fonseca, Medina Carrión, among others. While it is true that they all had much to contribute to the Puerto Rican artist at the level of knowledge, Montañez wrote him a song he dedicated to his Dominican wife called “Quisquellana,” which he is enormously thankful for.

He also has songs with Choco Orta and those already mentioned above. Raúl came into contact with these figures thanks to his music producer Manolo Navarro, who was the guy who introduced them to the project and managed to get them to collaborate.

Conciencia Clásica's third album — Cover of Conciencia Clásica’s third album ”Conciencia Clásica 3”

Charlie Sierra was a prominent Puerto Rican timbalero, recognized for his long musical career and virtuosity on the instrument

Carlos Manuel Sierra Sánchez, better known in the music world as “Charlie Sierra,” was born on October 10, 1956, in Vega Baja, Puerto Rico.

Charlie Sierra fue un destacado timbalero puertorriqueño

An excellent percussion musician from Barrio Sabana, Charlie Sierra recorded with important figures in music such as Don Mario Ortiz, Andy Montañez, Raphy Leavitt, Marc Anthony, Oscar D’León, Julito Alvarado, and many others. He even recorded the album Bravo by the Fania All-Stars in 1997.

To the worldwide community of salsa fans (salsómanos), he was a member, along with Chago Martínez, Tito De Gracia, Edgardo Morales, and Edwin Clemente, of the Gran Cumbre de Timbaleros (Great Summit of Timbaleros) that emerged in Puerto Rico’s rumbero (Afro-Cuban rhythm/rumba) scene during the penultimate decade of the 20th Century.

Charlie Sierra fue un destacado timbalero puertorriqueño reconocido por su larga trayectoria musical y su virtuosismo en el instrumento

Among these five virtuosos, the majority of the recording sessions in the Puerto Rican market were divided. The others were, practically, second choices for producers.

This fortunate circumstance allowed him to develop an impressive discography as a session musician, which includes the most stellar names in salsa. Likewise, he traveled across a large part of the globe as a member of the backing bands for many of those stars.

Our biographical subject was a child when he began, without a teacher, to learn the bongos and drums which he also played on recordings and on stage and the timbales, leading him to be identified as a fundamentally intuitive musician.

At the age of thirteen, he moved with his family to Bayamón, and it was during his time as a student at the Nuestra Señora del Rosario School that he began to show signs of his talent.

At fourteen, he enrolled in the Ernesto Ramos Antonini Free School of Music (Escuela Libre de Música), where he was a disciple of the Argentine master Samuel Lipchik.

During that time, he also advanced his knowledge of the flute, guitar, and piano, instruments he would never cultivate professionally, as percussion was always his great passion.

Papo Lucca, Charlie Sierra y Cheo Feliciano

However, his time at the Free School of Music was relatively brief (1972-1974). He soon began his professional career, gaining his first experiences with the Orquesta Rica and the Orquesta Tabú.

During this period, he received private lessons from the renowned professor Raúl Berríos Sánchez.

Fully immersed in the music scene, his name began to gain relevance in the salsa world following his tenure with the original Orquesta Mulenze, led by bassist Edwin Morales, during the 1976-1978 period.

At that time, this organization focused its work on providing accompaniment to solo singers affiliated with the genre, both national and foreign, who visited the island. He had the opportunity to travel with several of them: Santos Colón, Celia Cruz, Cheo Feliciano, Chivirico Dávila, Pellín Rodríguez, Yayo El Indio, etc.

From the Orquesta Mulenze, he moved to the lineup of Raphy Leavitt & La Selecta (1978-1979), with whom he had the opportunity to record hits like “La cosquillita,” vocalized by Tony Vega. He later worked with the orchestra led by pianist Tito Valentín, which featured Marvin Santiago as the vocalist.

He then joined trumpeter Mario Ortiz’s orchestra (1982-1984); he collaborated in the founding of the backing bands for the great sonero (Cuban son singer) Carlos «Cano» Estremera (1984) and the equally admired Tony Vega (1988).

In the interim, he worked independently and constantly recorded with other groups and a large number of soloists. He maintained this intense work routine until the present.

