Search Results for: Latin Tribute

Camilo and El Alfa release “Bebé”, a bachata song

Listen to BEBÉ the new song from Camilo and El Alfa

The Colombian singer Camilo, winner of a Latin Grammy in this year’s ceremony, joined forces with the Dominican El Alfa to surprise everybody with a bachata full of feelings.

El Alfa is a Dominican rapper that, with lots of professionalism, joined him in this adventure. Camilo has triumphed in the musical industry, and has left more than one surprised with this song in the bachata genre, after all it’s his first experience with it.

My approach to music is always from the illusion, from what my heart asked me, and in this moment it wants to dance pegaito (close)”, expressed Camilo. “It’s a tribute to Dominican Republic, a country that I love with all my heart”, he added.

Camilo and El Alfa — Colombia and Dominican Republic reunite with this song.

Within hours of its release, the song has more than four million views on YouTube, and keeps rising. Camilo looked very pleased with the final result and commented on YouTube:

ALL THE TRIBE DANCING PEGAITO (CLOSE)!!!! Thanks Alfa, you are an incredible human being, very unique! Colombia and Dominican Republic dancing together!!!”; he expressed.

Beside, he announced the release through his Instagram profile:

BEBÉ is released with @elalfaeljefe. This is going to be the soundtrack of my end of the year holidays!!! LET’S DANCE!!! Cheers. THE TRIBEEEE”, he said. The post was ended with emojis of the Colombian and Dominican flags.

Emanuel Herrera Batista, better known as El Alfa also took advantage of his social media profiles to share BEBÉ.

I thought that my first bachata would be with “THE KING” Romero Santos!! But it was my turn to work with the most worldwide mentioned artist, thanks @camilo for this chance! I have so much respect and affection for him”, El Alfa commented with two pictures together with the Colombian singer.

The music video was filmed in Samaná, a seaside city from Dominican Republic, and it was directed by Eva Luna, Camilo’s wife. It shows images from different parts of the island, and it’s focused on a couple’s love, and reflects couples dancing to the song rhythm. The production is under Sony Music Label.

Camilo is very excited about this song and working with El Alfa

It’s the first time that both artists share melodies, and they have been very pleased with the experience, and the final result. In fact, on a recent interview Camilo has given some words about the collaboration:

We met at an award show. I’ve always shown a curiosity for his identity. I think that he is a unique human being and I celebrate that identity, and the honesty above all. I celebrate his honesty in what he does, without asking anybody, without asking permission. He follows his hearts and wrote the songs that it dictates, for me that is something worthy to learn from him. It’s a tribute to the Dominican sound which is a second home for me, because it’s my parents’ home where they live, and each time I visit it, I fall in love more with a country that touches the heart from the first day that you land. I feel that I’m going to have the opportunity to enter the houses of many families with this song”, he commented to Diario Libre.

Could be the beginning of a new chapter for the Colombian singer’s career? Let’s wait and see!

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Project Pentagram Agrupación Gaitera de Venezuela in the USA

At present, Pentagram has international recognition for being the group that has made more national tours in the USA

Agrupación “Gaitera” was born in 2008 in the city of Miami, participating in various events and festivals, in 2012, they began to produce themes for the Spectator, which were very accepted by the public.

In 2017, the group was established as a group since they began to accompany great artists of the genre, as Neguito Borjas, Ricardo Cepeda, Nelson Arrieta, Rafael “Pollo” Brito among others.

Agrupación "Gaitera" was born in 2008 in the city of Miami, participating in various events and festivals, in 2012 begin to produce themes for the Spectator, which were widely accepted by the public — Project Pentagram Agrupación Gaitera de Venezuela in the USA

At present, Pentagrama has international recognition for being the group that has made more national tours in the USA and international tours in Panama, Chile, Spain, Argentina, and Colombia.

