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January

Goodbye to El Canario de Carolina

Music in mourning

The world of music, more specifically salsa, has lost one of its greatest stars later this year 2022 and is none other than the unforgettable Lalo Rodriguez, who leaves a huge void after his unfortunate departure. In view of the unfortunate things that happened to the humanity of the great artist, we want to take this opportunity to remember the most important of his musical work and the importance of the legacy left by him.

A little of his biography

Ubaldo Rodríguez Santos, better known as Lalo Rodríguez, was born in Río Piedras, Puerto Rico on May 16, 1958 in the family formed by his parents José Rodríguez and Magdalena Santos. As a child, he soon started singing in music festivals and radio and television shows, in which he already showed the great talent that would carry him for the rest of his life. So much so that, a few years later, he was already part of his first musical group, the Tempo Moderno Orchestra.

Lalo Rodríguez was found dead on December the 13th
Lalo Rodríguez was found dead on December the 13th

When he was 15 years old, he received the necessary support to move to New York City, a place where some of the biggest salsa stars of the time were located. While there, he joined Eddie Palmieri‘s band and provided vocals for several songs on the album ”Sun of Latin Music”, which became the first salsa album to win a Grammy. The following year, the artists would team up again to create ”Unfinished masterpiece”, which got a nomination for the aforementioned awards. At that time, it was Palmieri himself who named him ”Lalo” for the first time.

After walking away from Palmieri, he participated in the Machito Grillo’s orchestra, with whom he recorded the album ”Fireworks”. Incredibly, this album also got a Grammy nomination, which represented fabulous numbers for Lalo. Upon coming of age, he already had three albums, a Grammy won and two Grammy nominations.

1980s

During these years, Lalo recorded a significant amount of albums and was beginning to be considered as one of the precursors of romantic and erotic salsa, a subgenre that was beginning to gain much more notoriety in those years. One of the biggest hits of his entire career was the song ”Ven devórame otra vez”, which won him a Lo Nuestro Award in the category of Tropical Song Of The Year and reached very good positions in the Latin Music charts.

Lalo Rodríguez and Eddie Palmieri
Lalo Rodríguez and Eddie Palmieri

1990s

In the 1990s, he continued working hard in his career, resulting in the albums ”Nací para cantar” and ”Estoy aquí”, with which he won gold and platinum records due to the large number of copies sold. These were the last record productions of the artist to be released to the public.

Recent years

Lalo never stopped being active on stages of all types, both in his native Puerto Rico and in other countries around the world. In 2020, it was announced that he was going to release a new album and already had a song selection to include in the material, although no further details had been offered.

Unfortunately, fate would not allow him to go forward with his plans and he was found dead near a basketball court in Carolina, Puerto Rico. One of the first relatives to make an appearance was his road manager.

Lalo Rodríguez and Johnny Cruz
Lalo Rodríguez and Johnny Cruz

After knowing that Lalo was found dead, his road manager Francisco Pérez, who had been working with the artist for several years. He indicated that he had communicated with him that same day and they had agreed to meet, but instead, he received the unfortunate news about his death.

During the following days, many artists expressed their sorrow for the departure of the singer and highlighted his great talent in life, such as Víctor Manuelle, Elvis Crespo, Arnaldo Vallellanes, among many others.

Read also: This is the story of Percussionist Joe González

        By Johnny Cruz, ISM Correspondents, New York, New York City

International Salsa Magazine showcases important facts about Héctor Lavoe

(Héctor Juan Pérez Martínez; Ponce, 1946 – New York, 1993) Puerto Rican singer and composer, considered one of the best interpreters of Caribbean music of all time and a pioneer in the introduction of New York salsa in the early 1970s.

He was part of the legendary orchestra of trombonist Willie Colón and was known by the nickname of El Cantante de los Cantantes.

-.Héctor Juan Pérez Martínez was born on September 30, 1946 in Ponce, Puerto Rico. His parents Luis and Francisca are musicians who, from song to song, manage to support a large family of several children.

-. In the year of Hector’s birth, the singers who would influence him are much older: Daniel Santos is 30 years old; Ismael Rivera, better known as “Maelo”, is 15; and Jose “Cheo” Feliciano is eleven.

-. At the age of three, he suffers his first loss: the death of Francisca Martínez, his mother.

-. Juan Morel Campos is a music academy where his father enrolls him. Héctor begins to learn classical music, but he quickly decides to learn what is played in the streets. Jesús Sánchez Erazo, better known as “Chuito el de Bayamón”, is his first idol.

