#EddiePalmieri will celebrate

Eddie Palmieri will celebrate his 80th birthday on Dec. 15 with a concert at 92Y in New York.

— JazzTimes Magazine (@JazzTimes) September 19, 2016

Eddie Palmieri Latin jazz ignites World Music Fest

 (Beth Rooney, Chicago Tribune / September 11, 2013)

Howard Reich
12:22 p.m. CDT, September 13, 2013

The 15th annual World Music Festival Chicago opened with a thunderbolt Thursday night at Millennium Park, thanks to the apparently inexhaustible energies of 76-year-old Latin jazz pianist Eddie Palmieri and his Salsa Orchestra.

Playing music that pulsed relentlessly with dance rhythms – at all tempos – Palmieri and friends seemed intent on making listeners move. In that they succeeded, the ushers at the Pritzker Pavilion trying futilely to clear the aisles of people who wanted to sway, swing, sing, scream and, of course, snap photos.

The frenzy of it all probably delighted Palmieri, who has been rousing crowds in his native New York and around the world for more than half a century. But did he realize that the proceedings were so intensely over-amplified that some in the audience were seen plugging their ears? And were the sound engineers unaware that by turning the dials so high they distorted the colors and blurred the instrumental details of Palmieri's band? One expects better at the Pritzker Pavilion, its state-of-the-art sound environment only as good as those operating the controls.


If you could tune out the sonic excess, however, there was no question that Palmieri came to conquer and left triumphant. The revelations were in how he achieved this, the accomplished pianist yielding most of the spotlight to the band at large and, thereby, emphasizing its muscular horns, hard-driving rhythm section and ferociously declamatory vocalists.

Palmieri, in other words, assigned himself essentially a supporting role rather than a starring one. That's the polar opposite of the way he played last year at Mayne Stage, fronting the Eddie Palmieri/Brian Lynch Jazz Quartet. In that intimate context, Palmieri was all over the keyboard, challenging his colleagues with tricky rhythms and stop-start solos.

Leading the large ensemble at Millennium Park, Palmieri simply set the tempos and rode them, all the while reveling in the orchestral sound swirling around him. Even in this less prominent role, however, Palmieri could not resist puckishly subverting the proceedings, taking his comparatively brief solos into keys that brazenly clashed with what everyone else was playing. The man simply cannot settle into a comfortable routine. Bravo for that.

Read more: http://www.chicagotribune.com/entertainment/music/ct-ent-0914-eddie-palmieri-20130914,0,7652751.column

Eddie Palmieri At The Kennedy Center

Juan L. Cruz/Courtesy of the Kennedy Center

May 9, 2013Palmieri plays the whole piano, and he's not shy about throwing an elbow or forearm to get the effect he needs. As a 2013 National Endowment for the Arts Jazz Master, the piano original plays The Kennedy Center in Washington, D.C.

Hear on: http://www.npr.org/event/music/182640431/eddie-palmieris-latin-jazz-septet-on-jazzset

Eddie Palmieri, known for his charismatic power and bold innovative drive....

Eddie Palmieri, known for his charismatic power and bold innovative drive, has a musical career that spans over 50 years as a bandleader of Salsa and Latin Jazz orchestras. With a discography that includes 36 titles, Mr. Palmieri has been awarded Nine Grammy Awards. He received his first Grammy Award in 1975 for his release The Sun of Latin Music, which is often considered the most historic, as it was the first time Latin Music was recognized by the National Academy of Recording Arts & Sciences (NARAS). He would win again the following year for Unfinished Masterpiece, Palo Pa ' Rumba in 1984, Solito in 1985 and La Verdad in 1987.

He received a Latin Grammy and a traditional Grammy for his 2000 release with Tito Puente entitled Obra Maestra/Masterpiece, Listen Here! in 2006 and Simpatico in 2007, a collaborative effort with trumpet master Brian Lynch, for Best Latin Jazz Album. Simpatico was also recognized by the Jazz Journalist Association as Best Latin Jazz Album that same year. In 1993 Mr. Palmieri was appointed to the board of governors of the New York chapter of the National Academy of Recording Arts and Sciences where he was instrumental in creating a new category for Latin Jazz in 1995. His album Palmas was among the nominees in this newly created category, and in 1996 he was nominated once again for his album Arete.

In 1988, the Smithsonian Institute recorded two of Palmieri's performances for their catalog of the National Museum of American History in Washington , D.C. , a rare public honor. In 1990, he was invited by Paul Simon to serve as a consultant on his release Rhythm of the Saints. He was awarded the Eubie Blake Award by Dr. Billy Taylor in 1991 and is among the very few Latin musicians recognized by both the Legislative Assembly of Puerto Rico and New York State.

The 1998 Heineken Jazz Festival in San Juan, Puerto Rico paid tribute to his contributions as a bandleader, bestowing him an honorary doctorate degree from the Berklee College of Music. In 2002, Yale University awarded Mr. Palmieri the Chubb Fellowship, an award usually reserved for international heads of state, but given to him in recognition of his work in building communities through music. That same year he received the National Black Sports and Entertainment Lifetime Achievement Award. Other inductees with him were Roberto Clemente, Count Basie, Max Roach, Billie Holiday and Dinah Washington. In 2002, he was recognized by the London BBC, with their Award for Most Exciting Latin Performance.