Members

Robert Richards-Four and Soloist

Jesus “Chuchito” Ibarra-Solista

Fernando Mindeola-Solista

Avelino Romero-Solista

Luis “Chua” Urdaneta-Congas y Coros

José Rafael Querales-Bajo y Coros

Gilberto Ferrer-Teclados

Ronald Guerra-Pianos

Adelmo Gauna-Battery – Timbal

Alejandro Araujo (Timbal)

José “Pokemon” Ferrer-Tambora

Melvin W. Alvarez-Charrasca

Melvin Álvarez Sr. – Furro

Arnaldo Quintero (Contra Bass)

Daniel González (Drums)

At present, Pentagrama is internationally recognized for being the group that has made more national tours in the USA and international tours in Panama, Chile, Spain, Argentina and Colombia — Project Pentagrama Agrupación “Gaitera” born in 2008 in the city of Miami

The Gaita and its History

In the first forms of bagpipes, the chants of the Mass that the Catholic missionaries taught, the percussion of the drums, the characteristic guttural sound of the furro (a derivative of the Zambomba), the maracas and the charrasca were combined, and the cuatro, derived from the guitar, together with the Spanish chants, represented the Iberian contribution.

The performance of the natives contributed the definitive style to this new music.

The following is an extract that comments a little more on the origins of the Gaita:

The origins of the Zulian Gaita have not been established with precision, but it is assumed that it was born with the republican concerns of the people, perhaps in the first decades of the 19th century, as demonstrated by the patriotic Easter songs dedicated to Ana María Campos, the Altagratian patrician who was whipped by order of the fierce Morales when she refused to withdraw her lapidary phrase: “O capitula o monda”.

Traditionally, the Gaita has been linked to the devotion to Santa Lucía in the El Empedrado neighborhood, and in this sense it is recalled that when Father José Tomás Urdaneta was in charge of the parish, he took the noisy bagpipers out of the temple. It can be said that since then, the Gaita has lost the religious character that it had for many years in the cobblestone district, to become definitively an instrument of healthy Easter joy and the most effective means of criticism and protest of the humble people.

Our Gaita has always been characterized by the freshness of its music and the mental agility of its players.

The origin of the Gaita according to Rafael Molina Vilchez

“The Zulian Gaita, like many other manifestations of Latin American costumbrismo, is mestizo. It has a polyethnic genetic mosaic, but its root is Hispanic, although the Hispanic nature is preserved in very different progressions than the maracaibera bagpipe (also called the furro bagpipe), the song of the criollo citadinos, in which it survives with strength, in comparison with the tambora and perijanera bagpipes, in which the blackness leaves a more intense mark”.

This scholar of folklore points out that the gaita is Spanish, but that over time two divergent tendencies have emerged: The maracaibera Gaita and the black Gaita.

This opinion has generated controversy, but it is quite shared, since the term “gaita” has Galician-Portuguese roots: it comes from the Gothic word “gaits” which means “goat”, because the bellows of the Galician gaita are made from the leather of the goat. From Spain through the African Arab countries it reached Turkey, in whose language it is translated as “shepherd’s flute”, which would be in accordance with the drawing Agustín Pérez Piñango found with the Glorious San Sebastián Gaita, which dates from 1668, according to a document located in the old National College of Maracaibo, which brings the lyrics and music in Gregorian characters. It would be the oldest Gaita known.

However, other scholars, among them Juan de Dios Martinez, maintain that the Gaita began with the black slaves in the haciendas of the South of the Lake, as a protest and evoking their festivals in the African areas from which they came.

The Gaita and its History The first bagpipe forms combined the mass chants taught by the Catholic missionaries, the percussion of the drums, the characteristic guttural sound of the furro (a derivative of the Zambomba), the maracas and the charrasca. — Our gaita have always been characterized by the freshness of their music and the mental agility of their performers.

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From Italy Albert Giorgio Giovanni DJ. Lindo Salsa and Bachata

Albert Giorgio Giovanni Fiorentu Dj Lindo is an Italian and Latin music producer (Salsa and Bachata).

Albert Giorgio Giovanni Fiorentu aka Albert Lindo or DJ. Lindo is an Italian DJ. and producer of Latin music (Salsa and Bachata).

Born in Udine, Italy in 1989, he started his career as a dancer in 1997.

In 2008 he graduated as a dance teacher. In 2011 he moved to Austria (until today) and in 2014 he started working as a dance teacher at the school Conny & Dado in Graz.

In the same year he started his career as a DJ and in 2017 as a producer.

Dj Lindo is an Italian DJ and producer of Latin music (Salsa and Bachata). — Albert Giorgio Giovanni Fiorentu to Dj Lindo producer of Latin music (Salsa and Bachata).

In 2019 (after the first 2 unfortunate productions) the first world production “The Phantom” is released, helped by the pianist and composer Marco Ronca.

In 2020 he obtained his second diploma as a dance teacher and also launched his new single “No Te Detengas” always with Marco and in collaboration with several recognized artists.

