Within the time frame of the past two decades, very few Latin artists have had the distinctive recognition comparable to the name Tito Puente. The Maestro’s  artistic trajectory has been so long and wide that just a select group could be considered Tito’s “peers” in the strict sense of the word. With such an impressive background, there is little new information that could be conveyed on this day, the first in the permanent void left by him upon his departure from this world.

It only takes a quick look at just some of the available sources to realize how much Ernest Anthony (Tito) Puente has left behind; a great musical treasure and a list of accomplishments hard to match. Born on April 20, 1923 within a New York City Puerto Rican family, he first stared at stardom as a would be dancer. But it seems life had other plans for him, and after suffering a permanent leg injury his attention focused on music. He took his first piano lessons at age 7, and at 17 he was known in El Barrio for his skills at the keyboard, the timbales, the saxophone, the clarinet, and the xylophone. Reportedly, his first job was with the Ramón Olivero big band, (although some sources say it was with the Noro Morales Orchestra). After serving in the Navy for two years, he immersed himself studying piano and composition at the Juilliard and New York schools of music. His first recording was Abanico (1949), the kick off of a 100-plus chain of productions.

The rest of his musical history has been well documented. To have an idea of the respect that Tito Puente earned from the worldwide musical establishment, here are some excerpts from various sources:

“By virtue of his warm, flamboyant stage manner, longevity, constant touring, and appearances in the mass media, Tito Puente is probably the most beloved symbol of Latin jazz today. But more than that, Puente has managed to keep his music remarkably fresh over the decades; he can still steal the show at any given jazz festival. As a timbales virtuoso, he combines mastery over every rhythmic nuance with old-fashioned showmanship - watching his eyes bug out when taking a dynamic solo is one of the great treats for Latin jazz fans. A trained musician, he is also a fine, lyrical vibraphonist, a gifted arranger, and plays piano, congas, bongos and saxophone. His appeal continues to cut across all ages and ethnic groups, helped no doubt by Santana's best-selling cover versions of “Oye Como Va” and “Para Los Rumberos” in 1970-71, and cameo appearances on “The Cosby Show” in the 1980s and the film The Mambo Kings in 1992. His brand of classic salsa is generally free of dark undercurrents, radiating a joyous, compulsively danceable party atmosphere…”. 
           –All Music Guide

“He has been Puerto Rico’s greatest musician of the millenium. He took his music to the United States and was very positive with people. Tito always wanted to be a Spanish dancer, but because of the injury to his leg he took up music. Although he prepared himself well academically, he had the barrio in him, so when the Hispanic communities started to grow in the U.S. Tito took center stage with his music and Puerto Rico’s. Many became famous with him, the likes of Santos Colón, Vicentico Valdez and Gilberto Monroig.  When Cuba was shut out, Puerto Rico took over New York’s Caribbean music scene, and Tito became the top figure. He knew his business well, and knew how to value himself. We Puerto Ricans danced to his music, listened to it, and will remember him with tears and laments; his memory will be revered and we must do something big for him, for he was recognized as a great musician throughout the world.” 
           —Tite Curet Alonso, composer

“Tito is irreplaceable. Our friendship lasted many years. I’ll always remember his fiery solos when we used to perform together. Besides being a great musician, he was also a great human being who never allowed fame to go to his head. He never said “I am Tito Puente” with an air of grandiosity; he would share moments with everyone with great humility. Although he was born in Harlem, he always considered himself 100 percent Puerto Rican.” 
             –Kike Lucca, founder of Sonora Ponceña 

Tito Puente died at 11:45 p.m. on Wednesday, May 31, 2000 after 17 hours of heart surgery at New York University Hospital—where he had been admitted the day prior. Just before his death, he fulfilled his life-long dream of performing with the Puerto Rico Symphony Orchestra. It was after the last sold-out show in San Juan when he felt his heart ailment and was rushed to a nearby hospital. His death shocked the Latin music world because after a couple of days of hospital rest, he was feeling much better. He will be missed and remember for his contribution to the world of music.