Eddie Palmieri

Eddie Palmieri is one of the foremost Latin jazz pianists of the last half of the 20th century, blessed with a technique that fuses such ubiquitous jazz influences as the styles of Herbie Hancock, Thelonious Monk, and McCoy Tyner into a Latin context. No purist, he has also shown a welcome willingness to experiment with fusions of Latin and non-Latin music. However, despite a number of stints with major labels and numerous industry awards and nominations, he has yet to break into the American record scene in a big way.

Pianist/composer Eddie Palmieri has long been a giant of Afro-Cuban (or Latin) jazz. While some recordings in this idiom lean too far in one direction - not enough jazz improvising, or in other cases, a percussion section that sounds as if it were added on as an afterthought - Palmieri has struck a perfect balance. In trumpeter Brian Lynch, trombonist Conrad Herwig and altoist Donald Harrison, he has three strong soloists who match well with the trio of percussionists. In addition to Palmieri, bassist John Benitez and drummer Adam Cruz (the latter is on just four of the eight Palmieri originals) are flexible enough to play both swing and Latin. A strong plus to this date are the compositions/arrangements of Palmieri, which pay close attention to varying moods, instrumental colors and grooves. Consistently complex and unpredictable, the music is still always quite accessible and enjoyable, thanks to the percussionists.

A master of the traditional and the progressive, the styles of the past and the bright, swinging future, Eddie Palmieri is one of the most influential Latino pianists of the 20th century. His extreme versatility and artistic vision are brilliantly displayed on The Sun of Latin Music. While most Latin jazz musicians fall into either staunch traditionalism or pursuing progressive ideas to the detriment of groove and accessibility; Palmieri marries both ideals effortlessly. With smooth, danceable rhythm, lush vocals, and a clear center to the song, combined with sophisticated arrangements, tunes like "Desea Salvaje" and "Nunca Contigo" both swing the dancer and captivate the discriminating listener. Palmieri's interest in stylistic variety, including styles like danzon, guaguanco, and cumbia, not common of '70s era salsa, enrich the album and show off his versatility…

Eddie Palmieri - Mambo Con Conga Is Mozambique (1965) {Tico Records SLP 1126}
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© 1965 Tico Records | SLP 112
Jazz / Afro-Cuban Jazz / Latin Jazz / Salsa / Tropical / Piano

Eddie Palmieri first hit in the '60s with his classic two-trombone sound. This is one of his finest albums; unassuming, joyous, punchy, and sharp, it has the outstanding Ismael Quintana on vocals and Manny Oquendo on timbales. All of the songs are great to listen to and very danceable. Another CLASSIC by the great EDDIE PALMIERI from the mid 1960's. I liked every track on the album, no need to skip to the next song, that is why I rate it a 5***** Classic. This is a great addition to anyone's Latin music collection especially if the like to listen to music while doing chores at home, this will get you dancing or in the mood to go out social dancing.

Eddie Palmieri & Cal Tjader - Bamboleate (1967) {Fania Original Remastered rel 2007}
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© 1967, 2007 Tico / Fania / Emusica Records | 773 130 217-2
Jazz / Latin Jazz / Afro-Cuban Jazz / Piano / Vibes

The second album pairing Palmieri and Tjader, Bamboleate moves beyond El Sonido Nuevo into the respective territories of each artist. "Bamboleate" is the Latin cooker ones expects from Palmieri but didn't find on the more subdued El Sonido Nuevo. "Semejanza" is an equally affecting jazz lilt led by Tjader. Framed by a melody that could have come straight off the Vince Guaraldi Trio's Charlie Brown Christmas album, it has an equally indelible, locomotive rhythm. Tjader's samba, "Samba de Los Suenho," is a welcome departure from the relative rigidity of El Sonido Nuevo.

Charlie Sepúlveda is trumpeter of power and nuance. On this recording, Sepúlveda takes on the challenge of preserving culture without being trapped by it.
He can take a tried-and-true classic like "Besamé Mucho," and instead of falling into the routine he completely modernizes it, stripping the tune of his sometime over-emphasized bolero rhythm and makes something completely new and communicative.

Eddie Palmieri's Palmas starts at full speed and doesn't stop, except for some thoughtful extended piano noodling on "Bolero Dos." The band features three jazz horn players (trumpet, trombone, saxophone) in front of a smokin' Latin rhythm section, all held together by the maestro on piano. Palmieri typically starts off a number with familiar Latin piano patterns which quickly evolve into completely innovative chord combinations. The horn players take the listener on some musical adventures in each of these extended tunes, flying far afield, but always coming back to the theme. The percussionists keep their complex beat for the most part, but occasionally swap rhythmic places with the horns as the timbales or bongos take a solo while the brass pumps out the time…

Eddie Palmieri - Sentido (1973) {Coco Records– Musical Productions Digital Issue rel 2006}
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© 1973, 2006 Coco Records / Musical Productions
Jazz / Afro-Cuban Jazz / Latin Jazz / Salsa / Piano

Sentido may offer a better portrait of Eddie Palmieri than any of the compilations. "Puerto Rico" is typical of his anthemic, crowd-rousing capability. "No Pienses Asi" is an affecting ballad that rivals those of musicians considered more as singers than Palmieri. "Condiciones Que Existen" is just funky enough to sound like an outtake from the great Harlem River Drive album. "Adoracion" begins spacily but soon becomes, over the course of nine delicious minutes, a hefty jam. "Cosas del Alma" is another ballad. It may be only a half hour of music, but no one will miss the filler. The liners credit Palmieri's fasting as an ingredient in his success; clearly he understands the importance of "leaving them hungry for more."