Between the end of 2020 and the beginning of 2021, 4 new productions will be ready, a bachata and three salsas (a romantic salsa, a hard salsa and a Cuban salsa) with the collaboration of many recognized artists.

Currently Dj Lindo is part of the record label located in Milan (Italy) Alosibla Music Group and Downbridge Publishing, which each year presents the famous compilation.

Albert Giorgio Giovanni Fiorentu aka Albert Lindo or Dj Lindo is an Italian DJ and producer of Latin music (Salsa and Bachata) — Italian DJ and Latin music producer (Salsa and Bachata)

“SALSA IT”

Did you know the origin of the DJ…

The 9th of March is World DJ Day, thanks to the initiative of the ‘Worl DJ Fund’ and the NGO ‘Nordoff Robbins Music Therapy’. But, do you really know the history of these music mixing artists?

For 16 years this day has been celebrated as a tribute to this sector of music that is so in vogue in our time, which take advantage of his ‘birthday’ to donate what they charge these days to charitable causes.

The initiative was carried out in 2002 by the ‘Worl DJ Fund’ and the NGO ‘Nordoff Robbins Music Therapy’, and has been active for over a decade. But the history of the DJs has a few more years.

For those who still do not know what is behind the acronym DJ, a ‘disc jockey’ is a musician who creates, selects and plays before an audience music of his own or composed by other artists. There are several types, including radio and club DJs.

The first DJ in history

It was Ron Diggins, a British radio engineer who in 1947 built the famous Diggola, considered the first “mixing table” in the history of music. This home-made portable table included two turntables, lights, microphones, an amplifier and a dozen speakers. And it was made on a coffin wood base.

If we mention Ron Diggins, many of us won’t know who I’m talking about, because this British and radio engineer is considered the first DJ in history.

Many others before Diggins moved in with their records and equipment to cheer on the soldiers but he was the creator of “La Digolla”.

He himself built the first mixer in 1945, although it wasn’t until 1947 that the invention became official.

It was a portable table made of wood, worthy of any party room, it included two plates, lights, microphones, an amplifier and a dozen speakers.

As a curiosity, the wood with which Diggins made the first mixing table in history was casket wood.

Six weeks was the time it took the engineer to build the famous portable table.

Ron Diggins’ dream was to travel all over the UK with his van and “La Digolla”, so he could play his favorite songs.

This pioneer during his professional career was severely criticized by countless musicians who did not approve that the DJ would mix songs without their consent.

Diggins retired in 1995 after playing at 20,000 parties.

In his hard beginnings, traveling kilometers and full of criticism, he would never imagine what he had done, he had invented a profession. A job that would be paid for, more than he could have thought.

The first Disc Jockey in history, died at the age of 90 and in his long life he made 6 “Diggiolas” Some of them were auctioned off at more than $40,000.

“I haven’t invented anything, I just put the same things to a different use, that’s all.

On his 90th birthday, the first disc jockey confessed that, when he started to tour cities and towns with his invention, he received hundreds of criticisms from musicians who did not approve of him mixing their songs without their consent. Diggins retired in 1995 after playing at 20,000 parties.

The big DJ explosion

In the 60s and 70s, with the expansion of the discotheques in Europe and the USA, the creation of a specific technology for this figure of the music began, like the mixer ‘CMA-10-2DL mixer’. It was also the time of the birth of ‘hip-hop’ and ‘disco’ music.

In the 80’s we get the first big names, considered cult DJs, as Larry Levan who played in the ‘Paradise Garage’ in New York, or Frankie Knuckles, with its mixtures of ‘disco’ and ‘synth pop’ led to music ‘house’ in the ‘Warehouse Club’ in Chicago. At the same time, in Detroit, techno was born.

They were years of great impact for the DJs, who saw the birth of their first magazine specifically for professionals, the ‘DJ Times’ in 1988 and held for the first time an exclusive event for DJs of electronic music dance, the ‘Winter Music Conference’ in 85 in Florida.

The DJs of the digital era

The arrival of the ‘rave’ movement in the 90s radically changed the image of DJs and these artists began to project themselves as superstars or ‘Diva DJs’ who establish particular sounds and brands.

These new ‘DJs’ have arrived to our days, taking advantage of the technological innovations of the digital era, and there we have famous names such as the French David Guetta, Armin Van Buuren, Tiesto or Bob Sinclar, who travel the world with their mixes.

