Conrad Herwig - The Latin Side of McCoy Tyner

Styles: Trombone Jazz
Year: 2024
Time: 59:40
File: MP3 @ 320K/s
Size: 138,0 MB
Art: Front

(6:52) 1. African Village
(5:29) 2. Passion Dance
(6:06) 3. Four by Five
(6:23) 4. Walk Spirit, Talk Spirit
(5:31) 5. Mellow Minor
(6:07) 6. Search for Peace
(5:44) 7. Peresina
(6:52) 8. Fly with the Wind
(5:56) 9. Blues on the Corner
(4:36) 10. Reaching Fourth

Trombonist Conrad Herwig has a great way of reworking older jazz tunes with a bold Latin Jazz vibe a project he's done with the music of Miles Davis, Wayne Shorter, and others and which here really explodes with a great soulful sensibility on the music of McCoy Tyner! Given the oft-modal, inherently rhythmic quality of most of Tyner's music, the match is a perfect one carried off here with a core group that's really wonderful Craig Handy on tenor and baritone, Alex Norris on trumpet, Bill O'Connell on piano, Ruben Rodriguez on bass, Robby Ameen on drums,and Camilo Molina on congas plus guest piano from Eddie Palmieri on just one track (despite his name being large on the cover!)

Conrad is the core throughout, and his trombone solos have a way of linking the modes of older Latin greats like Barry Rogers with the hardbop and spiritual jazz currents in the music. Titles include "Fly With The Wind", "Passion Dance", "Reaching Fourth", "Blues On The Corner", "Mellow Minor", and "Search For Peace".
© 1996-2024, Dusty Groove, Inc. https://www.dustygroove.com/item/175960/Conrad-Herwig:Latin-Side-Of-McCoy-Tyner

The Latin Side of McCoy Tyner

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Conrad Herwig - The Latin Side of John Coltrane

Styles: Trombone Jazz
Year: 1996
File: MP3@320K/s
Time: 70:04
Size: 161,0 MB
Art: Front

(1:17)  1. Blessing
(6:05)  2. A Love Supreme (Supremo Amor)
(6:52)  3. Blue Train
(9:38)  4. Afro-Blue
(4:41)  5. Naima
(7:59)  6. Satellite
(6:37)  7. Africa
(4:36)  8. After the Rain
(7:26)  9. Impressions
(7:44) 10. India
(5:43) 11. The Drum Thing
(1:20) 12. Blessing (Reprise)

A great idea beautifully executed by New York trombonist Conrad Herwig. The trombonist/arranger/musical director chooses Coltrane's most accessible material from a period that arguably spawned his best, most memorable work (1958-1964), devised simple, exploratory frameworks for each (recalling veteran Chico O'Farrill), then assembled an outstanding collection of musicians. In addition to Herwig's sinewy trombone, there's Brian Lynch on trumpet, Dave Valentin on flutes, Ronnie Cuber on baritone, Richie Beirach (who contributed to some of the arrangements), Danilo Perez and Eddie Palmeri on piano, Andy Gonzalez (from the Fort Apache Band) on bass and Milton Cardona on vocals and percussion. Selections are outstanding: "A Love Supreme," "Blue Train," (where Lynch trades fours with Herwig), "Afro Blue" (great flute solo by Valentine), "Naima" (beautifully featuring Beirach), "After The Rain," "Impressions" and "India." Throughout, Herwig solos flawlessly, with a sensitivity and fire that's reminiscent of the source of his tribute. Herwig's record, more than Joe Henderson's recent big-band event, sounds like a natural conclusion. The arrangements and performances work well together and the Latin environment seems a logical foundation for Coltrane's passions. One last note: Astor Place has done a beautiful job packaging The Latin Side of John Coltrane , sparing no expense for trendy art direction that recalls some of the very expensive covers Limelight Records put out in the mid 60s. Recommended. ~ Douglas Payne https://www.allaboutjazz.com/the-latin-side-of-john-coltrane-conrad-herwig-astor-place-review-by-douglas-payne.php