In 2005, Mr. Palmieri received a series of prestigious awards: he received the Alice Tully African Heritage Award from City College, received the Harlem Renaissance Award and was inducted into both the Bronx Walk of Fame and the Chicago Walk of Fame. He also received the Lifetime Achievement Award from Urban Latino Magazine. He acted as Godfather of the Puerto Rican Day Parade in New York City and received the EL Award from El Diario Newspaper. Yet another outstanding achievement that year was the debut of "Caliente," a radio show hosted by Mr. Palmieri on National Public Radio, making him the first Latino ever to do so. The show has been a tremendous success, being picked up by more than 160 radio stations nationwide.

Born in Spanish Harlem in 1936, Eddie began piano studies at an early age, as did his celebrated older brother, the late Salsa legend and pianist, Charlie Palmieri. For Latin New Yorkers of Eddie's generation, music was a vehicle out of El Barrio. At age 11, he auditioned at Weil Recital Hall, which is next door to Carnegie Hall, a venue as far from the Bronx as he could imagine. Possessed by a desire to play the drums, Palmieri joined his uncle's orchestra at age 13, where he played timbales. Says Palmieri, "By 15, it was good-bye timbales and back to the piano until this day. I'm a frustrated percussionist, so I take it out on the piano."

He began his professional career as a pianist in the early '50s with Eddie Forrester's Orchestra. In 1955 he joined Johnny Segui's band. He also spent a year with the Tito Rodriguez Orchestra before forming his own band, the legendary "La Perfecta" in 1961. La Perfecta was unique in that it featured a trombone section (led by the late Barry Rogers) in place of trumpets, something that had been rarely done in Latin music, demonstrating the early stages of Palmieri's unconventional means of orchestration. They were known as "the band with the crazy roaring elephants" because of this configuration of two trombones, flute, percussion, bass and a vocalist.

With an infectious sound, Palmieri's band soon joined the ranks of Machito, Tito Rodriguez and other major Latin orchestras of the day. His unconventional style would once again surprise critics and his fans with the 1970 release entitled Harlem River Drive. This recording was the first to really merge black and latin styles (and musicians), resulting in a free-form sound encompassing elements of salsa, funk, soul and jazz. What resulted was a fusion that moved effortlessly from mood, groove, texture and excitement with its multi-dimensional guitar, funky piano riffs, notable brass and unforgettable rhythm section.

Led by Eddie, the group also included his brother Charlie, as well as excellent players from both communities such as Victor Venegas, Andy Gonzales, Bernard "Pretty" Purdie and Ronnie Cuber. Further to this proclivity for creating and performing in funk latin style, in 1997 he was invited to record by Little Louie Vega in "Nuyorican Soul," a release which has been a huge hit with dancers and dj's in the house music genre.

Palmieri's influences include not only his older brother Charlie but also Jesus Lopez, Lili Martinez and other Cuban players of the 1940s; jazz luminaries Art Tatum, Bobby Timmons, Bill Evans, Horace Silver, Bud Powell and McCoy Tyner. Says Palmieri, "In Cuba, there was a development and crystallization of rhythmical patterns that have excited people for years. Cuban music provides the fundamental from which I never move. Whatever has to be built must be built from there. It's a cross-cultural effect that makes magnificent music."

Eddie Palmieri, a restless, yet instinctive artist, embraces the future of his music by unapologetically blazing a distinctive musical path to the delight of fans across the globe. He has one of the most actively touring Salsa and Latin Jazz orchestras to date, tours of which have taken him to Europe, Asia, Latin America, North Africa and throughout the Caribbean. A true powerhouse of brilliance, known for his astute arranging skills and historic compositions, Mr. Palmieri has shown that time is infinite with respect to his repertoire as he continues to thrill audiences throughout the world with his legendary style.

Five Legends of Latin Jazz

Frank "Machito" Grillo was a singer and maracas player from Cuba who moved to New York after traveling there while on tour with a Cuban ensemble. Soon he began leading his own band, the Afro-Cubans, who performed Cuban songs that were arranged by American jazz composers. The Afro-Cubans became one of the foremost Latin jazz ensembles in history, and featured the top jazz artists of all time, including Dexter Gordon and Cannonball Adderley. Machito's large ensemble setting of Latin jazz is upheld by the Machito Orchestra, led by his son Mario, and the Afro-Latin Jazz Orchestra. Read my profile of Machito, one of the fathers of Latin jazz.

Mario Bauzá developed his trumpet skills in Cuba, and learned the subtleties of jazz in New York City. His collaborations with the great Latin musicians, including his brother-in-law Machito, as well as the top bebop musicians such as Dizzy Gillespie, lit the fuse for an explosion of Latin jazz in the 1940s and 50s. Read my profile of Mario Bauzá.

Born in New York City to Puerto Rican parents, Tito Puente aspired to be a dancer until he injured his leg as a boy. Inspired by jazz drummer Gene Krupa, he began to study percussion, and soon became the most famous timbales player on the scene. Puente's talent and charisma as a performer allowed his orchestra to become the preeminent Latin jazz group. Read Tito Puente's full profile.

Ray Barretto learned to play percussion on the head of a banjo while stationed in Germany as a U.S. soldier. It was then that he decided to devote his life to music, and upon returning to New York, he became one of the most sought after conga players. As a bandleader he won the hearts of Latin music and jazz audiences. Read my full profile of Ray Barretto.

Eddie Palmieri began his music career as a drummer. When he switched to piano, he kept a percussive approach, and incorporated the harmonies of Thelonious Monk. This made his band, which famously included two trombones, one of the most hard-hitting and experimental Latin jazz small groups around. Read my profile of Eddie Palmieri.
http://jazz.about.com/od/introductiontojazz/tp/Five_Latin_Jazz_Legends.htm