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░░██░ play yer tunes ███
proudly presents
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Eddie Palmieri - Listen Here!
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Artist: Eddie Palmieri
Album: Listen Here!
Company: Concord Music Group
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Rel. Date : 06/14/2005 Streetdate : 06/14/2005
Ripper : team Supplier : NOYB
Genre : Jazz Style : Jazz
Quality : VBRkbps / 44.1kHz Mode : Joint-Stereo
Grabber : EAC Encoder : lame 3.90.3 -aps
Songs : 10 Playtime : 62:19 min
Size : 90,6 MB
Url : n/a
Type : Album Source : CDDA
Language : English
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If you like yer Jazz with a Latin beat... then Listen Here!
EDDIE PALMIERI
Mr. Palmieri is celebrating his 50th anniversary in the music
industry. In conjunction with this a major new CD release is
coming soon on Concord records. It is entitled Listen Here!.
It will be available on June 14, 2005. Special guest artist
include Michael Brecker, Regina Carter, John Scofield,
Christian McBride, Nicholas Payton, David Sanchez, Giovanni
Hidalgo, Horacio Hernandez, Brian Lynch, Donald Harrison,
Conrad Herwig, and John Benitez
Don't miss this one of a kind musical spectacular.
North American tours start in the San Jose Jazz Festival Aug
13, 2005.
The world has long admired the Spanish Harlem born,
seven-time GRAMMY« Award winning Palmieri as one of the
foremost Latin pianists of the last half-century. His ability
to fuse the rhythms of his
Hispanic, Puerto Rican heritage with the jazz influences of
Thelonius Monk and McCoy Tyner made him an immediate hit when
he played New York 's Palladium Ballroom in the 1950s and
æ60s. He has continued to roll on with stylistic innovations
over the years, creating classic Tico albums and later mixing
salsa with R&B, pop, rock, Spanish vocals and more jazz
improvisation. Now 68, Palmieri ╛ who in 2005 celebrates an
amazing 50-year career as a professional musician ╛ simply
revolutionized the sound of Latin music, an accomplishment
that alone would ensure his place in the music pantheon.
On his first two recordings for Concord Picante ( La Perfecta
II and Ritmo Caliente ), the famously cigar-smoking pianist
explored, from a fresh perspective, those salsa hits that
launched his career a half century ago. However, Palmieri has
always embodied the jazz spirit of improvisationùdoing things
differently each time, never staying in the same place, and
surrounding himself with unique personalities to perform his
innovative, sui generis music. That inclination served
Palmieri well a decade ago, when, sensing ôthe writing on the
wall in the Latin dance genre,ö he formed the Afro-Caribbean
Jazz Octet with trumpeter Brian Lynch, trombonist Conrad
Herwig, and alto saxophonist Donald Harrison, and presented
his take on instrumental Latin Jazz, first documented on the
GRAMMY-winning album Palmas , followed by Arete and Vortex .
On Listen Here! the maestro takes his jazz involvement to
another level. Along with co-producer Richard Seidel, he
assembles an all-star jazz cohort of guest soloists ù Michael
Brecker , Regina Carter , Christian McBride , Nicholas Payton
, David Sanchez , and John Scofield ╛ and propels them with
bassist John Benitez , Cuban traps wizard Horacio ôEl Negroö
Hernandez , and master conguero Giovanni Hidalgo , all
veterans of various Palmieri ensembles. Together, they
perform six original Palmieri compositions and four jazz
classicsùô Nica's Dream ,ö ô In Walked Bud ,ö ô Tin Tin Deoö
and the title trackùarranged by Palmieri in his inimitable
manner. Following the pianist's logic, the players
immediately enter his world and produce a magical recital
that tackles jazz on its own terms and bears Palmieri's
unmistakable tonal imprint.