-. Sings the song Campanitas de cristal, a bolero composed by Rafael Hernández Marín, at a school party.

-. In the early sixties, he forms with friends, including Papo Luca, a group that performs boleros and salsas. He earns 18 dollars a night and his talent seduces the people of Ponce. He is invited to sing on television programs. Musicians Felipe Rodríguez and Tito Lara give him a promising future.

-. At the age of 17, being recognized in his native Ponce, he travels to New York. His family does not agree with his departure. In the city he is greeted by the ghost of the death of a brother, who was supposedly a drug addict. He stays in the apartment of Priscila, one of his older sisters.

Héctor Juan Pérez Martínez
Héctor Juan Pérez Martínez

Before joining the Fania All Stars for the first time, a group directed by the Dominican Johnny Pacheco, he was part of bands such as Orquesta Nueva York and Alegre All Stars.

-. In 1966, at the age of 21, he sings alongside Pete Rodríguez, Adalberto Santiago, Tito Puente, Richie Ray, among other artists, in the incipient Fania All Stars. He meets Willie Colón, an American musician with Puerto Rican parents. “We both knew the world in the Bronx neighborhood. I learned to speak Spanish with Hector, although at first I understood what he was saying. I remember he had a brilliant sense of humor and was a great imitator of singers,” said Colón in an interview.

-. In 1967, he achieved fame with his first album with Willie Colón. It is a mixture of genres such as guaracha, plena and guaguancó, and is entitled El Malo. The album is a tribute to the slum culture of the United States and Latin America.

-. He tries to work as a painter, but his sister won’t allow it. After two weeks, he attends a musical rehearsal with his backing vocalist friend Roberto Garcia. Hector takes the microphone and makes the orchestra directors fall in love with him.

-. At the beginning of 1968 he meets Carmen, a follower he meets at a concert. On October 30 of that year Jose Alberto, his first son, is born.

-. After the birth of Jose Alberto, he has his second son with Nilda Román, another follower. With her, who is nicknamed “La Puchi”, he finally marries and stays in an apartment in Queens. Héctor Junior is the name of his second son.

-. At the end of the sixties he becomes addicted to drugs. In more than one stage he leaves the audience in a daze.

-. In 1971 he is called again to record, together with other stars, Fania All Stars at the Cheetah. This combo featured Cheo Feliciano, Richie Ray, Ismael Miranda, Celia Cruz and the young Rubén Blades. In 1973, the group filled the Yankee Stadium bleachers. Anacaona, Quítate tú and Ahora vengo yo are some of their hits.

-. With Willie Colón, he recorded more than 18 albums between 1967 and 1973. Thousands of reissues of Asalto navideño, El Juicio and Lo Mato were made. Che che colé, Ausencia, Calle luna calle sol, Todo tiene su final are the most requested songs by the Latin American public.

(H3) -. Willie Colón dissolves the duet in 1974. However, both continue to work. Lavoe’s talent continues despite his excesses and the author of Talento de televisión knows it well.

-. In 1975 he releases La voz, his first solo album. This incursion is interpreted as a second wind in his career. So much is his energy to continue that he releases eight more albums. De ti depende (1976) is a collection of boleros and Comedia (1978) breaks sales with the song El cantante, written by Rubén Blades. This work was also produced by Willie Colón, who that year teamed up with Blades to record Siembra, the best-selling salsa album.

-. His interpretation of El cantante helps to build the nickname “El cantante de los cantantes” (The singer of the singers).

-. He performs at the Coliseo Evangelista Mora in Cali in 1977. This concert was attended by the writer Andrés Caicedo, who managed to take a picture with Lavoe in the dressing room. Months later, the author of ¡Qué viva la música! committed suicide with an overdose of barbiturates.

-. As a result of a strong depression, Lavoe is interned in a mental sanatorium in the United States in 1977. His heroin addiction, which he had begun to suffer at the end of the sixties, is not only known by those close to him but also by his fans. “He paid a lot of attention to me and, when he was in trouble, he would call me”, confessed singer Ismael Miranda in an interview.

-. Lives in Cali between November 1982 and March 1983 at the Hotel Aristi. He is a regular singer at the Juan Pachanga discotheque, owned by Larry Landa, a concert organizer. In the capital of the Valley it is said that Lavoe takes drugs during the day and tries to sing at night.

