January

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”.

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.

“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.

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.

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

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.

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.

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.

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.

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

International Salsa Magazine through salsagoogle.com presents Crisanto Edecio Romero Carpio from the Pearl of the Caribbean, Margarita Island and the history of our Caribbean musical culture.

A few months ago in conversations with my friend Salvador García Landaeta, a man with a great trajectory in the musical and radio field and a great connoisseur of the world of Salsa, I made a comment about the name of the title of this publication.

The history of our Caribbean musical culture has had a roller coaster of ups and downs in terms of our musical heroes.

But the fact is that since our Caribbean musical identity was baptized with the name of Salsa, the so-called detractors began, an endless number of opinions that yes it was me, that yes it was sultanito, etc.

There began the tejemaneque, opinionators of office, radio inquisitors, professional payoleros, businessmen fascinerosos, and there was no shortage of rolo e vivos who took ownership of issues that were not even theirs to feast.

But I go much further because even in the Mecca of cinema some people got rich with some movies that it is better not to remember them so as not to play the game and not to stain the name of one of the best Salsa interpreters of all history.

Now, are we in the XXI Century or are we still in the Middle Ages? Our Latin Thing called Salsa today resists a demonic onslaught of criticism and a musical advance poor in lyrics and a denigrating theme towards women, our women, our daughters, our mothers. A vulgar and dishonest language and with an advertising, radio and audiovisual apparatus that costs millions of dollars worldwide.

But Salsa is still there, in every corner, in every neighborhood, in the old LPs that we keep as true musical treasures, in every gathering and conversation among friends.

It is necessary to point out that all is not lost, people who from their communication trenches make a very important contribution.

It would be mean of me to point out any one in particular but when this “Message” arrives, many will know who I am referring to.

This article was a debt with my Salsera people, and to them I dedicate this reflection a day after learning of the death of one of the best interpreters that Puerto Rico has given, I am referring to Ubaldo “Lalo” Rodriguez.

I admired Lalo since his beginnings with Palmieri, his time with Machito and then with his solo project. A career full of successes, awards, and a situation that led him to face the evils of our society where it is easy to get in but very difficult to get out.

The musical career of Lalo Rodriguez, a horse that was born among the greats and became Immortal (although some boasted of “killing him” after his death). Sad and painful for those characters.

Salsa does not die and will never die. And I close my commentary with a phrase written more than 2000 thousand years ago; let him who is without sin cast the first stone.

Crisanto Romero.

For the Ataca Quintero Project by Jaime Quintero and Salvador García.

https://www.facebook.com/crisantoedecio.romerocarpio

You can read: Hector Maisonave Manager of the Greatest Salseros in New York