In 2009, Charlie Sierra organized his own orchestra, Paso Nivel, with which he recorded the album Ganas de bailar (Paso Nivel, CD-10692).

The album prominently features singer Efraín «Pichi» Gaetán, and included special guests such as Cheo Feliciano, Ismael Miranda, Andy Montañez, and Gilberto Santa Rosa, as well as Primi Cruz, Darvel García, and Héctor Luis «Pichie» Pérez.

Charlie Sierra was a distinguished Puerto Rican salsa timbalero, recognized for his long musical career and his virtuosity on the instrument.

He passed away on October 23, 2024, at the age of 67. Throughout his career, he collaborated with artists of the stature of Andy Montañez, Celia Cruz, Cheo Feliciano, and Bobby Cruz.

Musical Career: He began his career with the Orquesta Mulenze in 1970 and later joined Raphy Leavitt & La Selecta’s band.

Notable Collaborations:

He worked with Andy Montañez for over 25 years, being a key piece in his orchestra. He also collaborated with artists like Celia Cruz, Cheo Feliciano, Gilberto Santa Rosa, Bobby Cruz (on the hit “Sonido Bestial”), Tito Valentín, among others.

Own Orchestra: In 2009, he founded his own orchestra called Paso Nivel, with which he recorded the album “Ganas de bailar” (Desire to Dance).

Collaborators:

L’Òstia Latin Jazz

Also Read: Orestes Vilato. Cuban multi-percussionist.

Sheila E. A drummer with a Latin heart

European Union

Guided by the forces of family, faith, and music, Sheila E. has made a name for herself as one of the most talented musical icons over the decades. With a fearless nature and a passion for sharing her gifts with others, Sheila truly follows the beat of her own drum. She touches the lives of so many, with her dynamic music career at the heart of everything. Sheila’s eagerness to share her music, openness as an author, and fire for her ministry make her such a relatable, inspirational figure for people of all ages.

Born into a musical family, Sheila Escovedo (Sheila E.) has been driven by an inner rhythm her entire life. As a young girl, she was immersed in the diverse music scenes of the Bay Area-influenced and inspired by her percussionist father Pete Escovedo; musical uncles Coke Escovedo, Alejandro Escovedo, Mario Escovedo, and Javier Escovedo; and godfather Tito Puente. Growing up in the Escovedo household, musical instruments were for everyone. “Nobody cared as long as you could keep time (or have a good time),” she writes in her memoir, The Beat of My Own Drum.

“The idea to record another solo album was actually spawned while I was writing the autobiography”, recalls Sheila E. “I realized that some of the experiences I was writing about should be songs. That’s when I also began looking back at songs I’d written several years earlier and forgotten about, but whose themes needed to be talked about in the book. Both fed each other”.

As the musical half of Sheila E.’s storied life and career, Icon pulsates from start to finish with colorfull fusions of the pop, R&B, funk, rock, Latin and jazz influences that shaped her unique style.

“The 16-track set opens with the soaring “Butterfly,” the first of four interludes that subtly yet powerfully illuminate the versatile talent behind the music. “Butterfly” reflects part of the journey in my book,” explains Sheila E., nicknamed butterfly by a family friend. “It’s who I am as a person. I always wanted to fly, to be the first female astronaut on the moon. It’s me running track, running free. That’s how I play.” The album takes off from there, with most songs produced live, specifically solos, in one or two takes. “I’m used to playing live,” says Sheila E., who also produced the project. “Why would I punch in my soul?”

She unleashes that soul on feisty first single, “Mona Lisa.” Drawn from Sheila E.’s Latin roots, the track vibrantly chronicles a story about a woman who never lost sight of her dream: to perform. That’s just one of several potential singles on Icon. “Fiesta” opens with guest rapper B. Slade’s teasing declaration, “Just drop that beat on that.” T

hen the hot club jam powers up as Sheila E. drums out an infectious beat throbbing with intensity-“Can’t nobody rock a party like Sheila E.,” raps B. Slade-before closing with her coquettish laugh. A mid-tempo downshift yields the feel-good track “Lovely Day.” Its message about focusing on the bright side of life takes the song on a surprising turn as it morphs into a gospel/funk vibe reminiscent of Sly Stone.

