• Eddie Palmieri Best Albums
• Eddie Palmieri Biography

This is a late-'80s date for the big band featuring a loose and wonderfully expansive mix of Latin beat, salsa, Cuban son, and rumba. As is typical of a date, this one is slick with mid-to-extended length tunes.

The band, featuring on trumpet, on bata, congas, and assorted percussion, along with. Juan Pablo Torres also plays trombone, with his brother Ralph on second trumpet., of course, in addition to his roles as bandleader and arranger - as well as composer of four of the album's six tracks - as always plays a gorgeous piano.

The thing about this man's bands, with their groups of singers, call-and-response lyrics, and gloriously uplifting tone, is that they are so musically complex while remaining thoroughly accessible to the listener. The title track, an original with its round of singers taking verse, chorus, and bridge swirling around a plethora of horns and bata drums, moving to underscore the shifting rhythmic signatures and accents that carry the words. It's a weave, and is fully in control of its construction and placement. The furious lower register piano dissonance that opens his solo, 'Lisa,' is uncharacteristic for, and one of his first forays into more classically oriented form, its glissando ushers in a modal framework built on extended minor sevenths and ninths circling around a small fantasia theme that briefly touches upon boogie woogie and 'Autumn Leaves.' It's all funk and backbeat slip and slide on 'Noble Cruise,' with its striated piano accents in between the swagger of the warring horns. The harmonies constructs before the rhythm section enters are knotty and deft.

When they do enter, it's a free for all of counterpoint, shifting Cuban forms and folk elements with a swinging big band all the way through 'Buscandote,' which closes the disc. One has to wonder if this cat has ever cut a loser? Anybody know?

Highly recommended.

An often-dazzling pianist whose technique incorporates bits and pieces of everyone from to and recycles them through a dynamic Latin groove, (aka 'El Maestro') has been a Latin jazz and salsa master since the mid-'50s. His approach can be compared to 's for its unorthodox patterns, odd rhythms, sometimes disjointed phrases, and percussive effects played in a manner that is always successfully resolved. It's a free/hard bop/Afro-Caribbean blend, with keyboard solos and montunos that are forever stimulating.

Has released dozens of records on various labels, including what are now considered groundbreaking albums that include 1962's, 1969's (1974), and 1987's. He is the recipient of nine Grammy and three Latin Grammy Awards and continues to make music in the 21st century on albums such as (2017). Is a recipient of the National Endowment for the Arts' distinguished Jazz Master Award and the Latin Academy of Recording Arts & Sciences' Lifetime Achievement Award.Born in New York City to Puerto Rican parents, followed in his older brother 's footsteps. At eight, his mother encouraged her younger son to study piano. He started studying classical technique, and at age 11 auditioned to perform classical piano at Carnegie Hall - he made his debut at the famous venue that year.

At 13, he became infatuated with the drums. He quit playing piano and joined his uncle's Latin jazz orchestra on timbales. His fascination with drums was short-lived, and by 15 he'd returned to piano, where he has remained to this day. Eventually developed a distinctive style that melded Afro-Caribbean rhythms to modern jazz.

He made his professional debut with Johnny Segui's orchestra in 1955 and joined 's popular band in 1958, remaining until 1960. In 1961, formed, whose flute and twin- (or triple-) trombone front line was modeled on a Cuban-style charanga ensemble of piano, bass, violins, flute, and percussion - 's use of trombones replaced violins. That heavy yet bright bottom end drew the attention of restless jazz musicians like. 's use of trombones foreshadowed one of the iconic instrumental sounds of salsa music and no doubt influenced composers and arrangers such as. In and later groups, developed a distinctive arranging style, featuring edgy harmonies and exciting riffs and breaks for the horn section. His music featured extended grooves for instrumental improvisation, connecting the Latin Caribbean tradition of vocal improvisation (soneo) with the improvisational excitement of jazz. 's self-titled debut album is universally recognized as a Latin music classic.

A few years after its release, worked with on a pair of Latin jazz gems in. In the middle of the decade, began formal arranging studies just as 's influence on his piano playing became more pronounced. After split in 1968, played with the and; recorded with, and; and, like, cut several Latin boogaloo sessions. And began to work together in a supergroup with,. Together they started work on a new style that further blended traditional Latin music with Afro-Cuban influences.

The result was the self-titled (1971), which showcased a fusion of early salsa, funk, soul, and jazz. While the album was not a big seller at the time, its reputation spread and it came to be regarded as one of the most influential Latin jazz fusion recordings of all time.