Hector Lavoe el Cantante de los Cantantes
Hector Lavoe el Cantante de los Cantantes

In February 1987, due to a fire, he jumps out of his apartment in Queens. At the same time, in Puerto Rico, his mother-in-law is stabbed to death.

-. On May 7, 1987, his son Hector is hit by a stray bullet. “That death broke his heart,” said Tito Nieves in an interview. “At that moment Héctor Lavoe’s soul dies”.

-. He is diagnosed with AIDS in 1988. Those who visit him in the hospital maintain that he does not lose his sense of humor nor his desire to return to the stage.

-. In Bayamón, Puerto Rico, he sings Mi Gente in a patron saint festival. But his presentation is sabotaged by one of the organizers who supposedly owes him money; in the middle of the song the lights are turned off and Lavoe is left without sound to continue.

-. In 1988, he throws himself from the ninth floor of a hotel in San Juan. He survives to continue fighting the battle. He sings on a Bronx street in 1989. His physical deterioration is a reflection of his state of mind. Lavoe is a ghost of his former self.

Héctor Lavoe
Héctor Lavoe

-. Tito Nieves is one of his friends who accompanies him in his difficult days. Lavoe depended on other people to live. A thrombosis paralyzes part of his body.

-. In March 1993, pushed by his record company, he makes his last presentation in New Jersey. He sings with Roberto Roena’s orchestra. Maestro Roena is not able to play in front of the “Singer of singers”. “It was too much to put him on stage”, he said indignantly.

-. At the age of 46 he dies of a cardiac arrest, on June 29, 1993, in New York. “He came into the world to enjoy it and suffer it. Although he was not happy, he made many people happy,” said his sister Priscila.

-. He is buried in Puerto Rico. He is accompanied by a horde of followers. The presence of his friend Ismael Miranda stands out, who bids him farewell saying: “He is not here with us, but his music continues”.

-. In 2007, El cantante, a movie inspired by his life, was released. It stars Marc Anthony and Jennifer Lopez.

-. Currently there are two monuments in his honor. One in his native Ponce, Puerto Rico, and another in Callao, Peru.

Héctor Lavoe

You can read: Génesis of Salsa, its essence, characteristics, rhythm, history and expansión

Miguel “Angá” Díaz the percussionist who made his name in the ranks of Cuba’s legendary and enigmatic Irakere group

Miguel “Angá” Díaz (1961-2006) was a valuable and prolific Cuban percussionist. With his explosive solos and the creation of five conga toques, “Angá” was widely acclaimed as one of the world’s great congueros.

One of the mainstays of Afro-Cuban rhythm in recent times, Angá played with a multitude of jazz stars, from Chucho Valdés, Chick Corea or Steve Coleman, to Roy Hargrove, Minino Garay, Chano Domínguez and Herbie Hancock, among others.

The claim that he was one of the best percussionists in the world is backed up by the Grammy awards he won, his participation in such important projects as Buena Vista Social Club and the Afro-Cuban All Stars, and his status as sideman of geniuses like Tito Puente, Herbie Hancock, Carlos Santana or Danilo Pérez, as well as his membership in legendary groups like Irakere, according to Más i Más, the organizer of his concerts in Barcelona.

 Miguel "Angá" Díaz el percusionista que se dio a conocer en las filas del legendario y enigmático grupo Irakere de Cuba
 Miguel “Angá” Díaz el percusionista que se dio a conocer en las filas del legendario y enigmático grupo Irakere de Cuba

Father of three daughters – the eldest living in Cuba and the two younger ones in Paris – Angá never stopped searching for new forms of musical expression, experimenting with the fusion of different styles, such as jazz, African sounds, rock and hip-hop.

He was committed to the development of the conga, breaking the traditional barriers of percussion, to introduce them into classic Latin rhythms while preserving their distinctly Cuban roots.

He played with several Cuban artists, including Irakere, Afro-Cuban All Stars, Buena Vista Social Club, Omar Sosa, Omara Portuondo, Tata Güines, Rubén González and Orishas.

Miguel “Angá” Díaz
Miguel “Angá” Díaz

At that time he recorded and toured frequently with international musicians such as Steve Coleman, Roy Hargrove, Baba Sissoko, Ry Cooder, Pascal Coulon, Mezzadri Malik, Montgomery Buddy, Pascal Coulon and John Patitucci. Angá’s musical journey was a personal quest to investigate and create new sounds and rhythmic fusions.

