5 Essential Eddie Palmieri Albums

The passing of Eddie Palmieri has moved all lovers of Afro-Caribbean music. As Patrick Labesse points out , the Puerto Rican pianist was not only a salsa player "but also a magnificent composer, arranger, and creator of Latin jazz."

He always refused to join the Fania team

Eddie Palmieri apparently had little taste for the salsa label. Aside from his participation in the Red Garter concert in 1968 and a recording in the mid-1980s, he always took care to keep his distance from Fania, the label that invented and marketed the salsa label. His artistic demands (like his financial demands) were a million miles from the business strategy of the record company founded by Johnny Pacheco and Jerry Masucci.

For years, Palmieri refused to play the aforementioned salsa, resolutely waving the banner of Latin jazz. It will be recalled that about fifteen years ago, he was one of the few personalities (apart from Bobby Sanabria) to speak out against the elimination of the Latin jazz category from the Grammy Awards. Palmieri succeeded in forcing the Academy to give in.

The pianist was, however, one of the pioneers of the genre. To be convinced of this, one should delve into the book "Salsa Rising" (in English), in which the author, Juan Flores, documents the transformations of Latin music in New York up to the emergence of salsa. Eddie Palmieri's contributions are described as just as important as Fania's.

In the early 1960s, at a time when big bands were disappearing and a new style, the pachanga, was emerging, the foundations of a new era were laid with the creation of a landmark group: La Perfecta, founded by Eddie Palmieri and trombonist Barry Rogers. By merging the two traditional Cuban formations, the conjunto and the charanga, they created a new type of orchestra. Charlie, Eddie's older brother and mentor, named it " trombanga" . Its main innovation: replacing the violins with two trombones.

Palmieri's Perfecta prefigures what salsa will be like

La Perfecta quickly became one of the most sought-after groups in Latin New York. It closed the famous Palladium, thus marking the end of the ballroom era. Beyond the craze, La Perfecta marked the modernization of Latin music. The new sounds brought by the brass section, the urban adaptation of Cuban rhythms, the piano playing (both in form and content) opened the way to a period of intense exploration for Palmieri and largely inspired trombonist Willie Colón, one of the main players in Fania.

1969. After signing two collaborations with vibraphonist Cal Djader, the pianist released "Champagne," a transitional album that showcased the then-fashionable boogaloo style. Barry Rogers was gone, and Perfecta was no more. He found himself without a band at a time when his creative freedom was at its peak. This shows how unexpected his comeback was.

Our selection will focus on the years 1969-1978, certainly the richest. Those with the most emblematic sound: trombones, electric piano, an urban atmosphere such as we imagine salsa of that era, descargas, torrid, uninhibited Latin-jazz improvisations. A period where fusions and experiments are legion.

Palmieri released an impressive series of albums, each as creative as the last: "Justicia" (1969), "Superimposition" (1970), "Vámonos Pa'l Monte" (1971), "Sentido" (1973), "Sun of Latin Music" (1974), "Unfinished Masterpiece" (1975).

He had the luxury of winning the first two Latin Grammys against a regiment of Fania productions in full salsa explosion.

"Justicia"

"Justicia" (like "Superimposition" released in the wake) adopts a very particular pattern: side A: salsa dura / side B: Latin-jazz. Tracks longer than six minutes are not rare (this will be the case for the title track of the following album, Vamonos Pal Monte ), and can exceed eleven minutes, like Verdict on Judge Street.

Since the late 1960s, demands have been a central concern in Latino neighborhoods like East Harlem and the South Bronx. This was the era of the "Young Lords," the Puerto Rican equivalent of the "Black Panthers." The song "Justicia" demands justice for Black and Latino people in an explosive finale. Palmieri uses his music to express his political commitment, foreshadowing what would later be called "conscious salsa."

“In Concert at the University of Puerto Rico”

To appreciate the urban sound as described, we will look at the live recording "In Concert at the University of Puerto Rico." Recording made during the fall of 71 at the University of Puerto Rico in the midst of student protests. We prefer it to the famous "Live At Sing Sing" for multiple reasons. It is more representative of the production of the time with all the hits of the moment: Vámonos Pal Monte , Pa'Huele , Muñeca , Bilongo , La Malanga, La Libertad . Palmieri surrounds himself with many guests including his brother Charlie on the organ. If the period sound recording does not allow for the most comfortable listening (a remastered version will be released in 2025), it reflects the torrid atmosphere and limitless improvisations.

"Unfinished Masterpiece"

We end the first part of our panorama with "Unfinished Masterpiece" . The 33 rpm owes its title to the artistic and marketing differences that put an end to Palmieri's collaboration with the record company Coco. The album is screaming maturity (and this is not an insult to the previous recordings, already gems). Each track is a journey of musicality and inventiveness. Dance music with the freedom of Latin jazz.

Before trying to build a bridge to the next album, let's take a brief flashback.

"Harlem River Drive"

In 1971, Eddie Palmieri ventured into the soul genre by creating "Harlem Drive River" with his brother Charlie and others like saxophonist Ronnie Cuber and lyricist Calvin "Snookie" Clash. Cuber called upon big names from the rhythm and blues scene (they had worked with Aretha Franklin, among others) and Snookie took care of the socially charged lyrics. A Latin-soul gem, the record would become a cult classic. "Harlem Drive River" would be performed in a legendary concert at Sing Sing prison.

“Lucumí, Macumba, Voodoo”

This brings us to the final stage of our musical journey: "Lucumí, Macumba, Voodoo" . Palmieri continues his exploration of black music, this time taking us towards disco sounds while delving into his roots in Afro-Cuban music through the use of religious rhythms and chants. The album was a resounding commercial failure, marking the end of his collaboration with Epic. It remains a gem that has been rediscovered by "diggers", particularly since its remix in 2011 by DJ Joe Claussell.

Despite his setbacks with record companies, Eddie Palmieri's career would experience many twists and turns. But that's another story.