Joe Conzo Sr. is celebrated Latin music and Latin Jazz lecturer, author of the book Mambo Diablo (in English and Spanish) and producer and best friend of the late legendary timbalero and orchestra leader Tito Puente. Joe Conzo Sr., was on the scene in New York City throughout his life and attended the famed Palladium Ballroom, home of the Mambo.
In writing these interviews, I am trying to expose the students of Latin music and Latin Jazz to the behind the scenes action and lives of the Latin music and percussion legends and artists.
Sometimes my questions appear to be regularly similar from interview to interview, but I attempt to go to the root of the artist ideas and think about ability, like no one has ever before accomplished. This gives the young musician as well as the older percussion student or individual interested in Latin Music, an idea that, “hey if this artist made it, so can I someday.”
Joe Conzo Sr, was the best friend of El Maestro, Tito Puente. Joe has many, many behind the scenes with Tito on too many occasions, with celebrities and in private moments, with Tito himself and with Tito and his orchestra, throughout Tito Puente’s career. Let’s see what Joe Conzo Sr. has to say…
Les Moncada – Joe, tell me where in New York you were born?
Joe Conzo Sr. – I was born in New York, at the Misericordia Hospital and I grew up in Spanish Harlem on 112th Street and Lexington Avenue.
LM – Joe, may I ask, of what ancestry were your parents?
JC – My father was Italian and my mother was Puerto Rican. They were divorced in 1947. I grew up on my mother’s side and know the Spanish language, I speak, read and write it.
LM – When is the first time you can remember that you heard Latin music.
JC – To be honest with you, I was infatuated with Latin Music. I grew up with families that went to the Palladium and they used to play the 78 (rpm records) in the house, they would play Machito, Tito Puente, Tito Rodriguez.
No matter where you were on Saturday, everyone, everything was closed and the windows were open, and you would listen to the Spanish program. Not like today where there are a lot of restrictions. Tito (Puente), Machito, we got to see these guys walking in the streets and nobody had guards (bodyguards), Machito was considered like our uncle, Noro Morales, etc.
LM – Did you go to the Latin dances and where did you go at that time?
JC – Combination of dances. I grew up in jazz, doo wop and Latin. I went to a lot of doo whop, lot of 78 rpm (events). Most of us were young; wanted to go out with these young girls. We had the advantage; no television. We used to listen to the radio. My mother had a black and white TV. It was nothing, 3 (TV) programs (channels). The radio programs were our bible, doo wop and you played Latin music. Tito’s song “Ran Kan Kan” was the theme song to the WADO radio program in New York. That really helped him out a lot.
LM – How did you meet Tito Puente?
JC – Tito would tell you because he had the advantage of everyone with the radio, that is why he was so in love with jazz. Margie, his widow, went to school with me; Ronnie (Puente, his son) went to school with my sister.
We would run into him in the neighborhood and in 1959, I saw him at the Palladium and I introduced myself at the Palladium. I saw him at the USO (United Service Organizations) in Korea (during the war). He said: “I know you.” When I came home from Korea I saw Tito and he started dating Margie. I’m the oldest.
“I am a believer in destiny, this is how things happen”, it’s in the book too (Mambo Diablo).
LM – Joe, lets talk about Tico Records. When I was a young FM DJ and Timbalero, I had a DJ association with Tico Records. They kept me supplied with the latest releases to play on the air; they distributed different brands for different off shoot companies like Roulette and Salsoul and Alegre Records and more. Their recording studio was in New York City. Can you tell me about Tico Records?
JC – The owner was George Golner; he was the original owner. Morris Levy bought it, because Golner was a gambler using some of the best crypto gambling sites at the time. I met Morris and he was folklore in the record industry; he was a nice guy and that is why he and Tito got along together. [Note from Les Moncada: Tito Puente’s Orchestra was the house orchestra for Tico Records, keeping musicians busy, being the background orchestra for other recording artists at Tico. Tico was later replaced by Fania Records at the same location there in New York City].