More than just an artist, Angá demonstrated his commitment to the development of his instrument, teaching master classes at various schools and universities in North America and throughout Europe.

For Paris-based Argentine percussionist Minino Garay.

“He is indisputably one of the great percussionists of his generation; the greatest of all. His death causes me enormous sadness, as if it were a story that did not end,” lamented Garay, who will not attend the funeral this Friday, due to the fact that on that day he will give a concert in Vance, in the south of France. “I will certainly dedicate it to him,” he added.

Miguel Angá Díaz (1961-2006) fue un valioso y prolífico percusionista cubano
Miguel Angá Díaz (1961-2006) fue un valioso y prolífico percusionista cubano

Angá Díaz received his formal education at the Escuela Nacional de Arte in Havana, Cuba, and after joining the Latin jazz groups Opus 13 and Irakere, where he perfected his conga playing technique, he moved to Europe, where he devoted himself to exploring the fusion of styles, bringing Cuban music closer to other musics and thoroughly investigating the relationship between Afro-Cuban polyrhythms and technology.

In the summer of 2005, Angá released his first solo album EChu Mingua, which the musician himself described as “a musical religious mass. Spiritual music is when the spirits are invoked to come down to earth, inviting them to a party or to talk to them”, and that is “the whole concept of the album”.

Transgressor of conventions, Angá emerged as an independent, free and committed musician with a wide variety of projects, from experimental jazz with Steve Coleman and Roy Hargrove, and hip-hop with the Orishas, to his participation in Omar Sosa’s tours, in addition to participating in numerous alternative projects with musicians from all over the world.

Angá’s musical trajectory was a tireless search, whose main purpose was to explore and create new sounds, as well as rhythmic fusions.

Source: jornada.com.mx

Miguel “Angá” Díaz

You can read: Freddy de Jesús Ortega Ruiz “Coco & su Sabor Matancero”

Wálter Rebatta from Peru is one of the most outstanding figures of Latin music

We are honored to present in this new delivery, one of the most outstanding figures of Latin music, representing the brother country of Peru; who has put very high the name of the musicians born in Inca lands to the world.

With you, directly from France, we have as a special guest Wálter Antonio Rebatta Hinostroza, a brand new and spectacular percussionist, who was born on September 14, 1973, in Bella Vista, Callao, Peru, being artistically known as “El Chato”.

Welcome Wálter to Salsa Escrita “La Columna Salsera de Barquisimeto, Venezuela”.

Wálter Rebatta desde Perú es una de las figuras más resaltantes de la música latinaWálter Rebatta desde Perú es una de las figuras
Wálter Rebatta desde Perú es una de las figuras más resaltantes de la música latinaWálter Rebatta desde Perú es una de las figuras

It is an immense pleasure to have you as a special guest in International Salsa Magazine through www.SalsaGoogle.com.

Thank you very much to you, my friend, Professor Carlos, for the invitation to your well read and recognized column and I take this opportunity to give a sincere greeting to all Venezuelans who are like my brothers.

How did you start in music? Well, teacher in my neighborhood called Ventanilla, in Peru, I grew up and since I was a child I breathed musical air, where at the age of 6 years old I was already playing “El Cajon”, traditional Peruvian Creole instrument, under the tutelage of my older brother Kike Rebatta, who took me later to learn other percussion instruments and prepare me with music theory, and then enter the music school of the renowned teacher Edelmi Chavez, and thus enter to form ranks in the most recognized orchestras in my country, such as: La Iniciativa, Orquesta la Grande, Banana Latin Jazz, among others. Wálter, which international orchestras and artists have you accompanied? I have accompanied and worked with “Los Hermanos Colón” from Puerto Rico and among many groups, I have had the honor of being on stage with my Venezuelan brothers, Hildemaro “El Sonero del Amor”, with whom I have a great friendship, as well as with the master timbalero Alfredo Villamizar, from whom I have learned a lot and from whom I must thank through his column Salsa Escrita.

Wálter Rebatta Multi-Percusionista Peruano
Wálter Rebatta Multi-Percusionista Peruano

“Chato”, you are currently based in the French city of Grenoble and we would like to know how is the salsa movement, especially in Europe. In fact, professor, in 1995, I came to Europe with the “Orquesta Salsa Perú” and I met Mr. Rodolfo Guerra, with whom a great friendship was born and I became part of the “Orquesta Sincopa Latina”, directed by him, being present in his productions: Salsa que te pasa, Demasiado corazón, Mi bachata, Puerto Rico, Todo, Escándalo, Mi silencio, Mi toque, Habla conmigo and Azafata.

