Carlos Patato Valdes Downloads

The essence of African based music is the drum. It's a heartbeat that once communicated the occurrences of the day and opened spiritual gateways for ancient tribal civilizations. In his epic musical, The Drum is a Woman, Duke Ellington told the story of the drum's journey from Africa and the Caribbean to the streets of New York City. As Caribee Joe is thrown into the city by Duke's...
Learn More »

The essence of African based music is the drum. It's a heartbeat that once communicated the occurrences of the day and opened spiritual gateways for ancient tribal civilizations. In his epic musical, The Drum is a Woman, Duke Ellington told the story of the drum's journey from Africa and the Caribbean to the streets of New York City. As Caribee Joe is thrown into the city by Duke's extraterrestrial siren Madam Zaj, it could have been the story of Afro-Cuban drum master Carlos "Patato" Valdes. From roots that stem back to his native Havana when he began playing congas in street carnival comparsas as a teen, to a pivotal role with the legendary 1940s conjuntos of Sonora Matancera and Conjunto Casino, Patato changed the perception of the conga drum in Latin American popular music. Arriving in NYC in 1954, he impacted jazz with an unparalleled tonal perception that's heard on numerous Herbie Mann albums for Atlantic and sessions for Alfred Lion's Blue Note Records. His first American jazz date was with trumpeter Kenny Dorham on his Afro-Cuban LP. He was featured on Tito Puente's classics Cuban Carnaval (RCA Victor) and Puente in Percussion (TICO). In 1959, Patato joined Mann's band full-time. Mann wrote several compositions for the small framed drummer like "Patato" and "Cuban Patato Chips." In 1967, he helped persuade Verve to let him record the album Patato y Totíco. Collaborating with his boyhood friend Totíco (Eugene Arango) from Barrio Los Sitios in Havana, it showcased the vitality of an increasingly important rumba scene emerging in NYC. In the 1970s, Patato was at a new plateau. A project that allowed him to reach a wider public was a series of instructional albums for Martin Cohen's Latin Percussion Ventures. Cohen also organized the Latin Percussion Jazz Ensemble for Patato, which was recorded live at the Montreux Jazz Festival with an all-star cast that included Tito Puente. Patato relocated to Paris for a bit but the late Jorge Dalto brought him back to NYC to form the Inter-American band in 1985. It was short-lived, as Dalto fell ill and succumbed to cancer. The idea for the original Ritmo y Candela was initiated by Bay Area producer Greg Landau and executive producer Robert Leaver, owner of Round World Music record store. After years in obscurity, Patato, who was approaching 70, was teamed up with percussion greats Orestes Vilató and Jose Luis "Changuito" Quintana (of Los Van Van fame) for a monumental session that garnered a Grammy nomination in the newly formed Latin Jazz category in 1995. The following year, Ritmo y Candela II teamed Patato again with Vilató, but this time adding the great trap drummer, Walfredo De Los Reyes. It also included African singer Samba Mapangala and kora player Abdou M'Boup. The follow-up was also nominated for a Grammy and acknowledged the artistry of Patato. There were a lot of things that made Ritmo y Candela great. One was the participation of saxophonist Enrique Fernandez and his "Wall of Wind", a concept honed from the influence of jazz great Hamiet Bluett and the World Saxophone Quartet. Done at the compact Poolside Studios in San Francisco, it captured a rare moment in percussion history. The sophomore outing was the biggest challenge to producer Greg Landau, who literally collaged the album together, recording separate tracks in Havana, San Francisco and NYC. With a vision similar to that of American folklorists Alan Lomax, Harry Smith and Ry Cooder, Landau and Leaver produced an organic and creative portrayal of Patato as testament to a great innovator. The Legend of Cuban Percussion collects the best performances from both Ritmo y Candela projects, making these amazing sessions once again available for music lovers everywhere. In 20th Century Latin music, Patato is the modernist of an era that began with the raw rumbero stylings of Chano Pozo and Mulence. An extraordinary human being with a sense of humor, who has appeared on "The Bill Cosby Show", Patato is almost 75 and all it takes is hearing him to realize what Ritmo y Candela he's added to the American musical soundscape. Chuy Varela is a freelance writer for the San Francisco Chronicle, SF Bay Guardian, The Eastbay Express, El Mensajero, Jazz Times and is music director at KCSM Jazz 91. 