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Mirandela -> Tua
The narrow gauge line Mirandela - Tua, branch line of the Douro Railway, was closed years ago and this locomotive type is out of service, but this part of the line is still open. It is used by the Metro Mirandela (Cachao - Mirandela - Carvalhais).
1427 skirts the River Douro in the Cachão da Valeira, gorge just above the Valeira Dam working R868 13:08 Pocinho to Porto Campanhã
By far one of the most scenic of the Portuguese narrow gauge lines was that from Tua in the upper reaches of the Douro Valley to Mirandela and Bragança. The line turned north into the valley of the Tua river running on a ledge in the gorge initially before reaching open countryside and the olive groves around Mirandela. Because of its length the line retained loco haulage pretty well to the end although freight traffic ceased around 1990. At its full extent the line was one of the longest at 133.8kms but this was pruned back in September 1991 when the section between Mirandela and Bragança lost its passenger service with the line deemed closed from December 1991. A short 4km section was later reinstated in 1995 between Mirandela and Carvalhais and ironically that is all that now survives along with a short section south of Mirandela to Cachão titled the "Mirandela Metro" and funded by the local authority. The section between Tua and Cachão (Mirandela) had its service suspended after an accident on 22/8/2008 and sadly it was never reinstated with the formal closure coming the following year.
In happier time loco 9030 is seen with its single coach and a bogie box van waiting to form the 11.21 Tua to Mirandela.
.
Cachão (P) 17-05-1991
CP 902?
Regional 6210 Bragança - Tua
-30142-
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E112, nicknamed Macedo, was built in 1904 by Kessler Esslingen in Germany.
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(private collection, reproduction prohibited)
In 1995 EMEF in Guifões built six railcars with the use of the bottom frames and bogies of DMU's series CP 9700. The first two were in red livery and to be used by the CP on the Linha do Corgo. The other four were for the Metro de Mirandela, a light-rail line using a section of a closed railway near Mirandela. These four cars were also used for CP services between Tua and Mirandela. In 2001/2 three more were built for the CP, one to replace the last DMU series 9700 on the Linha do Corgo and two to replace the NOHABs series 9100 on the Linha do Tâmega. Alas two of the Mirandela cars were in 2007 and 2008 involved in serious accidents (derailments) causing a total of four fatalities and dozens of injuries. The investigations resulted to the conclusion that all three metre-gauge lines were in a poor condition and had to be closed. The CP sold its railcars (9501-9502 & 9507-9509) to Incarail in Peru. The two remaining railcars of the Metro de Mirandela remained in use between Mirandela and Cachão until the syatem was closed in December 2018.
E113 na linha do Tua em 1968. Estação por identificar, mas muito provavelmente Cachão devido às caracteŕísticas do ambiente circundante. Fabricada pela Kessler, 1907
Revisto, 6/Agosto/2018 - A estação é efetivamente FRECHAS. Agradecimento especial a ttr eter (tytryt2010)
Mallet E113, Tua Line, unidentifiable station, but from the surroundings it is likely Cachăo. E113 Made by Kessler, 1907.
Update, 6/August/2018- The station has been identified as FRECHAS. Special thanks to ttr eter (tytryt2010)
See also
(disclosure - purchased negative, author unknown)
A picture taken a few metres to the rear of the train in the previous posting. It shows one of the re-bodied Diesel railcars which now operate the remaining short section of the Tua Valley narrow gauge line in Portugal. A couple of km.'s worth section of track from that previously closed on the route to Braganca was re-opened to Carvalhais as a Mirandela Metro and these railcars shuttled to and fro at odd intervals; though I guess half their purpose disappeared with the closure of the remaining section of railway. Following that closure, these units were called upon to work further down the more recently closed Tua direction of line to Cachao.
The railcars themselves are Volvo powered and are re-builds of the former Yugoslavian built and operated Doro Dakovic units bought by the Portuguese to modernise their narrow gauge lines when the former country closed or re-gauged theirs.
Cachão station, Tua line, Portugal, 1968. E112 was built in 1904 by Kessler Esslingen in Germany.