Wálter, I have heard that you have accompanied great salsa artists in their presentations, tell me who? I have had the honor of accompanying the late Tito Gómez, Willie González, Luisito Carrión and the great Venezuelan sonero Orlando José Castillo “Watussi”. Also, let me tell you professor, that I have worked in the Italian television Media Set, in the very popular program “Notte Vola”, also in 2002, I participated in the Tour of the Queen of Salsa, Celia Cruz, along with the orchestra of the prestigious world famous violinist Alfredo de La Fe.

Likewise, my friend Carlos, in 2004, I performed in numerous events with Latin jazz groups, among them “El Royal Cuba”, of the Cuban musician and singer Eduardo Céspedes.

In 2007, I participated in the prestigious and famous San Remo festival with the singer Daniele Silvestri, with whom I have recorded in his productions.

Wálter Antonio Rebatta Hinostroza
Wálter Antonio Rebatta Hinostroza

In 2009, I participated in the Italian tour “Terromotati Dil Abruzzo”, conducted by the famous singer Laura Pausini and later that same year I participated again in a tour in the United States for charity with Pausini again.

Excellent Wálter, and what can you tell us about the orchestra you are currently working with and what are your future projects? Professor Carlos, at present I am an official musician of the renowned orchestra “Mercadonegro” and in relation to my projects, is to form my own group and perhaps venture into the bachata, but without leaving aside the salsa, since living in Europe I have met many bachateros.

And something very important, my friend Colmenárez, I am also working on the project of my Venezuelan compadre, the musician Edwin Sanz, whom I would like you to interview at some point.

Very good Wálter, congratulations for your trajectory, what are your contacts in the digital platforms? My Facebook is: Wálter Antonio Rebatta Hinostroza and my whatsapp: +41 77 5122633.

Wálter Rebatta
Wálter Rebatta

Finally, we want to wish you the best on behalf of Salsa Escrita “La Columna Salsera de Barquisimeto” and that you continue to raise the name of Peru in all the stages of the world.

Thank you a thousand times, Professor Carlos Colmenárez, for taking me into account and thus making my career known and giving my greetings, thanks and respect to all the salseros of the world through International Salsa Magazine, www.SalsaGoogle.com and long live salsa, Peru and Venezuela, united forever.

Known artistically as Mahel, Singer, composer, percussionist and professional model

You can read: Walter Rebatta

Carlos “Patato” Valdés one of the best percussionists in the history of Latin Jazz.

On November 4, 1926 in the Los Sitios neighborhood of Havana, Cuba, Carlos “Patato” Valdés was born. Known as Patato, he is, quite simply, one of the best percussionists in the history of music.

Patato was born into a very santera and very musical family, his father was a tres player of Los Apaches, the port germ of two illustrious sonera groups: the Sexteto Habanero and the Sexteto Nacional.

He learned to play the tres and the botijuela before turning to percussion, first on the cajones and finally on the congas.

He was an extraordinary percussionist of outstanding participation with the “Conjunto Kubavana”, “La Sonora Matancera”, “Conjunto Casino” and the “Orquesta de Tito Puente”, among other groups, both Son and Latin Jazz.

Formed in rumbero gatherings and carnival groups, Valdés became a professional in the early forties, after trying his luck as a boxer and dancer.

Carlos “Patato” Valdés uno de los mejores percusionistas en la historia del Jazz Latino
Carlos “Patato” Valdés uno de los mejores percusionistas en la historia del Jazz Latino

He played with Conjunto Kubavana, La Sonora Matancera and El Conjunto Casino. He accumulated nicknames: Zumbito (for his performances at the Zombie Club), Pingüino (for a dance he did on television) and Patato (for his small size), and in those days, dedicating oneself to music in Cuba guaranteed hardship. Besides, Patato wanted to experiment and that was not possible playing for dancers or tourists.

In 1954, he emigrated to New York, like his leather friends: Cándido Camero, Armando Peraza, Mongo Santamaría and the pioneer Chano Pozo (murdered there in 1948).

He immediately began working with Tito Puente. His first recording in the United States was the album Afro-cuban, by trumpeter Kenny Dorham, which opened with the intoxicating Afrodisia. Those were good times for tropical music.

He was the first percussionist to improvise “Solos” with 3 or more Congas at the same time. In addition, he was the creator of the “Congas Afinables”, instruments on which he would ride to dance making them sound rhythmically.