1. San Francisco Tiene Su Propio Son 9:41 (Sebastian Landau/Greg Landau) Congas: Carlos “Patato” Valdes Bass: Joe Santiago Piano: Rebeca Mauleón-Santana Bongo, Percussion: Orestes Vilató Timbales: Jose Luis “Changuito” Quintana Flute: Enrique Fernandez Vocals: Felix “Fito” Reinoso Background Vocals: Lazaro Games Tres: Greg Landau 2. Descarga en Faux 5:41 (Rebeca Mauleón-Santana/Enrique Fernandez/Carlos “Patato” Valdes) Congas: Carlos “Patato” Valdes Bass: Joe Santiago Piano: Rebeca Mauleón-Santana Timbales, Guiro: Orestes Vilató Drums: Jose Luis “Changuito” Quintana Alto, Baritone, & Tenor Saxophones: Enrique Fernandez 3. Desde el Fondo del Rio 7:16 (John Calloway/Greg Landau) Congas: Carlos “Patato” Valdes Bass: David Belove Piano: Rebeca Mauleón-Santana Timbales, Guiro: Orestes Vilató Drums: Jose Luis “Changuito” Quintana Chékere: Michael Spiro Synthesizer, Flute: John Calloway Background Vocals: Tammy “Omi Ade” Ozier, Christina “Ochun” Velasco, Ollan Christopher 4. Luz 6:55 (Enrique Fernandez,/Carlos “Patato” Valdes) Congas: Carlos “Patato” Valdes Bass: Joe Santiago Piano: Rebeca Mauleón-Santana Timbales: Orestes Vilató Bongo: Jose Luis “Changuito” Quintana Baritone Saxophone & Flute: Enrique Fernandez 5. Yo Tengo Ritmo 3:08 (Enrique Fernandez/Carlos “Patato” Valdes) Congas: Carlos “Patato” Valdes Bass: Joe Santiago Piano: Rebeca Mauleón-Santana Timbales, Guiro: Orestes Vilató Drums: Jose Luis “Changuito” Quintana Baritone & Tenor Saxophones: Enrique Fernandez 6. Guloya Swing 4:27 (Enrique Fernandez) Congas: Carlos “Patato” Valdes Baritone, Tenor, Alto Saxophones, Flute and Piccolo: Enrique Fernandez Bass: Joe Santiago Bells and Chékere: Michael Spiro 7. Oguerre 5:25 (Gilberto Valdes, arr. Rebeca Mauleón-Santana) Congas: Carlos “Patato” Valdes Bass: Joe Santiago Piano and Synthesizer: Rebeca Mauleón-Santana Timbales, Guiro: Orestes Vilató Drums: Jose Luis “Changuito” Quintana Baritone Saxophone: Enrique Fernandez Background Vocals: Ollan Christopher 8. Son de Patato 7:17 (Carlos “Patato” Valdes/Enrique Fernandez) Congas: Carlos “Patato” Valdes Timbales and Guiro: Orestes Vilató Drums: Walfredo de los Reyes, Sr. Bass: Joe Santiago Flute and Baritone Saxophone: Enrique Fernandez Piano: Ivan “Melón” Gonzalez 9. Señor Blues/Mbula Enoka 8:15 (Horace Silver, arr. Enrique Fernandez, Greg Landau) Congas: Carlos “Patato” Valdes Timbales and Guiro: Orestes Vilató Drums: Walfredo de los Reyes, Sr. Bass: Joe Santiago Flute: Enrique Fernandez Piano: John Calloway Xalam and Tama: Abdou M’Boup Vocals: Samba Mapangala 10. Guajira en el Espacio 2:28 (Ivan Gonzalez) Piano: Ivan “Melón” Gonzalez 11. Sangre de Africa 4:20 (John Calloway/Greg Landau) Congas: Carlos “Patato” Valdes Drums: Walfredo de los Reyes, Sr. Bass: Joe Santiago Flute and Baritone Saxophone: Enrique Fernandez Piano: Ivan “Melón” Gonzalez Congas, Bongo and Guiro: Orestes Vilató Vocals: Samba Mapangala 12. Kora-Son 6:31 (Samba Mapangala/Greg Landau) Congas: Carlos “Patato” Valdes Bass: Joe Santiago Alto Saxophone: Yosvany Terry Kora: Abdou M’Boup Keyboard: Greg Landau Bongo and Guiro: Orestes Vilató Vocals: Samba Mapangala. Produced by Greg Landau; Executive Producer: Robert Leaver (Round World Music Productions); Recorded by Dave Nelson at Outpost Studios, and by Greg Landau at Greg’s Funky Garage and Enrique’s apartment in New York; Mixed by Dave Nelson at Outpost Studios, San Francisco with Greg Landau; Mastered by George Horn at Fantasy Studios; Production Assistance: Sebastian Landau; Cover photo by Marvin Collins; Interior photos by Jack Vartoogian; Package design by Rex Ray All songs published by Point Nine Publishing (BMI), except track #9 published by Ecaroh Music, Inc. (ASCAP) Thanks to Bill Martinez and the Encuentro del Canto Popular, Fito Reinoso, Manuel Santana, Christina Velasco, Rosa Iris, Pablo Menendez and Mezcla, La Familia Terry, Steve Fagin, Beverly Barker, Don Ortez, Nicole Landau, Andres Landau, Marco Leaver, Luz Fernandez, the former crew at Redwood Records, the Mission Cultural Center and all the musicians who jammed at the Mission Street Descarga. Aché!
Hide Description »