See also
(disclosure - negative purchased from auction, author unknown)
Op een klein stukje van de oorspronkelijk 134 kilometer lange Linha do Tua Tua - Bragança vindt nog vervoer plaats. Het gaat om de zeventien kilometer tussen Cachão en Carvalhais, waar met twee motorrijtuigen een beperkte dienst wordt uitgevoerd onder de noemer 'Metro de Mirandela'. De 9505 is in de vroege ochtend van 20 juni 2012 op weg naar Carvalhais en komt langs het stationnetje van Frechas.
Meer over de Metro de Mirandela in het maandblad Op de Rails, uitgave 2012-9 (zie www.nvbs.com)
In 1995 EMEF in Guifões built six railcars with the use of the bottom frames and bogies of DMU's series CP 9700. The first two were in red livery and to be used by the CP on the Linha do Corgo. The other four were for the Metro de Mirandela, a light-rail line using a section of a closed railway near Mirandela. These four cars were also used for CP services between Tua and Mirandela. In 2001/2 three more were built for the CP, one to replace the last DMU series 9700 on the Linha do Corgo and two to replace the NOHABs series 9100 on the Linha do Tâmega. Alas two of the Mirandela cars were in 2007 and 2008 involved in serious accidents (derailments) causing a total of four fatalities and dozens of injuries. The investigations resulted to the conclusion that all three metre-gauge lines were in a poor condition and had to be closed. The CP sold its railcars (9501-9502 & 9507-9509) to Incarail in Peru. The two remaining railcars of the Metro de Mirandela remained in use between Mirandela and Cachão until the syatem was closed in December 2018.
In 1995 EMEF in Guifões built six railcars with the use of the bottom frames and bogies of DMU's series CP 9700. The first two were in red livery and to be used by the CP on the Linha do Corgo. The other four were for the Metro de Mirandela, a light-rail line using a section of a closed railway near Mirandela. These four cars were also used for CP services between Tua and Mirandela. In 2001/2 three more were built for the CP, one to replace the last DMU series 9700 on the Linha do Corgo and two to replace the NOHABs series 9100 on the Linha do Tâmega. Alas two of the Mirandela cars were in 2007 and 2008 involved in serious accidents (derailments) causing a total of four fatalities and dozens of injuries. The investigations resulted to the conclusion that all three metre-gauge lines were in a poor condition and had to be closed. The CP sold its railcars (9501-9502 & 9507-9509) to Incarail in Peru. The two remaining railcars of the Metro de Mirandela remained in use between Mirandela and Cachão until the syatem was closed in December 2018.
These are the bogies of 9503, still under construction.
In 1995 EMEF in Guifões built six railcars with the use of the bottom frames and bogies of DMU's series CP 9700. The first two were in red livery and to be used by the CP on the Linha do Corgo. The other four were for the Metro de Mirandela, a light-rail line using a section of a closed railway near Mirandela. These four cars were also used for CP services between Tua and Mirandela. In 2001/2 three more were built for the CP, one to replace the last DMU series 9700 on the Linha do Corgo and two to replace the NOHABs series 9100 on the Linha do Tâmega. Alas two of the Mirandela cars were in 2007 and 2008 involved in serious accidents (derailments) causing a total of four fatalities and dozens of injuries. The investigations resulted to the conclusion that all three metre-gauge lines were in a poor condition and had to be closed. The CP sold its railcars (9501-9502 & 9507-9509) to Incarail in Peru. The two remaining railcars of the Metro de Mirandela remained in use between Mirandela and Cachão until the syatem was closed in December 2018.
In 1995 EMEF in Guifões built six railcars with the use of the bottom frames and bogies of DMU's series CP 9700. The first two were in red livery and to be used by the CP on the Linha do Corgo. The other four were for the Metro de Mirandela, a light-rail line using a section of a closed railway near Mirandela. These four cars were also used for CP services between Tua and Mirandela. In 2001/2 three more were built for the CP, one to replace the last DMU series 9700 on the Linha do Corgo and two to replace the NOHABs series 9100 on the Linha do Tâmega. Alas two of the Mirandela cars were in 2007 and 2008 involved in serious accidents (derailments) causing a total of four fatalities and dozens of injuries. The investigations resulted to the conclusion that all three metre-gauge lines were in a poor condition and had to be closed. The CP sold its railcars (9501-9502 & 9507-9509) to Incarail in Peru. The two remaining railcars of the Metro de Mirandela remained in use between Mirandela and Cachão until the syatem was closed in December 2018.