Source: https://culturizando.com/

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The “Caballero de la salsa” delights us with his new album

North America / United States

The story of an artist

Gilberto Santa Rosa, known as “El Caballero de la salsa”, was born in 1962 in Puerto Rico.

The singer has excelled at performing romantic ballads, boleros, and salsa. His first steps in music were at a very young age. Before reaching adolescence he was already forming youth groups within the tropical genre. For about two years, he was part of the band La Grande, from the hand of greats of the genre.

Colegas is the new album of Gilberto Santa Rosa — Gilberto Santa Rosa has a new album

Elías Lopés, famous Puerto Rican trumpet player, became his teacher and tutor. At the age of 14 he traveled to New York to take his first steps in the musical field and his father entrusted him to Lopés. Santa Rosa is very pleased to have received his teachings.

“The greatest legacy for me was discipline, knowledge of the work you are doing and the challenges; He gave me musical challenges that developed the talent I had at that time, “said the salsa singer.

Gilberto participated in the “Homenaje a Eddie Palmieri” with the Puerto Rico All Star, a great opportunity for his career that was on the rise. In addition, he was in the ranks of the Willie Rosario orchestra.

First steps

In 1986, he got his first opportunity as a soloist. Combo Records allowed him to record four albums; giving it a further boost in the salsa genre. Good Vibrations (1986), Keeping Cool! (1987), De Amor y Salsa (1988) and Salsa en Movimiento (1989) were his first record works.

In 1990, he had the opportunity to change record labels. On this occasion, CBS today is known worldwide as Sony Discos. Company with which he has recorded approximately 24 albums and continues to this day.

Sony Discos trusted him and saw him succeed through the years. Punto de vista, the first production made with the label, received a gold and platinum record. The Man and His Music was quite a special production. It was held in 1995 and reflected a presentation held at Carnegie Hall in New York.

Acting is another of the roles that he has developed with great skill. In 1990, he participated in “La pareja dispareja” with Rafo Muñiz and Luis Vigoreaux, Jr.

In the 2000s he was in other theatrical pieces. He starred in the revival of “La verdadera historia de Pedro Navaja”, a musical that demanded a lot from him on a professional level; and with Cuban comedian Alexis Valdés in the play “Atrácame más”.

“Returning to the theater, this time to comedy, fills me with great enthusiasm and even more so to be able to share the stage with one of the greats of comedy in the United States and Latin America. The truth is that “Atrácame más” takes me out of my comfort zone which is music and challenges me professionally. I’m really enjoying this story and I hope people enjoy it a lot more ”, commented Gilberto Santa Rosa, about “Atrácame más”.

Gilberto Santa Rosa is one of the artists who broke paradigms in the United States and in the rest of the world. From the beginning, the Latin public did not hesitate to follow his career and, of course, attend his meetings. He also had the opportunity to travel to Japan.

He presented himself as a worthy representative of his country and surprised the audience by performing “De cara al viento” in Japanese. A feat that surprised critics due to the difficulty of the language. In addition, it was his beginning in the international market, until today he is acclaimed incessantly.

Gilberto had great acceptance and a box office record in his presentations at the First President Festival in the Dominican Republic, the Lincoln Center in New York with Andy Montañez; at the Anayansi Theater in Panama and at the Universal Studios Amphitheater in Hollywood with Olga Tañón.

The accompaniment by the Symphony Orchestra ended up catapulting him among his followers. They considered it an unprecedented presentation and brimming with talent. It was presented under this format in the United States and broke box office records at the Teresa Carreño Theater in Caracas, Venezuela.

Expresión, 1999

It was one of his most popular albums. The album marked the singer’s career as it was nominated for a Latin Grammy Award, for Best Salsa Album, in its first installment. “Que alguien me diga”, original Omar Alfanno, Panamanian composer positioned him for several weeks on the Billboard. The production featured 13 songs with a total of 55 minutes in length.

The album had great renown in the Central American market, giving it a gold record for sales. In addition, he was chosen by the National Foundation for Popular Culture among the most outstanding of the year 1999.

Gilberto, continued to count successes and praise the work of the greats in the industry. He made several tributes such as the concert “Viva Rodríguez” in tribute to Tito Rodríguez; Tribute that the Orquesta Estrellas de la Fania, to Don Tite Curet Alonso and La Guarachera, Celia Cruz, in New York.