Joining Sheila E. on her musical reverie are two singular storytellers in their own right: singer Ledisi and pioneering rapper MC Lyte. The latter’s signature edgy flow spices up the saucy themed “Nasty Thang,” while outlining the drama and glamour that often com¹es with a life in the music industry. Ledisi adds a poignant touch to “Girl Like Me,” an honest, empowering message about surviving abuse.

An abuse survivor herself, Sheila E. originally penned the song to perform with her 2007 female band C.O.E.D. (Chronicles of Every Diva). Rounding out Icon is a new version of the funky tour de force “Leader of the Band.” The song features Sheila and the E Family (father Pete and brothers Juan and Peter Michael) as well as Prince, on piano. “I love playing this song,” says Sheila E., “so I re-recorded, while still leaving a little room for Prince. It’s about how I was influenced by my pops [the legendary Pete Escovedo] and [songwriter/producer/ musician] George Duke.

That a female can be in charge and bring it just as hard.” Icon ends as it begins with another moving interlude, “Now Is the Hour.” A duet featuring Sheila E. and her beloved “moms,” Escovedo matriarch Juanita, the clip dates back to Sheila E.’s childhood. Family, faith and music were guiding forces for Sheila E. growing up in the Bay Area. In addition to percussionist dad Pete, the Oakland, Calif. native counts former Santana member/Azteca founder Coke Escovedo, solo recording artist Alejandro Escovedo, The Dragons front man Mario Escovedo and from The Zeroes Javier Escovedo as uncles

Fellow Latin star Tito Puente was her godfather. In addition to being weaned on Latin jazz and Motown, Sheila E. was exposed to a diverse array of Bay Area acts and artists. Those influences ranged from the rock of Jefferson Airplane and the Grateful Dead to the R&B/pop of the Pointer ¹Sisters and the funk of Tower of Power and Sly & the Family Stone. “I used to sit on the corner outside of the local community center with Twinkies and 7-Up listening to Tower of Power, Sly and Larry Graham rehearse,” recalls Sheila E. “The sounds of the Bay Area molded me.”

So it’s no surprise that after such a music-immersive childhood, the gifted drummer/percussionist began amassing an impressive string of credits playing not only with her dad but also with pioneering talents like George Duke, Marvin Gaye, Lionel Richie and Herbie Hancock. Following a Bay Area gig in the late ’70s, Sheila E. met Prince backstage.

Their Purple Rain recording sessions-including her vocals on the 1984 classic “Erotic City”-morphed into launching her solo career that same year. Debut album The Glamorous Life spun off the Grammy Award-nominated top 10 hit of the same name plus a second top 40 single “The Belle of St. Mark.”

Between her ’80s tenure as drummer, songwriter and musical director for Prince’s backup band, Sheila E. released three more solo albums (Romance 1600, Sheila E. and Sex Cymbal) and scored two more classic hits with “A Love Bizarre” and “Hold Me” a romantic ballad. After taking some time away from the spotlight, she then decided to tap into her Latin Jazz roots and under the name E-Train, released (Writes of Passage and Heaven).

Sheila E.’s fierce, dynamic verve onstage has made her a major concert draw since the ’90s. Along the way, she has acted in several films (“Krush Groove,” “The Adventures of Ford Fairlane,” “Chasing Papi”) and launched various music projects (E Train, The E Family). Adding to her arsenal of credits such names as Ringo Starr (as a member of Ringo Starr’s All Star Band in 2001, 2003 and 2006), Gloria Estefan and Beyoncé as well as performing on the 2012 Academy Awards with pop hitmaker Pharrell Williams and composer Hans Zimmer.

She was the first female Music Director for a late night talk show (“The Magic Hour” with Magic Johnson) and received an Emmy® nomination as Musical Director for “Fiesta Latina – A Performance at The White House.” Sheila E. was recently among the rost¹er of stars chosen to perform at the Kennedy Center Honors whose 2013 honorees included artists Herbie Hancock, Billy Joel and Carlos Santana. Away from the spotlight, music doubles as a source of healing and giving back for Sheila E. In tandem with the city of Oakland, she staged the first annual “Elevate Oakland” benefit concert in February of 2014.