This is the body of 9503, still under construction.
In 1995 EMEF in Guifões built six railcars with the use of the bottom frames and bogies of DMU's series CP 9700. The first two were in red livery and to be used by the CP on the Linha do Corgo. The other four were for the Metro de Mirandela, a light-rail line using a section of a closed railway near Mirandela. These four cars were also used for CP services between Tua and Mirandela. In 2001/2 three more were built for the CP, one to replace the last DMU series 9700 on the Linha do Corgo and two to replace the NOHABs series 9100 on the Linha do Tâmega. Alas two of the Mirandela cars were in 2007 and 2008 involved in serious accidents (derailments) causing a total of four fatalities and dozens of injuries. The investigations resulted to the conclusion that all three metre-gauge lines were in a poor condition and had to be closed. The CP sold its railcars (9501-9502 & 9507-9509) to Incarail in Peru. The two remaining railcars of the Metro de Mirandela remained in use between Mirandela and Cachão until the syatem was closed in December 2018.
This is the body of 9503, still under construction.
In 1995 EMEF in Guifões built six railcars with the use of the bottom frames and bogies of DMU's series CP 9700. The first two were in red livery and to be used by the CP on the Linha do Corgo. The other four were for the Metro de Mirandela, a light-rail line using a section of a closed railway near Mirandela. These four cars were also used for CP services between Tua and Mirandela. In 2001/2 three more were built for the CP, one to replace the last DMU series 9700 on the Linha do Corgo and two to replace the NOHABs series 9100 on the Linha do Tâmega. Alas two of the Mirandela cars were in 2007 and 2008 involved in serious accidents (derailments) causing a total of four fatalities and dozens of injuries. The investigations resulted to the conclusion that all three metre-gauge lines were in a poor condition and had to be closed. The CP sold its railcars (9501-9502 & 9507-9509) to Incarail in Peru. The two remaining railcars of the Metro de Mirandela remained in use between Mirandela and Cachão until the syatem was closed in December 2018.
Anos 90 . Agora apenas há automotoras série 9500 do Metro de Mirandela até ao Cachão
!990...now this train does not exist , because they were replaced by light trains of Mirandela Metro ! They work between Mirandela and Cachão in Tua line- north Portugal
La Loteria Canta Pedro Brull www.youtube.com/watch?v=ZzpPDPuy6Xk
LOUIS BAUZO www.harborconservatory.org/ m_faculty.html
Harbor Latin Big Band Louis Bauzo www.youtube.com/watch?v=oiRyzGj5q54
LOUIS BAUZO (Latin percussion / department head)
Louis Bauzo has been a professional musician for over thirty years. A former member of the Tito Puente Orchestra, he has performed and/ or recorded with Dizzy Gillespie, Machito, Mario Bauzo, Eddie Palmieri, Mongo Santamaria, Johnny Pacheco, Larry Harlow, Celia Cruz, Cachao and Paul Simon, among others. Director of the Harbor Conservatory’s Latin Percussion Department, Mr. Bauzo is also the musical director and conductor of the Harbor Big Band, as well as the Co-Founder/Curator of the RAICES Latin Music Collection. Mr. Bauzo is a recognized authority on Afro-Caribbean folklore, and has studied in Africa, Puerto Rico, Cuba, and the Juilliard School of Music. He is the director of the Afro-Caribbean folkloric dance and drumming troupes “Carambu” and “Patakin”. In 2000, Mr. Bauzo was honored as an Urban Folk Hero with his induction into City Lore’s People's Hall of Fame in recognition of his effort in creating a home for Latin music
Harlow, Larry
Larry Harlow was born Lawrence Ira Kahn in Brooklyn, New York on 20 March 1939, into a musical family of Jewish-American descent. The young Harlow, affectionately known as El Judio Maravilloso (The Marvellous Jew), excelled at an early age at various instruments. The music and culture of New York’s Latino community led him to Cuba where he began an intense study of Afro-Cuban music.