ôI've never recorded compositions by jazz artists before,
because I'm not so familiar with jazz repertoire,ö admits
Palmieri, whose sole previous documented encounter with the
idiom is a performance of John Coltrane's ô Africa ö on
Conrad Herwig's The Latin Side Of John Coltrane . ôI actually
wasn't into jazz until [trombonist] Barry Rogers joined my
band in the æ60s. He brought me to Birdland on a Sunday, and
I saw the original John Coltrane quartet. Barry also made me
aware of Monk. We used to exchange LPs, and he brought me
Criss-Cross , where Monk plays ô Tea For Two ,ö in exchange
for one by Celia Cruz and Sonora Matancera. He also brought
me Kind of Blue , for which I think I gave him a record by
[legendary Cuban trumpeter] Chappotin.ö
Once dubbed ôthe Latin Monkö by timbalero Willie Bobo for the
dissonance he customarily deploys in his solos, on Listen
Here! Palmieri selects his namesake's ô In Walked Budö as a
showcase for the ACJO front line. They envelop the music like
a custom suit. The leader imparts a mambo flavor, following
the horn statements with a trademark declamation, tossing off
relentless left-hand montunos that propel the solo with the
visceral rumble of a Mack truck. Palmieri is quick to credit
his band as the inspiration for his new compositional
direction. ôThe challenge,ö he states, ôwas to satisfy the
personal harmonic desires of the jazz players and to satisfy
my own rhythm section desire, which is more Latin and has
less chordal changes within the same composition.ö
Grappling with jazz also impelled Palmieri, famed for his
long, abstract introductions on past masterpieces like The
Verdict On Judge Street and Adoracion , to adjust his
technique. ôIn Latin, you play the full octave, which locks
the hand,ö he explains. ôThe harmonic extensions are minimal
╛ you wind up on tonic and dominant. There was no
amplification early in my career, and lining it up that
wayùwhen you hit four C's, for exampleùgave it a lot of
power. But it isn't the way you would finger for jazz. I had
to do basic fundamental exercisesùthirds, minor thirds,
sixths, and double note techniquesùin order to play the
different styles. While working on the fingering, I wrote
ballads like ô Bolero Dosö [ Palmas ] and ô Tema Para ReneΘö
[ Ritmo Caliente ], and thatùalong with the experience of
comping for Brian, Conrad and Donald on the earlier
CDsùhelped me take a more piano-oriented approach.ö
As he demonstrated last year on a memorable duo engagement
with D ß vid Sanchez at Manhattan 's Le Jazz Au Bar,
Palmieri's hard work now allows him to break down his charts
from their functional salsa context into a kind of Latin
Chamber Jazz. On Listen Here! , consider the bolero ballad, ô
Tema Para Eydie ,ö written for his second-oldest daughter.
Playing duo with John Benitez, Palmieri improvises with a
composer's attitude towards shape and texture, crafting
unerringly articulated single note lines juxtaposed with
explosive clusters. He commands the time, and his left hand
is a thing of wonder.
Palmieri also eschews the drums on ô La Gitana ö ╛ a
flamenco-blues played in trio with John Scofield (acoustic
guitar) and Benitez that he interprets with exquisite nuance
╛ and on ô Mira Flores ö ╛ an extravagantly beautiful waltz
on which he comps eloquently for Michael Brecker and
Christian McBride. The latter are in magnificent form on both
this and on the title track, an Eddie Harris composition that
made a splash in the 1960s. ôI met Michael many years ago,
when he played with Barry Rogers in Dreams, but he never
recorded with me,ö Palmieri says. ôAnd everyone knows what
Christian does in jazz, but he can ride a Latin tumbao , too.
His father played with Latin bands; Christian told me, æMy
Dad will be jealous that I recorded with you and not him.'ö
After a dramatic opening, ô Vals Con Bata,ö which features
Scofield on electric guitar, an ascendant tenor solo by D ß
vid Sanchez, and Giovanni Hidalgo on bata drums, resolves to
a surging 3/4 swing. Palmieri also features Sanchez, who took
his first major league job with the bandleader in 1990, on a
richly harmonized mambo arrangement of Dizzy Gillespie's ô
Tin Tin Deo .ö Palmieri dates his involvement with ô Nica's
Dream ,ö the Horace Silver classic, to a chance encounter
with the composer in the æ60s on Broadway, not far from the
Palladium, the dance hall where Palmieri developed the
two-trombone sound that catapulted his reputation. ôI told
Horace how much I admired him,ö says Palmieri. ôI'll never
forget that he asked me if I was hip to æ Nica's Dream .'ö
Palmieri reharmonizes the melody, violinist Regina Carter
transitions from trΘs-like pizzicato to stirring arco swing
in her solo, and trumpeter Nicholas Payton blows with
characteristic audacious authority.
Hints of Silver, Gillespie and Duke Ellington crop up on ô
In-Flight ,ö the stirring opener for Listen Here! . Regina
Carter takes charge with a rousing melody statement and
blistering solo. ôI wasn't aware that Regina had played Latin
music with charanga bands,ö Palmieri says. ôShe blew the
piece away.ö So do Lynch and Harrison, who ratchet the
excitement with exchanges of 16's, 8's and 4's, and an
extended contrapuntal shout chorus, before Carter reenters.
It's apropos that Palmieri concludes this spirited jazz paean
with the ô E.P. Blues,ö offering meaty blues changes Payton
and the ACJO horns, who uncork a succession of thrilling
solos. When they're done, Palmieri momentarily tamps down the
molten tempo, and asserts the leader's prerogative to claim
the last word, stating drum-centric, Monk-like clusters
before gradually building to a force-of-nature montuno.
Animated by both the body and the soul, the solo caps a
recital that again reinforces Palmieri's ranking as one of
the great jazz piano voices of all time.
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01. [05:42] In Flight
02. [07:19] Listen Here
03. [05:16] Vals Con Bata
04. [04:25] Tema Para Eydie
05. [06:21] Tin Tin Deo
06. [06:00] In Walked Bud
07. [07:15] La Gitana
08. [05:53] Nica's Dream
09. [05:50] Mira Flores
10. [08:18] EP Blues
-------
62:19 min
90,6 MB
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