40 … y contando, it was released in 2019. It was a live album, with which he commemorated his 40-year career. The idea was born from his concert at the Coliseo José Miguel Agrelot in San Juan, Puerto Rico. 40… y contando it ranked second in sales of Tropical Albums in the United States and first in sales in Puerto Rico.

The Puerto Rican celebrated his 2020 birthday with the launch of a new collectible album.

Colegas, 2020

Gilberto Santa Rosa - New album cover — The album cover was designed for the Venezuelan artist Gilberto Santa Rosa

In this work, he had sixteen collaborations, bringing together “colegas” known to the audience. The first single is “La Familia”, a duet with the singer Tito Nieves, a Puerto Rican recognized within the genre as well as: Tito Rojas, Luisito Carrion, Pirulo, Nino Segarra, Choco Orta, Jose Alberto “El Canario”, Isaac Delgado and Juan Jose Hernandez.

The arrangements are attributed to Ocana Sordi, (El Guateque De Chombo), James Hernandez (La Fonda De Bienvenido), Jose Madera (Bailadores), Rene Gonzalez (Estoy como nunca), Dino Nugent (Apaga la luz), Ricky Gonzalez (Vamos A Bailar El Son, Eque Tumba), Manolito Rodriguez (Medley Boleros), Marty Sheller (Ban Ban Quere, Caminalo), Ramon Sanchez (Que se sepa), Javier Fernández (Masacote, Tremendo Coco), Louis García (Por la Calle Del Medio , Isidro Infante (El Mejor Sonero, Mario Ague, Sonerito),

Singing with Tito Nieves was a pleasure for him because they share a friendship relationship:

“Tito and I have a friendship that transcends the stage and the day to day. He is my dear brother. His sense of humor is incredible. With him everything is very easy. In fact, it only took 45 minutes for us to have the song ready”, said the salsa singer.

Santa Rosa wanted this album to be a very special tribute to his companions of so many years. He looked for the numbers to fit in some way with the relationship with each colleague.

The 58-year-old singer is a winner of a Grammy and five Latin Grammys. He is in his best moment and it appeared that “Colegas” could have a continuation.

“These things excite me and motivate me to do a second part, because other “colegas” were left out,” he said.

Will it be the beginning of your new musical project? We’ll see!

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Tito Puente’s must-hear: Records you won’t be able to forget

North America / Unites States

The best and more emblematic Tito Puente’s records

Ernesto Antonio Puente, better known as Tito Puente, El Rey del Timbal, was a recognized percussionist in the music industry. He was born in Harlem, New York on April 20, 1923.

Those who knew him as a child considered him very active. He was always looking for objects to generate sounds and make noise. The New Yorker, of Puerto Rican parents, began his music studies too young. At an early age he learned to play percussion and piano.

He was heavily influenced by jazz artists and Gene Krupa, considered the most influential drummer of the 20th century. Puente participated in various local bands and was part of the Machito group; musician and singer of Cuban origin who contributed to the creation of Afro-Cuban jazz.

Remember the great percussionist — Tito Puente made history with his unique style

Their first steps

At the age of fifteen he made his debut in a Miami orchestra. He amazes everyone with his ability for Latin perc battledussions.
For seven years he studied piano and drums. He then attended the Juilliard School, a conservatory of the arts located in New York. His musical training was very solid, which led him to become a great figure of the genre.

It was part of the development of rhythms and fusions that led to the success of salsa. However, he wasn’t a big fan of that term. Although he was known as a “salsa ambassador”, when asked about it, he responded in a humorous way:

“Salsa is what I put in spaghetti. What I play is Cuban music”, he repeated over and over again, extolling the roots of Afro-Caribbean music.
In the 1940s, he decided to form his own band, the Picadilly Boys, specializing in Latin jazz. They received the support of Tico Records to make their first musical recording. His career was just beginning. At the end of the 50s, “Dance Manía”, one of the artist’s most popular albums, was released.

Puente walked among the mambo, bossa nova and Afro-Cuban jazz. In the 60s, he ventured into salsa, without leaving behind other rhythms that characterized him.

The timbalero did not hesitate to support talented young people, Sophy from Puerto Rico recorded his first productions under the recommendations of Puente. Puente was in charge of the production, arrangements and instruments. It was a pleasure for her to receive the affection that he gave her. He treated her like a daughter and learned a lot from him; Celia Cruz was another of the artists who had the honor of working with “El Maestro”.

