Annotations for People: Rodriguez-tito 1923-1973

For over 30 years, pianist Eddie Palmieri has been pushing the creative limits of Latin music. His unorthodox experimental style has defied musical categories. [Background--Music--Piano] Reporter Alfredo Cruz of station WBGO in Newark recently spoke with Eddie Palmieri, the Musical Renegade, and he prepared this report.

[Background--Music--Piano] Like his music, Eddie Palmieri is intensely energetic. His piano solos have been known to go from delicate esoteric explorations to fist pounding accents, all within the same phrase. He has developed his own musical identity. When Eddie plays the sound of a note or a chord is immediately recognizable as unmistakably Palmieri. He admits however, he didn't always want to be a pianist.

Well, on the piano I started at eight years old and then by 11, 12 I wanted to be a timbalero, a drummer and Tito Puente was my idol. By that time I started with my uncle who had a conjunto, El Chido y su alma Tropical. We had a trecita, y traijta, bongocero, congero. My other uncle Frankie, I played timbales, and I stood with them for almost two years until I couldn't carry the drums anymore. I just couldn't do it.

[Highlight--Music--Salsa]

One of Palmieri's earliest and most important musical influences was his older brother Charlie. Also a pianist who not only served as mentor but helped Eddie get started in the business over 30 years ago.

My brother Charlie used to play with Tito Puente. That was one of the most important conjuntos that we've ever had here. Wherever my brother would go and play, he would recommend me, and that's how I got into an orchestra called Ray Almore Quintet and first Johnnie Segui in '55, Vincentico Valdez, Pete Terrace at the interim, back to Vincentico Valdez for summer in '58 in the Palladium, and then for '58, '60 with Tito Rodrigez After that I went on my own.

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The big new trombone sound he had developed revolutionized Afro-Cuban music in the 1960s. Eddie Palmieri had found the perfect combination and called his new band La Perfecta. [Background--Music--Piano] They were sensation at dance halls like the now legendary Palladium, where battle of the bands were common and Palmieri reigned supreme. His influence, however, wasn't limited just to the East Coast. A classic collaboration with California vibraphonist Cal Tjader came about when word got out that no one could go toe to toe with Palmieri's band, La Perfecta.

Cal Tjader knew that and he went to the record one. So he came to see me and then we made the agreement to record two albums, one for his company, which were Verb records, and then we recorded the other one, Bamboleate with Tiko, moving from one direction, which is the authentic dance orchestra to get into the album that we merged with him because he saw right away I went into variations. We did a walls resemblance and things like that. It was very interesting and very educational for me and rewarding because Cal Tjader was a great, great player.

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Eventually, for Palmieri, even La Perfecta wasn't perfect. And his classic recording Champagne signaled a change in his musical direction.

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This was done in 1968. That's where La Perfecta breaks up. The beginning of '68, we did a tour of Venezuela and after that, that was the ending of La Perfecta. Phase one curtain down, that was it. Boom.

[Highlight--Music--Salsa]

Over the last 25 years, many of Palmieri's recordings have become classics and his orchestras have provided approving ground for promising young Latino and jazz musicians. Much like Art Blakey's messengers was to jazz. But in spite of winning five Grammy awards, record companies have met his innovative musical experiments with skepticism. Recently, however, Palmieri finalized negotiations on a new contract with Electra Asylum records.

[Background--Music--Afro-Caribbean Jazz] And we're going into a whole other direction. We're going into the Afro-Caribbean Jazz per se. My first attempt by writing specifically in that form. See, I have recorded in that vein as far as composition that chocolate ice cream or 17.1 or VP Blues that I have done, and I've always looking in that direction, in that country. But this time I'm really writing specifically in that vein.

As to what's in store for the future, whatever musical direction he might take, Palmieri says the core of his music will always remain in Latin rhythms.

Those rhythmical patterns will always intrigue me. They've been here now for 40,000 years, so they'll be here for another 40,000 for sure.

Yeah.

But I will not be here that long, but in the time that I'm here, I'm going to utilize it to the maximum and then achieve and have a wonderful time doing that and incorporating that into our music because it's something that certainly intrigue me and I must achieve that. It will. [Background--Music--Afro-Caribbean Jazz]

[Background--Music--Afro-Caribbean Jazz] Eddie Palmieri's new recording is scheduled for a fall release. From Newark, New Jersey for Latino USA, I'm Alfredo Cruz.