Harlow is a noted salsa bandleader and multi-instrumentalist, although he primarily plays piano.
Harlow was among the pioneers in the early days of the Fania label. For Fania records he has produced over 106 CD’s for various artists and over 50 CD’s as his own. Among his most popular albums were “Abran Paso” and “Tributo a Arsenio Rodriguez” with Ismael Miranda as the lead singer.
Harlow started studying piano at the age of five. He grew up with his younger brother Andy in a mixed Jewish and Puerto Rican neighbourhood. Harlow attended the Music and Art High School in Manhattan, where he was classically trained in piano, organ, oboe, English horn, flute, bass, harmony and composition. He converted to jazz and became an accomplished jazz pianist.
Hearing Latin music emanating from record stores in New York’s Spanish Harlem captured Harlow’s imagination: he started researching the music, seeking-out Latin musicians and performing in young street bands. While majoring in music at Brooklyn College, he spent his first Christmas vacation in Havana, where he began a love affair with Cuban music and culture. He returned to Cuba for nearly three years to study and research the island’s music.
Back in New York City, Harlow started working with established Latin bands. He decided to found his own and after an eight-month hunt for the right musicians, his first Orchestra Harlow made its debut at New York’s Chez Jos’ Club.
Shorty afterwards he became one of the earliest to sign with the new Fania Records label and released Heavy Smokin’. At that time, Orchestra Harlow’s two trumpet/two trombone horn section featured acclaimed Cuban trumpeter Alfredo “Chocolate” Armenteros and lead trombonist Mark Weinstein, who co-arranged the album with Harlow. Heavy Smokin’ lead vocalist Felo Brito was replaced by Monguito on the follow-up album Bajandote - Gettin’ Off.
Harlow first saw the young Ismael Miranda perform with his brother Andy’s group. In July 1967, Harlow hired Miranda as his new lead singer, marking the starting-point of a highly successful five year period in the history of his band. Miranda’s album debut with Orchestra Harlow was El Exigente with a psychedelic sleeve design befitting the flower power era then at its height. Harlow used a light show in his act at the time. Orchestra Harlow Presenta A Ismael Miranda showcased the 18-year-old vocalist, and included the hit “La Contraria” written, along with two other songs, by Bobby Valentin, who played bass and shared arranger credits.
Harlow’s first gold disc winner Me And My Monkey - ‘Mi Mono y Yo’ featured a Latinized version of John Lennon and Paul McCartney’s “Everybody’s Got Something To Hide Except Me And My Monkey”, though the remainder was typical fare, including the hits “El Malecon” and “Mi Madre”, both co-written by Harlow and Miranda. A succession of hit albums followed, including Electric Harlow, the title denoting Harlow’s use of electric piano on the record; Abran Paso!, with the hit title track composed by Miranda; the notable Tribute To Arsenio Rodriguez in homage to the great Afro-Cuban musical innovator who died at the end of 1970; and La Oportunidad, featuring Miranda’s hit compositions “Señor Sereno” and “Las Mujeres Son”.
Eventually, Miranda departed to pursue a solo career while Harlow took time out to score and produce 1973’s highly regarded Hommy - A Latin Opera (based on the Who’s Tommy) written by Genaro “Heny” Alvarez. Both the studio album and stage presentation at New York’s Carnegie Hall, on 29 March 1973, featured a galaxy of Fania names, including Celia Cruz, Justo Betancourt, Cheo Feliciano, Adalberto Santiago, Pete “El Conde” Rodriguez and Heny Alvarez as the narrator.