The sound of their timpani was known worldwide. He recorded more than a hundred albums, received a star on the Hollywood Walk of Fame in 1969, as well as the key to New York City and different nominations: Grammy Award for artistic career, Grammy Hall of Fame Award, Latin Grammy Award for Best Salsa Album, Grammy Award for Best Traditional Tropical Latin Album, Latin Grammy Award for Best Traditional Tropical Album, Grammy Award for Best Salsa Album and Grammy Award for Best Latin Recording.

Throughout his career, he had the opportunity to work with several record labels including: Charly Records, BMG, RCA Victor, Fania Records, Sony Discos and Concord Picante.

Most recognized albums:

Dance Mania, 1978.

Dance Manía, 1958 was the artist’s first album. Considered the most famous percussionist. The study work, entered in 2002, in the National Recording Registry; list of recordings that are considered important and part of the culture and history of the United States. It is also found in the 1001 Albums You Must Hear Before You Die, a music reference book founded in 2005.

The history of Latin music in the United States took a cultural turn after the appearance of Dance Manía. It was recorded under the voice of the Puerto Rican Santos Colón, in Spanish. They were generally performed in the native language of the United States or only as instrumental music.

Tito Puente wanted to break down barriers and have the American public listen to the pieces in Spanish. The album is positioned as the most famous Latin album of all time, surpassing successful artists of the time like Héctor Lavoe and Celia Cruz.

Homenaje a Beny, 1978.
Tito Puente made history with this album, by obtaining his first Latin Grammy. It was the winning album for Best Latin Music Album. With the help of his orchestra, he created an unprecedented album, full of flavor; an album that highlighted Cuban origins and fusions. A heartfelt tribute to the remembered Benny Moré, Cuban singer and musician who died in 1963. “Homenaje a Beny” featured 17 pieces of music.

Tito Puente - Nobody will have his wonderful character — Tito Puente ‘s grimaces while performing

Cuba y Puerto Rico son…, 1966.
The career of the remembered Cuban singer Celia Cruz was on the rise. In 1966, Tito Puente decided to contact her to work together. They established a kind of association that was maintained through the years. In addition, they became very close friends, a bond that went beyond the musical realm.

Cruz appreciated him and was saddened after his death. In her autobiography “Celia, mi vida” she recalled the day she received the terrible news. She considered him an authority on Cuban music and admired his career.“Tito was always in charge of the arrangements, and he liked to work at dawn. We would go out to dinner, and when we returned, Tito would stay until four in the morning composing arrangements for what we were going to record the next day.

Although we were not very lucky with our recordings, Tito and I did very well with the tours. Together we travel to many countries. It was during those trips that we developed that great friendship that we had, ”said La Guarachera del Mundo.

In addition to “Cuba y Puerto Rico Son”, they recorded five more albums: Quimbo Quimbumbia (1969), Etc., Etc., Etc. (1970), Alma con alma (1971), En España (1971) and Algo especial para memoria (1972).

Timbalero Tropical (1998)
One of the last works of the artist and that featured fifteen songs. He worked hand in hand with the RCA label. The album stood out with works such as: El Timbal, Mi Guaguancó, Lo Dicen Todo, Mambo Macoco, Mambo and Preparen Candela. Topics that were very popular at the time and that today continue to sound at family gatherings. They are classic salseros that do not go out of style.

“Oye como va” was a song written by Puente in 1963. However, it was rock guitarist Carlos Santana who popularized it. The song went international and was positioned on the Billboard Hot 100, a list that ranks the best-selling hits in the United States. However, he was not the only one to cover it: Celia Cruz, rapper Gerardo Mejía, Bobby Hutcherson, Joe Cuba Sextette and Cheo Feliciano. When he presented the theme on stage he affectionately presented Santana as its author.

This 2020 marks the 20th anniversary of the physical disappearance of the great: Tito Puente. He passed away on May 31, 2000. His Caribbean flavor, his big smile and his white hair left a great void in the entertainment world. Puente left a great legacy. He contributed to the expansion of Latin music in the United States and served as a composer, percussionist, conductor, and performer.

His exaggerated grimaces, his style, energy, and his skill with the instrument earned him worldwide recognition. In addition to positioning him as an admirable figure among colleagues and young people who want to follow in his footsteps. Simply unforgettable!

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