Latin Beat Magazine, April 1997

It's too bad that on some classic jazz albums and dictionaries the renowned "conguero" Carlos Valdes will be known as a "Potato."

But all it takes is hearing "Patato" once to realize the kick this inventive master has given to Latin music. While small in physical stature, when he steps behind those drums he ain't no french fry. From his ascension with pioneer "conjuntos" like La Sonora Matancera, Conjunto Azul, and Conjunto Casino in his native Cuba; to his stamp on countless classic jazz recordings with Herbie Mann, Bluenote Records, and others; to his landmark Grammy nominated Ritmo y Candela CD, the mighty Patato with his singing melodic tone is a cultural treasure to be honored.

Born November 4, 1926 in Barrio Los Sitios in Havana, his father was a pioneer "tres" (guitar) player with the group Los Apaches, made up of longshoremen, the group was formed in 1915 and when they broke up in 1920 split into Sexteto Habanero and Sexteto Nacional. In this musical fertile environment he learned various instruments as a child, like the "marimbula" and of course the "tres."

Around the age of twelve he began playing congas with a "compara" called "La Sultlana" and by his teens was an established "rumbero." From the beginning it was his melodic tone that set him apart and at nineteen he broke into the big time when he replaced the ailing Valentin Cane as contuero with La Sonora Matancera. He stayed a year before his boyhood friend Armando Peraza brought him into the Conjunto Kubavana of Alberto Ruiz.

"I was playing the conga in Kubavana," remembers Peraza. "Then the gongocero named Candido Requena fell out of sorts with Ruiz and left he group. Patato was playing at the Academia Martibelonia and I took him to Ruiz who said, 'fine but now I need a bongo player.' So Patato and I did a duet for him with me on bongoes, and that was it."

The group was top notch and shared in public enthusiasm alongside Arsenio Rodriguez and Conjunto Casino. Their recordings of Rumba en el patio and Sonaremo el tambo are a testament to their unparalleled youthful vigor. Then the boyhood friends left Ruiz to play with Chano Pozo in the Conjunto Azul which played at the noted Sans Souci Nightclub. This is where Pozo had gained notoriety in 1940 with a cabaret spectacular title "Congo Pantera." His fame skyrocketed not only as a drummer but as a composer and dancer as well. Pozo was also a friend of Patato's from Barrio Belen in Havana.

"Pozo was with our 'comparsa' but was very eccentric. He mainly composed and danced. I was supposed to go to New York City with Miguelito Valdes instead of him in 1947 but my father wouldn't let me go."

Who knows what the evolution of Afro-Cuban jazz would have been if Patato had made the trip and possible joined the Dizzy Gillespie orchestra but fate dealt the young conguero another hand. Peraza left with Mongo Santamaria in 1949 for the United States and Patato was asked to join Conjunto Casion, "Los Campeones del Ritmo." Considered one of the top bands of the era, the group boasted three outstanding soneros: Robert Faz, Roberto Espi, and Augustin Ribor.

To hear Patato at his best, check out La conga del casino, where he tears up some cuero (leather) with amazing force. The great Cuban trap drummer Walfredo De Los Reyes recalls seeing Patato with Conjunto Casino at the Fausto Theater in Havana.

"Patato always stole the show when he would make like a penguin and dance El baile del pinguino, a very popular song by the conjunto. He developed a unique sound based on the way he would tuck the skins on his heads. Remember in those days there was ;no hardware and people used nails to tighten their skins. He also developed a; distinct style with his hands that became very popular. He was very inventive."

The group performed daily on one of Cuba's first television programs, Medio Dia. Two years ago when Patato teamed up with Orestes Vilato and Jose Luis Quintana "Changuito" for the recording of Ritmo y Candela on Redwood Records, Changuito recalled being on the show with Patato at age six!

"I used to always watch Patato playing on the show with the conjunto," says Changuito. "Once my mother took me and asked if I could play congas with the group. Patato gave me the drums and when he heard me he went crazy!"

"Yeah," responded Patato, "after that, Roberto Faz started ribbing me 'cuidado que hay un chamaquito alli que te va mochar (careful there's a little boy that will cut you down)."

In 1952 he visited New York City for a performance with Conjunto Casino at the Tropicana Nightclub. With all his friends there like Peraza, Mongo, Candido Camero, and other, he was impressed with the scene. The Palladium and the mambo were in full effect, not to speak of the bebop revolution sweeping jazz, and he decided to immigrate in 1954 to this country. Mongo recommended him to Tito Puente who quickly absorbed him into his orchestra.

"I had these ideas and wanted to advance them through jazz. I wanted something progressive."

If jazz was a motivating factor, he took it head-on. His first record date in this country was with trumpeter Kenny Dorham on his Afro-Cuban LP alongside Art Blakey on traps. His appearance with Tito Puente at the Apollo Theater in 1955 is a legendary performance that brought the house down! A document to those years is Puente's classic Cuban Carnaval on RCA which included Mongo, Willie Bobo, Candido, and Johnny Rodriguez. He was also part of Tito's landmark LP on TICO's Puente in Percussion. In 1956 he joined the Machito orchestra at the urging of musical director Mario Bauza. He came into the group alongside Jose Mangual and Ubaldo Nieto when the conguero Luis Miranda came to the San Francisco Bay Area to play with Cal Tjader.

"I was with Machito for five years. It was the number one band in the nation and it put this music on the map. A great humanitarian, he would do benefits for causes and pay the band out of his own pocket. He was always doing a favor for someone. That's why 111th St. in New York is Machito Ave."

Patato's most memorable jazz association came in the early sixties when he teamed up with flautist Herbie Mann.

Patato ~ Footer

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