tito puente

Walfredo de los Reyes Sr., the internationally lauded Cuban percussionist who had a prodigious six-decade career in the music industry, died Aug. 28 in Concord, Calif. He was 92.

Walfredo de los Reyes Jr. — who plays drums for the legendary rock band Chicago — shared the news of his father’s death in an Instagram post last week.

“My father, Walfredo de los Reyes Sr., passed away last night, surrounded by his loving wife, Debbie, my brother Danny, and my wife, Kirsten,” he wrote. “He was not only an incredible father, but also a mentor in music and in life. He will always live in my heart. … His spirit, his rhythm will never stop.”

Speaking with The Times, De los Reyes’ son Daniel, drummer of the Grammy-winning country group Zac Brown Band, recalled his most recent memories of his father and the pain of his loss.

“I did everything I could to help him in his last months, his last days, as far as comfort,” he said. “You see a bunch of testimonials that everybody’s been writing in… but to me, he’s just my father. He’s just my father that I help out and I go to work with. To process everything [has] been very, very difficult. He was my Superman. He was like my Bionic Man. I thought, ‘Nothing’s ever going to happen to him.’ And the end has finally come.”

Walfredo de los Reyes Sr. plays congas onstage.

(Courtesy of Daniel de los Reyes)

While he hopes that his father’s musical legacy is preserved and appreciated, Daniel also wants people to remember the person his father was outside the industry.

“He would take in whoever it was and help them,” Daniel said. “[It] didn’t matter where they were from. If they called him, I can assure you, he would invite him to the house he would share with them — make them feel like they were part of his family immediately.”

Daniel also shared his father’s last words to him: “Always play your best.”

“It wasn’t just playing in the music instrument,” he said. “It was being the best person that you could possibly be. And that when you close your eyes at night, you feel good with yourself.

“I’m going to take those last words and that’s going to be my mantra for the rest of my life. I always try to be the best person as possible, but now it’s just I have my father’s love shining through me.”

Walfredo de los Reyes III was born in Havana on June 16, 1933, into a musical family. His father, Walfredo de los Reyes II, was a trumpeter who helped found the Orquesta Casino de la Playa in 1937.

De los Reyes would go on to play percussions alongside Latin music icons like Tito Puente, Cachao López, Willie Bobo and Cuban singer La Lupe. He also performed with famous American acts such as Tony Bennett, Sammy Davis Jr., Linda Ronstadt, Dionne Warwick, Steve Winwood and Debbie Reynolds. He expanded his list of featured performances through his longtime residence in Las Vegas where he shared the stage with Milton Berle, Wayne Newton, Robert Goulet, Bernadette Peters and Rita Moreno.

His signature style of simultaneously playing a drum kit and percussion instruments was inspired by both Cuban and American influences — like Candido Segarra and Ed Shaughnessy — but also by necessity.

Tito Puente, left, poses for a photo with Walfredo de los Reyes Sr.

(Courtesy of Daniel de los Reyes)

“When I got my band at the Casino Parisien [in Havana], I didn’t have enough [money] to [hire] a conga player,” De los Reyes said in a 2011 interview with the National Assn. of Music Merchants. “I had to decide between a conga and a singer. I got the singer, because you always need a singer. [Then] I started putting congas on the left side [of my drum set] and playing with my left hand, the tumbao. … Why should I play only a conga drum? My feet just lay there.”

Figures from across the music world shared tributes to De los Reyes, including Tito Puente Jr., Gregg Bissonette, Luis Conte, Raul Pineda, Horacio “El Negro” Hernandez, Israel Morales and Al Velasquez.

He is survived by his wife, Debbie Bellamy de los Reyes, his five children and 10 grandchildren. His son, actor Kamar de los Reyes, died of cancer in 2023 at age 56.

Eddie Palmieri, the Grammy-winning Nuyorican pianist, bandleader and composer who helped innovate Afro-Caribbean music in the States and transform the New York salsa scene, died on Wednesday. He was 88.

According to a post on his official Instagram, Palmieri passed away in his Hackensack, N.J., home. The New York Times confirmed via his youngest daughter, Gabriela Palmieri, that his death came after “an extended illness.”

Multiple celebrities chimed in to pay their respects, including Spike Lee, Ramon Rodriguez and representatives from Fania Records, the pioneering New York salsa label, also released a statement.

“[On Wednesday], Fania Records mourns the loss of the legendary Eddie Palmieri, one of the most innovative and unique artists in music history,” the statement said. Palmieri briefly recorded music with the label but also released music under Tico, Alegre, Concord Picante, RMM and Coco Records.