LM – So let’s say some evening Tito was to drop by, did he knock to come inside or did he just open the door? What did you guys shoot the breeze about mostly?
JC – I would meet Tito downstairs or at my place. I knew when he was coming, and then he would ring the bell and come upstairs. In those days you didn’t just walk in, you always rang the bell.
We would talk about music and everything else. Tito would talk to me about his ideas and what he wanted to do with the band, mostly about music and very rarely did we talk about people.
Tito would tell me what he would want to do and I would give him my opinion, yes or no. He respected my opinion on a lot of things. We would have a drink, etc. and talk.
LM – How is your book coming along, I know you said it was translated into the Spanish language for others to read.
JC – It’s still moving; it does not stop and I do the Lecture Series and sell the book there and it is selling in Puerto Rico. Like the record industry, the book is moving.
LM – I know you’re dedicated to writing about Tito Puente and you also present lectures on Latin Music, who shows up and how are those going?
JC – I have a great audience and show DVDs and play music, but you never now who is going to show up. Sometimes it’s Tito Puente Jr., Tito Rodriguez Jr., John Santos, sometimes it’s Mario Grillo (Machito’s son).
I never know who is going to show up. Eric Bobo, the son of Willie Bobo showed up and I told him that he looked familiar. He said he was Eric Bobo and I remembered him as a little kid, and we started laughing, I also asked him how his mother was.
A lot of my students ask me to identify tunes, because they cannot identify them and I tell them what tune it is and what year it was recorded. I have a good rapport with them (students).
LM – Tito once told you, you were going to get rich because of him, what did he mean?
JC – Tito used to say that, “I’m the only guy that works 3 jobs”, (laughing out loud). The only way that I would get rich is if they make a movie on the life of Tito and that I would be the movie consultant. I am in the world of music and I love it, love it.
LM – Joe, I believe you produced some remastering of Tito’s recordings? Can you tell me about that?
JC – I produced the Complete RCA recordings of Tito Puente, 218 tunes that Tito Puente recorded for RCA Victor. There was just one issue with one tune due to the fact that Abbie Lane recorded on the tune.
I also produced 16 recordings of Tito Puente of the Tico Records recordings. It is entitled the Complete 78 Vol. 1 & 2, 3 & 4, recordings of Tito Puente. Concord Records bought all that stuff. They also bought the complete Cuban Jam Session, Panart etc. Craft Records is a subsidiary of Concord Records.
LM – Let me ask you this, will there ever be another Tito Puente or the likes of his genius talent.
JC – Hell, no! There will never be another Tito Puente, no matter who you are, he was a great drummer and a genius!
LM – What does the future have for Joe Conzo Sr.?
JC – Teaching the History of Latin music and Latin Jazz, getting ready for the next semester, pushing my book and teaching this generation of students, the history of Latin Music!
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Note from Les Moncada: I would greatly like to thank Mr Jose Conzo Sr. for the time he has spent assisting me with this one of a kind interview. Joe Conzo Sr. has spent a lot of time, guiding and assisting us with comments on our Facebook Site: Timbales and Congas Bongo Bata and Bells and his contributions to World Music Central. There is no other like Joe Conzo Sr. With much gratitude, I thank you.
Author: Les Moncada
Les Moncada is a former Latin Jazz orchestra leader and conguero for over 40 years. He was born in Oakland, California and currently resides in Sacramento, California. Les Moncada was an apprentice to conga and batá master Francisco Aguabella, a friend of vibraphonist Cal Tjader, Latin Jazz band leader Pete Escovedo, conguero Armando Peraza and many more. He has been writing for many years for World Music Central. Les Moncada’s Facebook site is: Timbales and Congas Bongo Bata and bells.
Joe Conzo, Sr. has had a most interesting life. In teaching the history of Latin music and so-called Latin Jazz (it should more accurately be called Afro-Cuban Jazz), he does a great service to the younger generation. As the Machitos, Puentes, Oquendos, etc. leave this mortal coil, there is no one to replace them. The giants depart, leaving behind midgets.