A host of Bay Area artists and other acclaimed musicians performed at the city-donated Fox Theatre. The goal: to raise funds to improve student academic achievement and attendance through music and arts programming. But this isn’t Sheila E.’s first time giving back. Between gigs, she has also crisscrossed the country, speaking at schools and colleges, shelters, church organizations, music classes and clinics about music’s effect on her life and career. “Sharing music in any way I can is my ministry,” she ¹says. And that was part of the inspiration for penning the autobiography “The Beat of My Own Drum.” Several years ago Sheila E. publicly acknowledged she was an abuse survivor

“The book was the beginning of the healing,” says Sheila E. “I’d talked about the abuse in my ministry and addressed it in some of the song lyrics I’d written. But it was challenging to sit down and really write about it in detail for the book. But through pain comes realization, understanding and the opportunity to help others overcome those challenges.” After ringing in 2014 in concert with Sergio Mendes on New Year’s Eve at Disney Hall, Sheila E. is now ready for her Icon debut.

Sheila E. Icon

With no Google or YouTube artist script to follow back then, she says her career drive was propelled by one thing: “I just did it because I loved it. And that’s what Icon represents. I started all this as Sheila Escovedo then became this persona named Sheila E. Now Sheila E. and Sheila Escoved¹o are the same person, still making music that comes from the heart.”

Tito Puente Jr.: perpetuating a legacy with its own rhythm

In International Salsa Magazine, we cannot contain our joy for the conversation we had with the son of one of the greatest legends of Latin music, who is now writing his own story of grandeur thanks to the education he has received practically since birth. This is none other than New York producer, composer, and percussionist Tito Puente Jr., who shared about 40 minutes of his time to answer some questions exclusively for Augusto Felibertt and yours truly, Karina Garcia.

Tito puente jr. smiling — Producer, composer, and timbalero Tito Puente Jr. smiling for the camera

The burden of Tito Puente’s iconic legacy

Having a successful father is a great blessing, but sometimes, it can become a veritable martyrdom for a son who wants to follow his path, as comparisons between them will always be inevitable. Being able to share with Tito Puente Jr., son of the legendary King Of Timbales Tito Puente, gives us the opportunity to get his perspective on this interesting and important subject.

Fortunately, the artist does not see this legacy as a burden, but quite the opposite. Although he admits that his father is one of the greatest masters and ambassadors Latin music and our culture in general have ever had, and that it is not easy to fill his shoes, he proudly bears his father’s surname and promotes his music.

Moreover, he sees the surname “Puente,” as well as the Spanish word implies, as a union among several generations because many young people this day do not know Tito Puente, Celia Cruz, and many other exponents of that salsa’s golden era. Tito Jr. wants to be part of that “bridge” between generations so that people of all ages can learn about these prodigies, including, of course, his father.

Childhood with Tito Puente as his father

Regarding his childhood and adolescence, Tito emphasized that he always saw his father play all types of instruments such as timbales, marimba, saxophone, percussion, and many others, which inspired him and made him want to imitate him from the beginning. Today, his career is largely influenced by everything he saw at home, and he plays his father’s arrangements and compositions, which are divided between a total of 186 albums.

Everything learned within his family has taken him so far professionally, to the point that he now has seven Latin Grammys and 14 nominations, all thanks to the legacy he carries.

Tito Puente and Tito Puente Jr. — Tito Puente Jr. and his father Tito Puente on the 1998 Grammy Awards red carpet

The Puente family today

On the more personal side, Tito is the youngest of his brothers, among whom he is the only one who works on music as a profession. To some extent, this has made him take upon his shoulders Tito Puente’s legacy through his own art.

The musician currently resides in southern Florida, specifically in Miami, although he works with orchestras from different cities and countries. He is married and has two children who are Miranda, 18, and Tito Puente Jr. Jr., 17. Miranda studies marine biology at university, while her younger brother is in high school but travels constantly with his father and enjoys composing and playing the guitar.