That band also recorded in front of an audience of inmates at the prison. As the salsa movement gained momentum in the early '70s, returned to his Latin roots to record and '.

Eddie Palmieri Best Albums

In 1974, he reached an early pinnacle with for Coco, which mixed hard salsa with R&B, rock, and pop juxtaposed against jazz improvisation. That year, he won his first Grammy, marking the first time that Latin music was recognized by the National Academy of Recording Arts & Sciences. He won another the following year for (1974). Signed with Epic for 1978's now-classic, where he led a large 30-piece jazz orchestra that featured players such as,. While the album met with mixed reviews due to its ambitious production and unusual meld of styles in a large-group format, it is, in the 21st century, regarded as an essential entry in 's catalog. Decided to move to Puerto Rico in the '80s to care for his ailing mother and to be with as the latter recuperated from his first heart attack. He spent five years there, forming a band called and recording several albums including (1984), (1985), and (1987) - all won Grammys.

In 1988, the Smithsonian Institution recorded two of 's performances for their catalog at the National Museum of American History in Washington, D.C. In 1988, nine years 's senior, suffered another heart attack and passed away at age 60. In 1989, issued the burning salsa-cum-Latin jazz date on Intuition.

The set, dedicated to 's memory, featured an all-star band and was co-produced by the artist with,. During the '90s, remained a critical favorite, cutting albums such as (1994) for Nonesuch, as well as a series of recordings for the RMM label (, 1995;, 1996;, 1998). In 1993, the film Carlito's Way used 's single 'Muneca.' That same year, he was appointed to the board of governors of the New York chapter of the National Association of Recording Arts & Sciences (NARAS).

A year later, the track 'Puerto Rico' was included in 's soundtrack; also contributed music to the HIV/AIDS documentary film Breaking the Silence. At the turn of the century, he collaborated with on the Grammy-nominated for Universal. Two years later he returned to his days with on Concord Jazz. Two more albums for the label followed with (2003) and (2005). A year later, he recorded, co-led. In 2010, he was a featured soloist on 's.

Eddie Palmieri Biography

The year 2013 saw the independent release of 's original score and soundtrack EP for the New York City street basketball documentary. In 2017, he celebrated his 80th birthday and 60-year career with the release of. Joining him were, and, among others.

At 81, proved he still had more to offer., released in the summer of 2018 by Uprising Music via Ropeadope, featured nine classic salsa tracks recorded with an all-star international cast that included, and 19 others. The album's release was preceded by the introduction of the Palmieri Salsa Jams app, the world's first interactive salsa music app on Christian Scott aTunde Adjuah's Stretch Music app platform. Before the year was out, issued, dedicated to the memory of his wife Iraida. The album featured expanded and reworked versions of salsa classics with a large orchestra. Singers included. In press materials, the pianist explained that these vintage salsa tunes represented the music the married couple danced in their youth.

CD101 – Dream Within A Dream02 – The Murder Of Love03 – Jewel04 – Duel05 – Frozen Faces06 – P Machinery07 – Sorry For Laughing08 – The Chase09 – Dr. 01 – Before You Start You Already Bleed (Testament Four)02 – Dr Mabuse (Video)03 – Femme Fatale (The Woman With The Orchid)04 – Duel (Thirds)05 – Testament Five06 – Jewel (Rough Cut)07 – P-Machinery (Beta)08 – P-Machinery (Alpha)09 – Dream Within A Dream10 – Wonder11 – Lied12 – Frozen Faces (A Secret Sense Of Sin)13 – Testament Six14 – Im Stahlnetz Des Mabuse15 – Das Testament Des Mabuse16 – (The Ninth Life Of) Dr Mabuse17 – Strength To Dream (As Testament Seven)18 – P-Machinery (Video)19 – Femme Fatale (The Orchid)Download: UptoBox. Mabuse (First Life) (Analogue Variation)15 – The Last Word (Strength To Dream) (Analogue Variation)CD201 – Do Well02 – Testament One03 – Die Tausend Augen Des Mabuse04 – Sorry For Laughing (Unapologetic 12»)05 – Thought Part I06 – Thought Part II07 – P-Machinery (Goodnight 32)08 – The Chase (The Goodnight Mix)09 – (Echo Of) Frozen Faces10 – P-Machinery (P Polish)11 – Testament ThreeDownload: UptoBox. Propaganda outside world rar. Mabuse10 – Dream Within A Dream (Analogue Variation)11 – Jewel (Analogue Variation)12 – Duel (Analogue Variation)13 – P Machinery (Analogue Variation)14 – Dr.