Carlos “Patato” Valdes: 1926 - 2007
The Latin Jazz world lost another important figure this past Tuesday, December 4th as Carlos “Patato” Valdes died of complications from emphysema. Patato had been on tour with The Conga Kings in November, performing at his usual high standard. After a show at the San Francisco Jazz Festival, he left town by plane, where he experienced difficulty breathing. The flight was rerouted to Cleveland, where Patato remained hospitalized until his death on Tuesday. The 81-year-old conguero left a legacy upon the Latin Jazz world in many different ways.
Born in 1926, Patato grew up among the Havana music scene. His father was a tres player in several son conjuntos during the 1920s, and a young Patato internalized the influences around him. He soon began playing the tres and the marimbula, eventually moving to congas and percussion. He performed with a variety of local groups in his pre-teens, building his skills as a rumbero. By the age of 19, he earned a gig with La Sonora Matancera, which allowed him to work professionally as a musician. A year later, his friend Armando Peraza introduced him to Alberto Ruiz, leader of Conjunto Kubavana, who offered Patato a job as the band’s conguero. Patato and Peraza soon left Kubavana and began working with Chano Pozo’s Conjunto Azul, a higher profile gig that lasted until Pozo left to the States in 1947. Peraza left to the United States in 1949 and Patato joined the popular Havana band Conjunto Casion. The group gained a huge following in Cuba and traveled to New York for a performance in 1952. New York impressed Patato, leading him to leave Cuba in 1954 for a permanent relocation to the Big Apple.
Once Patato arrived in New York, he immediately jumped into the growing Latin Jazz scene and became an in-demand musician. Mongo Santamaria recommended him to Tito Puente, who made immediate use of the conguero’s skills. During that time, he recorded two influential albums with Puente, the 1955 release Cuban Carnival and 1956’s Puente In Percussion. Jazz trumpet player Kenny Dorham utilized Patato on his 1955 recording Afro-Cuban, blending his knowledge of Cuban music with several straight ahead jazz musicians. Over the next few years, Patato recorded with many artists from both the Latin and jazz realms, including Machito’s orchestra and Art Blakey. In the late 1950s, Patato began a steady gig with jazz flautist Herbie Mann that lasted over a decade. He recorded a variety of albums with Mann including iFlautista!, Right Now, and Live At Newport. In 1967, Patato created a legendary rumba record with percussionist Totico entitled Patato & Totico. This release included bassist Israel “Cachao” Lopez and tresero Arsenio Rodriguez, resulting in a historical meeting of Cuban music legends. Over the next few decades, Patato’s influence never faded, and he performed or recorded with all the major names in Latin Jazz.
Patato altered the face of modern conga playing during his career, forever changing the state of the instrument. Traditionally, drummers nailed skins onto the wood frame, leaving each conga with a single tone. Congueros would use the heat from candles to stretch the skin, creating a different pitch. This change was temporary, as the skin quickly returned to its original tension once the candle disappeared. Patato developed the tunable metal frame that held the conga head in place; drummers could tighten or loosen the frame and change the pitch. He patented the invention and worked with the LP Company to create the Patato model conga, a product that remains one of their biggest sellers today. This innovation allowed conga players to tune their instrument around different songs and play melodically - an approach that Patato always demonstrated in his playing. The percussion world owes a debt of gratitude to Patato for this creation.
Patato’s outgoing personality, showmanship, and sense of humor locked his presence into the minds of many people around the world. A top rumbero, Patato often danced around his congas during performances, and actually became known for dancing on top of his drums. He appeared in the film And God Created Women, in which he gave Bridget Bardot a mambo dancing lesson. His on and off stage antics became legendary, always creating a fun environment for his colleagues and fans. In many ways, he really reached out to a wide spectrum of people with Cuban music.
With Patato’s passing, Latin Jazz has lost a master percussionist, a visionary artist, and a kind soul. We’ll be celebrating Patato again over the next week; let’s keep him in our mind for the time being. Patato influenced a great number of people - share your thoughts and memories about Patato below in comments. Do you have a favorite recording? An especially strong memory of Patato in concert? Did you get to spend some time with him? Share with us in the comments, and let’s all celebrate Patato’s life and contributions to the art form!