Others took to social media to mourn the loss, including David Sanchez, a Grammy-winning jazz tenor saxophonist from Puerto Rico, who uploaded a slideshow of photographs of the two. Sanchez recounted the time when his soprano saxophone was stolen — and Palmieri helped him pay for a new one. “Your being and your music will continue to live on in the hearts of many,” Sanchez wrote in the Instagram caption.

Palmieri’s contemporary Chuchito Valdes, a Grammy-winning Cuban pianist and bandleader, also chimed in with an Instagram post lamenting the loss: “A sad day for music. One of the greatest of all time is gone, an innovator. The man who revolutionized salsa and Latin jazz. My great friend.”

Born on Dec. 15, 1936, in East Harlem to Puerto Rican parents from Ponce, Palmieri was the younger brother of Charlie Palmieri, the late piano legend known as the “Giant of the Keyboards.”

The family later moved to the South Bronx, where they opened up a luncheonette called “Mambo”: a name chosen by young Eddie, who was enthralled by the Cuban dance hall rhythms. He often controlled the jukebox with blissful Latin jazz tunes by Tito Puente, Tito Rodriguez and Machito.

Palmieri was deeply influenced and inspired by his older brother, who was nine years his senior and introduced him to prominent big-band acts of the 1940s, like Tommy Dorsey, Glenn Miller and Woody Herman, all of whom seemed to dissolve by the end of World War II. Though Palmieri had an itch to lean into the timbales like Tito Puente, he would eventually follow in his brother’s footsteps and take piano lessons from Margaret Bonds, one of the most prominent African American concert pianists at the time.

Although he briefly joined his uncle’s orchestra, Chino y sus Almas Tropicales, as a timbal player, Palmieri rose to fame as a pianist, playing with various bands including the Eddie Forrester Orchestra, Johnny Segui and His Orchestra, and eventually Tito Rodriguez and His Orchestra, which was a main act at the Palladium Ballroom between 1958 to 1960.

“In the audience, you could have maybe a Marlon Brando, Kim Novak, all the Hollywood starlets because it was the height of the mambo,” said Palmieri in a 2013 interview with Jo Reed. “On Saturday, you had the blue-collar, mostly Puerto Rican. And then Sunday was black, Afro-American. It was intermingled or different nationalities that had nothing to do whether you were green, purple, white, we came to dance.”

But in 1961, Palmieri went on to start his own band, La Perfecta, an ironic title given its not-so-perfect setup. It formed as an eight-piece Cuban conjunto, which ditched the traditional jazzy saxophone. There were timbales, congas, bongos, bass, piano and vocals — but with a twist of its own kind: the inclusion of two trombones, played by Barry Rogers and Jose Rodriguez, instead of the costly four-set trumpets. Palmieri also added a whistling flute, played by George Castro, for a charanga edge (in the place of a traditional violin).

“La Perfecta changed everything in the history of our genre, in my opinion. Certainly in New York,” said Palmieri. “And then influenced the world, because after that all the pawn shops got rid of their trombones.”

His group helped usher in the iconic salsa genre with their first album, “Eddie Palmieri and His Conjunto ‘La Perfecta,’” dubbing him the nickname “Madman of salsa.” However, he was not too fond of the emerging term, which seemed to cram different styles like mambo, charanga, rumba, guaracha and danzón into one single category.

“Afro-Cuban is where we get the music,” explained Palmieri in a 2012 interview with the Smithsonian Oral History Project. “The influence of the Puerto Rican is the one [that] upheld the rhythmical patterns and the genre of Cuba. So then that becomes Afro-Caribbean.”

La Perfecta went on to release its most famed album, “Azúcar Pa’ Ti” in 1965. It included the song “Azúcar,” an eight-minute track that was later added to the National Recording Registry in 2009.

In 1976, Palmieri became the first to win a Grammy for the inaugural category of best Latin recording, for his album “Sun of Latin Music.” He holds a total of eight Grammy awards. In 2013, the National Endowment for the Arts honored him as a Jazz Master and the Latin Grammys granted him a Lifetime Achievement Award.

But Eddie Palmieri’s impact spanned beyond his own accomplishments. He was a mentor, a teacher and an advocate for Latin music and culture, which includes advocating twice for the inclusion of the Latin jazz album category in the Grammys — first in 1995, then again in 2012 after its removal.

Palmieri was predeceased by his wife of 58 years, Iraida Palmieri, who passed away in 2014 — and who he often referred to as “Mi Luz Mayor.” He is survived by his four daughters, Renee, Eydie, Ileana and Gabriela; his son, Edward Palmieri II; and four grandchildren.