He also told us a little about his wife, who loves salsa but is not in music. On the other hand, he spoke lovingly of “the boss,” his mother Margarita Puente, who is currently in charge of royalties, record labels, publicity, and the documentary on Tito Puente’s life.

He also has two siblings: Audrey Puente, 55, who is a television meteorologist, and Rony Puente, 77, who is also a musician like his father and younger brother.

Other musical influences besides that of his father

In addition to salsa, mambo, and guaguancó, Tito really enjoys English rock and several bands such as Metallica, Slayer, Iron Maiden, Black Sabbath, and others into this style. These tastes of his have led him to the idea of, at some point, blending heavy metal with mambo to see which result he gets.

As well as he can really enjoy the music of Bon Jovi and Ozzy Osbourne, he is also fascinated by El Gran Combo de Puerto Rico, which he finds to be a very interesting mixture of genres that he would like to experiment with someday.

He also said laughing that his father did not share his musical tastes and that the only rock band he liked was Santana, and that was because they did their own version of the hit “Oye Cómo Va” in psychedelic rock and Latin rock.

Tito Puente holding his son — Tito Puente carrying his son Tito Puente Jr.

Current singers

Today, Tito works with various singers, including Aymee Nuviola, Lucrecia, Yolanda Duque, and his great friend, “La Princesa de La Salsa” La India. His father worked with great vocalists such as Tony Vega, Michael Stuart, Oscar D’León, José Alberto “El Canario,” Miguel Ángel Barcasnegras Díaz “Meñique,” and many more.

Tito’s latest album, “The King And I,” also features other big voices such as Domingo Quiñones, Frankie Negrón, José Alberto “El Canario,” Tony Vega, Sheila E., Pete Escovedo, and many other salsa superstars of today and yesterday.

The timbalero has worked with many figures who also worked with his father in the past, so it is clear that they see him and respect him as the continuation of his musical legacy.

Tito’s views on academic training in music

On the important issue of academic training in music, Tito pointed out that there are not enough educational programs aimed at teaching Afro-Cuban music in schools and universities, which in his view needs to change as soon as possible.

In fact, he noted the importance of promoting programs in educational institutions around the world so that their students learn much more than just symphonic music and become more rounded professionals. Although he recognizes the importance of knowing Beethoven and Tchaikovsky, he also believes that aspiring musicians should know about Eddie Palmieri, Charlie Palmieri, Larry Harlow, Pupi Campo, and other artists in this style.

The artist believes that the above mentioned artists and many others related to jazz and salsa are part of a very important era of music in the world, which is why he believes that teachers must take them into account during their classes. For him, it is a mission to promote both his father’s music and that of other exponents of his kind in the academic field.

Tito Jr. and his family — Audrey, Margarita, Tito, and Tito Jr.

Upcoming tours

For our research, we could notice that Tito has several performances and tours scheduled for the rest of the year, more specifically for November. In this regard, he told us that in the first week of September, he went to play his father’s music on his weekly show Mambo Mondays, which is held to delight dancers eager to keep enjoying Tito Puente’s music.

About international tours, he plans to go to Germany in February next year and Spain next summer. He is also close to release a documentary in 2026 and a new album with the Los Angeles Symphony Orchestra, which has 77 musicians and instruments such as violins, violas, harps, bagpipes, flutes, French horns, among others.

Tito Puente Jr. and his son — Tito Puente III and his father Tito Puente Jr.

Final comment

We still cannot believe we had this great conversation with the talented Tito Puente Jr. and it has been a great pleasure to share this time with him. Those who wish to contact him can do so through his social media channels, which are as follows:

Facebook: https://www.facebook.com/TitoPuenteJr/

Instagram: https://www.instagram.com/titopuentejr/

X: https://twitter.com/titopuentejr

Tik Tok: https://www.tiktok.com/tag/titopuentejr

Spotify: https://open.spotify.com/intl-es/artist/2ROkqvVDXj5JgmN6z2uFrM