Personnel: Conrad Herwig - trombone, musical director;  Brian Lynch - trumpet;  Alex Sippiagin - trumpet;  Mike Ponella - trumpet;  Ray Vega - trumpet;  Dave Valentin - concert flute, alto flute, bass flute;   Ronnie Cuber - baritone saxophone;  Gary Smulyan - baritone saxophone;   Danilo Pérez - piano; Eddie Palmieri - piano;  Edward Simon - piano;  Richie Beirach - piano;   John Benitez - bass;   Andy González - bass;  Adam Cruz - drums;  Jose Clausell - timbales, percussion;  Richie Flores - congas;   Milton Cardona - vocals, bata, congas, percussion;  John Coltrane - tribute to, composer

The Latin Side of John Coltrane

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Eddie Palmieri - The History Of Eddie Palmieri

Styles: Piano Jazz
Year: 1975
File: MP3@320K/s
Time: 47:40
Size: 110,1 MB
Art: Front

(6:40)  1. Café
(5:43)  2. Bilongo
(5:42)  3. Cuídate Compay
(3:52)  4. Sujétate La Lengua
(2:45)  5. Conmigo
(4:10)  6. Tirándote Flores
(3:13)  7. Lázaro Y Su Micrófono
(5:59)  8. Justicia
(3:22)  9. Bomba Del Corazón
(6:09) 10. Viejo Socarrón

History is one of those great 1970s compilations that has just enough perspective to get it right. Material is drawn from both Tico and Alegre albums, and wide varieties of rhythm, tempos, and style are represented, but not too wide. Salsa fans will find much of interest. "Cuidate Compay" and "Conmigo" in particular are hot dance tracks which still sound fresh and infectious. It may not be correct to call the album a "history" of Eddie Palmieri, but it is a great slice of his best work from the 1960s. It is, at least, a history until Harlem River Drive. History serves well as an introduction to the "Sun of Latin Music, " but even longtime Palmieri fans may want it in addition to the originals or other compilations. ~ Tony Wilds https://www.allmusic.com/album/history-of-eddie-palmieri-mw0000727993

Personnel: Piano – Eddie Palmieri ; Vocals – Ismael Quintana

The History Of Eddie Palmieri

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Eddie Palmieri & Cal Tjader - Bamboleate

Styles: Latin Jazz, Salsa, World Fusion
Year: 1967
File: MP3@320K/s
Time: 33:21
Size: 76,7 MB
Art: Front

(3:25)  1. Bamboleate
(2:30)  2. We've Loved Before
(5:39)  3. Resemblance
(5:23)  4. Mi Montuno
(3:53)  5. Samba do Sueno
(3:48)  6. Guajira Candela
(5:38)  7. Pancho's Seis por Ocho
(3:02)  8. Come and Get It

The second album pairing Palmieri and Tjader, Bamboleate moves beyond El Sonido Nuevo into the respective territories of each artist. "Bamboleate" is the Latin cooker ones expects from Palmieri but didn't find on the more subdued El Sonido Nuevo. "Semejanza" is an equally affecting jazz lilt led by Tjader. Framed by a melody that could have come straight off the Vince Guaraldi Trio's Charlie Brown Christmas album, it has an equally indelible, locomotive rhythm. Tjader's samba, "Samba de Los Suenho," is a welcome departure from the relative rigidity of El Sonido Nuevo. Also vital are the vocal tracks (Palmieri's), but the blatant channel-switching in "Guajira Candela" is an abuse of stereo separation. "Pancho's Seis por Ocho" is typical of the deep, midtempo Afro rhythm of Bamboleate and El Sonido Nuevo. 

Trombonist Mark Weinstein contributes the closing "Ven y Recibelo (Come an' Get It)," a mod/soul cooker on par with the best of Verve all-stars Tjader, Ogerman, Winding, and Schifrin. Finally, the album was reissued in 1977 as Tico LPS-88806 and distributed by Fania. The reissue at least features illustrations of Tjader and Palmieri by Jose Vargas. 