Patato Valdes was an excellent musician, an unforgettable person. Nervous and diminutive, he spoke with an impenetrable Cuban accent; he dressed elegantly, hiding the necklaces and bracelets of Changó and other “orishas”. He looked like a living caricature, but when he hit the percussions he became a divine creature: he had power, spectacularity, sense of melody.

Those skills made him an ambassador of Afro-Cuban rhythms in the jazz world, although he will also go down in history for his extraordinary rumba recordings.

In 1956, Patato appeared in the film Y Dios creó a la mujer, teaching the dances of his homeland to Brigitte Bardot. A great moment, although an implacable Guillermo Cabrera Infante criticized the actress’s movements: “she seems to commit suicide by dancing a cross between mambo and chachachá, a really toxic cross between mambo and chachachá”.

A flexible musician, Valdés sounded as comfortable playing with Machito’s big band as with Herbie Mann’s group. However, he felt indebted to the “rumba de solar” and in 1968 he recorded a revolutionary album with his friend Eugenio Arango, alias Totico.

The exuberant Patato & Totico had genuine Havana flavor, but enriched the basic percussion instrumentation with Cachao’s contrabass and Arsenio Rodriguez’s tres.Patato expanded the creative possibilities for percussionists by playing with three or more congas.

He also made their lives easier by developing a tunable conga: fed up with the traditional method (heating the leather over fire), he installed a metal hoop and keys for tensioning.

Carlos "Patato" Valdés
Carlos “Patato” Valdés

The LP company mass-produced his model, which was to become the standard for conga players. To promote it, he formed the Latin Percussion Jazz Ensemble with Tito Puente, Jorge Dalto and Alfredo de la Fé, among others, an orchestra that would end up becoming Puente’s big band in the early 80s.

It was during this period with Dalto that the album we have chosen for today began to take shape. It was titled “Patato, Master Piece” and it synthesizes all of Patato’s genius.

“Masterpiece” is an album that travels first class through tango, jazz, descarga, guaguancó and bolero, always in a masterful way and with a luxury crew made up of names like Jorge Dalto, Artie Webb, Michel Camilo, Jerry and Andy González, Nicky Marrero, Ignacio Berroa, Joe Santiago, Néstor Sánchez, Vicentino Valdés, and Sabú Martínez, among others.

The Art of Flavor.

Unfortunately Dalto had already passed away when in 1993 the project was released by the venerable German label Messidor, the same label that had already financed some impressive sessions of Patato with Mario Bauzá or Bebo Valdés, with whom he would later record the famous El Arte del Sabor.

Jorge Dalton
Jorge Dalton

In fact, the great Argentine pianist had to be replaced for the last recording sessions that were made 6 years ago since his illness was too advanced, but he left us some incredible arrangements that were kept in the great majority of the themes.

Dalto left us in 1987 when he was only 39 years old. His replacement was nothing more and nothing less than a very young Michel Camilo.formed by 9 cuts among which we especially want to highlight the huge versions of Cute and Nica’s Dream, Masterpiece is an essential album for all lovers of Latin-jazz with capital letters and that is why we wanted to share it on a day as special as today.

Already recognized as a legend, Patato became more visible in the last 25 years: he had his own band, Afrojazzia, although The Conga Kings, with Cándido and Giovanni Hidalgo, turned out to be more popular.

The Conga Kings Giovanni Hidalgo, Cándido Camero y Patato Valdez
The Conga Kings Giovanni Hidalgo, Cándido Camero y Patato Valdez

He even made his way onto the modern dance floors, with a remix of San Francisco tiene su propio son. Just as he was returning from playing in California with the Conga Kings, his breathing began to fail.

The plane he was on had to make an emergency landing in Ohio to admit him to a hospital. The 81-year-old percussionist, a heavy smoker, was on his way to his beloved New York, but he would never get there. According to his relatives, he held out until December 4, the day of Santa Barbara, the Afro-Cuban equivalent of Changó, when the cables and tubes that kept him alive were removed.

Valdés died in Cleveland, USA, on December 4, 2007.

Fuentes: http://www.herencialatina.com/Patato/Patato_Valdes.htm

Imágenes: Martin Cohen de Congahead.com

Carlos “Patato” Valdés

You can read: Irakere was a Cuban group that developed an important work in Cuban popular music and Latin Jazz under the direction of Chucho Valdés

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.