Between 1971 and 1978 Harlow became a prolific producer for the Fania family of labels, working on recordings by Mark “Markolino” Dimond; the brilliant Brujeria, and Beethoven’s V, as well as Roberto Roena y Su Apollo Sound, La Conquistadora, Orchestra Dicup, Justo Betancourt, including his 1972 classic Pa Bravo Yo with the title track written by Ismael Miranda, Frankie Dante And Orquesta Flamboyan, Santos Colon, Latin Tempo, Sonora Ponceña, Lebron Brothers, Wuelfo, La Terrifica, Rafi Val Y La Diferente, Bronco, Junior Gonzalez, Tito Gomez and Latin Fever (an all-female group).
He also worked on his own, producing four albums on the Fania stablemate Vaya Records: 1972’s gold disc winner Sorpresa La Flauta, which included the smash hit “La Loteria”, and the less successful La Musica Brava, El Campesino and Latin Fever.
Harlow continued with 1974’s Salsa, regarded by some as a key album of the burgeoning 1970’s salsa boom, which featured elements presaging the charanga revival of the latter half of the 70s. The two-disc Live In Quad was the first and possibly the only salsa album recorded in quadraphonic stereo, with Justo Betancourt guesting as co-lead vocalist. The recording was not only brilliant technically but provided equally brilliant music, as this track, entitled Tumba y Bongo shows.
Gonzalez made two more albums with Harlow: El Judio Maravilloso (1974), with charanga touches provided by Felix “Pupi” Legarreta’s violin, and El Jardinero Del Amor, with the 1976 Harlow/Miranda reunion Con Mi Viejo Amigo sandwiched in-between. Revered veteran Cuban singer/former big band leader Marcelino Guerra contributed chorus vocals to Harlow’s albums between 1971, starting with Tribute To Arsenio Rodriguez, and 1974, with the exception of Live In Quad.
Gonzalez departed and released a string of solo albums, including: Tiempos Buenos/Good Times (1977), Mi Estilio/My Style and Naturalmente Jr. Gonzalez on Fania; Gracias on 7th Galaxy; Sabor Y Sentimiento on Caballo; M as Romantico Que Nadie on Mercury; Lo Pasado Pasado on EMI/Capitol; En Su Tiempo ... Siempre on Sony; Mis Raices on J&N/EMI. Additionally, Gonzalez was amongst various prominent vocalists on Tito Puente‘s first two tribute albums to Beny Moré, (1978 and 1979); and he was one of the lead singers in the Jose Mangual Jr. produced Salsa Ritmo Caliente and Salsa Ritmo Caliente, Vol. 2, backed by the cream of New York’s salsa session musicians.
Meanwhile Harlow’s 1977 salsa suite La Raza Latina, an ambitious “history of Latin music in musical genre” with Rubén Blades, was nominated for a Grammy Award. He replaced Gonzalez with the magnificent voice of albino sonero Nestor Sanchez, which was showcased in 1978’s El Albino Divino (Sanchez’s nickname), with Legarreta again guesting on violin, and Rumbambola. “If Nestor Sanchez takes a chord progression his voice would be his instrument and he improvises. He’d play jazz,” said Harlow in New York Latino, 1993.
In 1979, Harlow teamed-up with Dominican Fausto Rey for the lacklustre La Responsabilidad with Sanchez in the chorus; Sanchez returned to lead vocals on El Dulce Aroma Del Exito in 1980. That year, Harlow reunited with Gonzalez for Our Latin Feeling/Nuestro Sentimiento Latino. Harlow’s one-off release on Coco Records in 1981, Asi Soy Yo, featured Gary Carrion on lead vocals with Sanchez on background vocals. His final album on Fania, Yo Soy Latino was also Sanchez’s last with the bandleader.
Thereafter, reflecting the wane of New York salsa during the 80s, Harlow’s output became sparse. Señor Salsa, with lead singer Ray Perez, was an undistinguished album on Tropical Budda. In 1984 he produced La Verdad, the United States solo debut of vocalist/composer Israel “Kantor” Sardinas. Salsa Brothers/The Miami Sessions (1988), the first on Songo Records, was made in Miami with Andy, who had relocated there in 1977. The album marked the re-emergence on record of piano wizard Mark “Markolino” Dimond, who soloed on one track and co-arranged with Andy. Mi Tiempo Llego/My Time Is Now, again with Ray Perez, on Cache was a misjudged comeback attempt.