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on Tito Puente’s passing,his tribute in Downbeat said something like this.
“Puente was a unique human being.He was an outstanding musician and a consumate showman,a true innovator and a popularizer,a cheerleader and king”-The same can be said about Patato,one of the all time giants in this music.
My favorite Patato moment?
A recording of the Latin Percussion Jazz Ensemble Live at Montreux Jazz Vestival,from the mid-70’s-Patato,Puente,Jorge Dalto,Alfredo de la fe and Mike Vinas-Patato playing the melody line of Oye Como Va on tuned congas was sheer magic.
I think that your comparison to Puente is so appropriate Luis; they were really both great spokesmen for Latin music. Their ability to connect with an audience and be entertaining while holding such a high musical standard is a rare balance that not many people can achieve. Both Puente and Patato had that magic ability to turn an intense musical experience into a huge party. I think that Puente’s status as a bandleader pushed him onto the world stage, becoming more of a “household name,” while Patato worked as a sideman for much of his career. Perhaps if Patato recorded regularly as a leader, he would have been more of a public figure.
Funny that you should mention that album, I listened to it earlier today. I’ve kept Patato playing in most of the things I’ve listened to today, and that album was one of the first ones that I pulled up. Patato and Puente swing pretty hard through all the tracks, Dalto plays some great montuno work, and De La Fe’s electric violin screams. A true classic - I might have to revisit that soon . . . .
My name is Jose Alberto Garcia e-mail supermans@comcast.net I write you this letter to say that Carlos Patato Valdez was KING OF THE CONGAS IN THE WORLD.,I bought so many records it was not funny.,I have all the learning records of Ready for Freddy and Musical Records to learn how to play Latin Music.,You know what i use to do.,I use to play the records and then i played the Congas at the same time to go with the Rythims and i enjoyed it incrediblly fascinating.,I purchased it in Chicago,Illinois.All the Records in the Disco City Record Shop at Milwaukee Avenue in Chicago,Illinois.I spend alot of money purchasing these records.,I practiced for a very long time.,I also use to listen to Guaguanco which is a very religious music and it is SPECIAL MUSIC.They where white hats,white pants and it is wonderfull.,Patato was with all of his fellow members and they also played the bongos.,They played Proffessional and excellent.I bought alot of Albums and i gave one to Azucita which is Josefina’s husband and you know what i did.,I took it to the Recording Studious the Albums and recorded it in Cassettes and the Music Is Special.,I played in the Porch at 4855 W.George Street in Chicago,illinois.Everyday and i also new how to play without the instruction to show you how talented i am.,It was the same rythim i played.,I took it to the backyard and i played till 2:00AM in the morning and everybody saw me playing the Congas.,I never left it.,I bought a total of 3 Congas which is a form of Tumbadora,Congas and Quinto and the Super Quinto i did not purchased it.I had to sell it because i fell deeply in love just like i was when i met this girl back in St.Ita’s Grammar School.,I remember i had a lady in my backyard and she saw my Talents,Stability,Speed,Strength and Performance.,I also had to sell me Bongos.,The Drums i gave it away in Miami,Florida.I played the Congas for a very long time and it gave me incredible Spirits,joy,happinness,contentment and excitement.The Congas was LP which stands for Latin Percussion in New Jersey and i ordered it.It costed me $800.00 and it got delivered in a far out Suburb and i picked it up.,I love the Music Businness also.Carlos Patato Valdez was incredibly powerfull,strong,very intelligent,stable and played very serious Religious Affiliated Music and i got interested in it.,He new alot in this world.,I saw him alot of times in the Television playing in Concerts and he played with more than 8 Congas,he was unbelievable and incredible and had gifted talents.I also saw his son in the records.Sincerely Jose Alberto Garcia
Jose - thanks for sharing so much about your musical experiences; it’s amazing how deeply Latin music can touch your life. Patato was an amazing musician, he really gave a lot to the art form. Some of my favorites were Patato Y Totico and The Latin Percussion Jazz Ensemble Live At The Montreaux Jazz Festival 1980. You can check out an article that I did about some of his great recordings here:
http://www.chipboaz.com/blog/2007/12/13/5-important-recordings-featuring-carlos-patato-valdes/
Enjoy! Thanks for reading, hope to hear from you soon here at LJC!