Harlow was a founder member of the Fania All Stars and performed on all their albums up to 1976 (plus 1979’s Habana Jam, recorded in Cuba), he also appeared with them in the movies Our Latin Thing (Nuestra Cosa), Live In Africa and Salsa. In 1994, he teamed up with Ray Barretto, Adalberto Santiago and cuatro guitar virtuoso Yomo Toro to found the Latin Legend Band, with the aim of both educating Latino and American youth about Latin music heritage and pioneering new ideas in the music, resulting in Larry Harlow’s Latin Legends Band 1998 and songs Palo Duro.
Harlow holds a BA degree in music from Brooklyn College and has an Master’s degree in philosophy from the New School of Social Research in New York City.
With the killer "Descarga Cachao", compiled years ago by Soul Jazz Records on their "Nu Yorica roots" sampler.
inmigrantes cubanos en Belgica y Holanda,Residentes Cubanos en Holanda,
Nederland,The Netherlands,Holland,Pasy-Bas,L'Hollande,Holanda,Olanda,Paises Bajos,Zwindrechte-Zuid Holland,Cuba-Cubanos en Zwijndrecht - Holanda -Cubans People in Holland - Cubans People in Belgium - Cubans People in France,
inmigrantes cubanos en belgica y holanda,
honkbal- en softbalvereniging "hsv zwijndrecht"
club gebouw dug inn winkelhaak 3335 kg zwijndrecht -
Club de Beisbol y Softbal de Zwijndrecht.
Clubgebouw Dug Inn
Winkelhaak 3
3335 KG Zwijndrecht - Zuid Holland - Holanda -
078 - 6101379
Zwijndrecht - Zuid Holland - Nederland - Holanda - Pays-Bas - Netherlands -
wiki.worldflicks.org
wiki.worldflicks.org/#coords=(51.828597160365355, 4.614043235778809)&z=18
wikimapia.org
wikimapia.org/#lat=51.8276987&lon=4.6134639&z=18&...
wikimapia.org
vista aerea del campo de deportes de Zwijndrecht.
wikimapia.org/#lat=51.8280568&lon=4.6140486&z=18&...
Eduardo Galeano y Ruben RAda. Madres Coraje.
www.youtube.com/watch?v=xxbgogDloXo&feature=related
Julio 2009 -Reunion de Emigrantes Cubanos en Holanda y Belgica , en Zwijndrecht - Zuid Holland - Holanda -
www.flickr.com/photos/cubanosenzwijndrecht/
vinculado al mapa-
www.flickr.com/photos/latinosamericanosholanda/map?&f...
Cuba versus Holanda - Estadio Neptuno Rotterdam - 2009
www.flickr.com/photos/cubanosneptunus2009/
Cachao/Andy Garcia "Ahora Si"
www.youtube.com/watch?v=ameDnF54Du0&feature=related
Libertad
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Libertad
Paul Éluard
MISTERIOSA BUENOS AIRES.
LA CASA CERRADA
DE MUJICA LAINEZ por ALBERTO LAISECA
- ARGENTINA -
www.youtube.com/watch?v=Hqv1fUyVpSk
PANORAMIO.COM
LATINOS AMERICANOS HOLANDA
www.panoramio.com/user/2453602
Ipernity.com
Latinos Americanos En Holanda
Celia Cruz Park, also known as Celia Cruz Plaza or Kiwanas Plaza, at 31st Street and Bergenline Avenue, was dedicated during the annual Cuban Day Parade on June 4, 2003--nearly a year after the death of Cuban-American salsa singer Celia Cruz. Úrsula Hilaria Celia Caridad Cruz Alfonso (1925-2003), known as the "Queen of Salsa" or "La guarachera de Cuba", was one of the most successful Cuban performers and lived nearby in Fort Lee.
The park features a sidewalk star in Cruz's honor, and an 8' x 10' mural by Union City's Edgardo Davila, a collage of Cruz's career throughout the decades. Stars were later added to the park in honor of Tito Puente, Spanish language television news anchor Rafael Pineda, salsa pioneer and Johnny Pacheco. The park was again refurbished by the Latin American Kiwanis Club of North Hudson in early June 2006. The mural was replaced with a backlit photograph of Cruz, and four more stars were added in honor of merengue singer Joseíto Mateo, salsa singer La India, Cuban musician Israel "Cachao" Lopez, and Cuban tenor Beny Moré.
en.wikipedia.org/wiki/Carlos_Valdes
Tito Puente Live at the Montreux tune 1 www.youtube.com/watch?v=ZxzphmtiUVk
Carlos "Patato" Valdez & La Sonora Matancera www.youtube.com/watch?v=Ij6cfcadkbQ
About Carlos Patato Valdes
For over 50 years, Carlos "Patato" Valdez has demonstrated how a musician can combine technical skill with superb showmanship. His conga playing fuses melody and rhythm, and his understanding of rhythm is rooted in dancing. Patato still dazzles onlookers with his famed dance moves at the age of 74 -- he's the man who gave Brigitte Bardot a mambo lesson in the film And God Created Woman- -- dancing to his own solo in front of the congas, behind them and on top of them, bringing them to sing in voices no other conga player is able to create, luring them to tell tales full of melodies and poignancy. It is Patato's spontaneity and charm that enables him to draw audiences from vastly different backgrounds and cultures into the irresistable Afro-Cuban rhythms which he creates.
Patato came to the United States in 1952 and worked at New York's Tropicana nightclub with Conjunto Casino. In 1954, he said good-bye to his homeland, Cuba and never returned. Patato's first jazz work was with Billy Taylor at Philadelphia's Blue Note jazz club. After that he worked at New York City's Apollo Theater with trumpet player Chip Murray and played on his first jazz recording, Afrodesia, with trumpet player Kenny Durham. Years later Patato formed a group of his own, which he named Afrojazzia.
Although Patato has recorded few albums as a bandleader, he is more influential than almost any other conguero because he invented the tunable conga, a revolutionary step in music history. Before Patato's innovation, the traditional conga consisted of a wooden body with a nailed-on drum skin, which was tuned by holding a candle beneath the skin, but the results of this technique were not very satisfactory, as the tension of the drum skin slackened as soon as the skin cooled down again. It was Patato's idea to fix the skin to a metal ring which, connected at various points with the conga body, could be stretched and loosened with the help of a square box wrench, thus enabling the musician to tune his instrument to specific pitches. Consequently, it was now possible to hit each half step of an octave, initiated by Patato's unique melodic style of employing multiple conga drums and using them as a melody-creating instrument, just as a piano player or a horn player would.
Patato patented this invention, and the company Latin Percussion Inc. began manufactured the instrument. Latin Percussion's "Patato Model" is the top star of their product family, and Patato's conga type is now used by hundreds of groups from Santana to the Rolling Stones, as well as by a lot of well-known congueros, many of whom are his former students.
Since the 1950's, Patato has been among the congueros who are in highest demand in the Latin music and jazz worlds. He has played, toured, and recorded with Miguelito Valdes, Perez Prado, Beny More, Cachao, Tito Puente (who called him "the greatest conguero alive today"), Machito, Herbie Mann, Kenny Dorham, Art Blakey, Elvin Jones, Dizzy Gillespie and Quincy Jones. Patato also acted in and composed the title song for the television series The Bill Cosby Show. In 1991 he contributed to the movie soundtrack of The Mambo Kings Play Songs of Love.
Recently, Patato, along with The Machito Orchestra, Candido Camero, Armando Peraza, Alfredo "Chocolate" Armenteros and Francisco Aguabella, was chosen by the Smithsonian to participate, in the Mambo and Afro-Cuban Jazz seminar hosted by Musica de las Americas. This series was an unprecedented event that celebrated the long tradition of exchange among the diverse music cultures of the Americas.
On December 4, 2007, a renowned musician, innovative conguero, and Latin Percussion design collaborator, Carlos Valdez, whom the world knew affectionately as “Patato”, died of respiratory failure. A Cuban of diminutive stature, born November 4, 1926, he generated an enormous tonal presence on congas that belied his modest size. And that rings especially true in light of his passing. Now we shiver when hearing recordings that display his monumental sound, the very thing death cannot claim.
As a youth, he was well known from Cuban television appearances, in which he combined a theatrical flare, sometimes dancing around and atop his congas, always maintaining solid musicality. Emigrating from Cuba to New York in 1955, co-sponsored by Candido and Mongo Santamaria, he quickly saw action with Kenny Dorham, Tito Puente, Herbie Mann, Dizzy Gillespie, and most major Latin and jazz figures of the day.
His melodic intentions frustrated by traditional fixed-tension instruments, Patato pioneered the first tunable congas, which he put to good use accompanying the great band leaders with melodic lines in addition to the customary indigenous rhythms. Soon after he became a close friend of LP founder Martin Cohen and advised Martin on a variety of technical and design issues. The two were bound by an implicit trust and passion for Latin music. Their collaboration resulted in the LP Patato Model Congas, which became among the top-selling congas of all time.
Patato’s dramatic style garnered him a role in the classic Brigitte Bardot film And God Made Woman. Here Patato gives the film goddess a lesson in dancing the mambo.
Patato was also well-recognized for his contributions to Latin music and culture. The Puerto Rican Jazz Festival, the International Latin Music Hall of Fame, and the New York Hispanic Entertainment Journalists were three among a distinguished list of institutions that recognized Patato’s lifetime achievements with awards.
Many recordings, on the LP and other labels, showcase Patato’s musicality. Examples on LP are Ready for Freddy and Authority. But two revered ensembles most clearly express Patato’s legacy—his indelible touch, organic tone, and sense of musical communion. One is the Latin Percussion Jazz Ensemble, assembled by LP founder Martin Cohen, which immortalized another LP artist, the late Tito Puente, documented on the recording Live at Montreux 1980. The other is a later collaboration, The Conga Kings, in which Patato performed with fellow icons Candido Camero and Giovanni Hidalgo, recording several significant albums. It was with the Conga Kings that Carlos “Patato” Valdez performed his last concert.
His melodic musical contribution and dancing legacy live on, as do the LP congas bearing his name. Latin Percussion mourns his passing. Indeed, we shed a tear for our friend, collaborator and inspiration, Carlos “Patato” Valdez.
Master conguero Giovanni Hidalgo: "Patato was one of the pioneers who brought congas to America. He was also a innovator of tuning the drums . He was our father and he showed us a many ways to survive in this life in personal and musical ways. He was a good example of how to be a great,respectful gentleman. He is still with us...physically he had to leave, but he lives on within all of us."
It is Valdez' spontaneity and charm that enabled him to draw audiences from vastly different backgrounds and cultures into the irresistible Afro-Cuban rhythms which he created. Patato will be remembered by all as a giant of a man, and his spirit shall live forever through his music.
This page was created in loving memory of Carlos "Patato" Valdes.
Celia Cruz Park, also known as Celia Cruz Plaza or Kiwanas Plaza, at 31st Street and Bergenline Avenue, was dedicated during the annual Cuban Day Parade on June 4, 2003--nearly a year after the death of Cuban-American salsa singer Celia Cruz. Úrsula Hilaria Celia Caridad Cruz Alfonso (1925-2003), known as the "Queen of Salsa" or "La guarachera de Cuba", was one of the most successful Cuban performers and lived nearby in Fort Lee.
The park features a sidewalk star in Cruz's honor, and an 8' x 10' mural by Union City's Edgardo Davila, a collage of Cruz's career throughout the decades. Stars were later added to the park in honor of Tito Puente, Spanish language television news anchor Rafael Pineda, salsa pioneer and Johnny Pacheco. The park was again refurbished by the Latin American Kiwanis Club of North Hudson in early June 2006. The mural was replaced with a backlit photograph of Cruz, and four more stars were added in honor of merengue singer Joseíto Mateo, salsa singer La India, Cuban musician Israel "Cachao" Lopez, and Cuban tenor Beny Moré.