~ Tony Wilds https://www.allmusic.com/album/bambol%C3%A9ate-mw0000273328

Personnel:  Eddie Palmieri - piano, writer; Cal Tjader - vibraphone, writer;  Barry Rogers - trombone;  Mark Weinstein - trombone, writer; George Castro - flute; Bobby Rodríguez - bass;  Kako - timbales;  Manny Oquendo - percussion; Tommy López - conga;   Ismael Quintana - chorus; Willie Torres - chorus

Bamboleate

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Eddie Palmieri - Arete

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 51:38
Size: 119,4 MB
Art: Front

(6:44)  1. Don't Stop The Train
(5:08)  2. Definitely In
(9:14)  3. Sisters
(4:00)  4. Crew
(7:53)  5. Waltz For My Grandchildren
(5:57)  6. Caribbean Mood
(5:48)  7. Oblique
(6:52)  8. Sixes In Motion

Pianist/composer Eddie Palmieri has long been a giant of Afro-Cuban (or Latin) jazz. While some recordings in this idiom lean too far in one direction not enough jazz improvising, or in other cases, a percussion section that sounds as if it were added on as an afterthought Palmieri has struck a perfect balance. In trumpeter Brian Lynch, trombonist Conrad Herwig and altoist Donald Harrison, he has three strong soloists who match well with the trio of percussionists. In addition to Palmieri, bassist John Benitez and drummer Adam Cruz (the latter is on just four of the eight Palmieri originals) are flexible enough to play both swing and Latin. A strong plus to this date are the compositions/arrangements of Palmieri, which pay close attention to varying moods, instrumental colors and grooves. Consistently complex and unpredictable, the music is still always quite accessible and enjoyable, thanks to the percussionists. ~ Scott Yanow https://www.allmusic.com/album/arete-mw0000177365
 

Personnel:  Eddie Palmieri - piano;  Richie Flores - congas; Jose "Cochi" Claussell - timbales, percussion;  John Benitez - bass;  Adam Cruz - drums;  Paoli Mejias - bongo

Arete

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Eddie Palmieri - The Very Best Of Eddie Palmieri & Friends

Bitrate: MP3@320K/s
Time: 156:42
Size: 358.7 MB
Styles: Latin jazz, Salsa
Year: 2013
Art: Front

[3:46] 1. Vamonos Pal Monte
[6:31] 2. Oyelo Que Te Conviene
[4:03] 3. La Malanga
[6:08] 4. Un Dia Bonito
[6:28] 5. Nada De Ti
[5:27] 6. Bilongo
[6:59] 7. Puerto Rico
[5:18] 8. Una Rosa Espanola
[5:39] 9. Kinkamache
[3:41] 10. Pa Huele
[3:47] 11. Nunca Contigo
[3:38] 12. Deseo Salvaje
[8:54] 13. Sabroso Gua Guanco
[5:37] 14. Adoracion
[6:21] 15. Random Thoughts
[4:38] 16. La Fruta Bomba
[9:01] 17. Suert La Lengua
[5:21] 18. Cosas Del Alma
[3:58] 19. Condicianes Que Existen
[6:07] 20. Suave
[6:29] 21. Suave De Pam
[9:07] 22. Sujetate La Lengua
[4:01] 23. La Malanga
[5:24] 24. Bilongo
[6:53] 25. Chocolate Ice Cream
[5:30] 26. La Libertad Logica
[3:46] 27. Vamonos Pal Monte
[3:56] 28. Amor Ciego

This is a collection of some cuts from each of Eddie Palmieri's great early '70s albums, including SUN OF LATIN MUSIC, SENTIDO, and UNFINISHED MASTERPIECE. The version of "Adoracion" is edited, not the full album version. There is also some other material, including several edited versions from the classic LIVE AT THE UNIVERSITY OF PUERTO RICO album. These are shorter than the album versions, with solos missing. You really lose the essence of this album when you can't hear the musicians stretch out. ~M. Palmieri

The Very Best Of Eddie Palmieri & Friends mc
The Very Best Of Eddie Palmieri & Friends zippy

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Conrad Herwig - The Latin Side Of Wayne Shorter

Styles: Trombone Jazz
Year: 2007
File: MP3@320K/s
Time: 71:47
Size: 167,4 MB
Art: Front

( 6:56)  1. Ping Pong
( 8:52)  2. Tom Thumb
( 8:44)  3. El Gaucho
( 8:16)  4. Night Dreamer
( 8:02)  5. This Is For Albert
( 8:18)  6. Adam's Apple
(11:24)  7. Masqualero
(11:11)  8. Footprints

Luis Perdomo is the regular pianist in Conrad Herwig's septet. He delivers a sterling, elegant solo on "Ping Pong," the opening cut on The Latin Side of Wayne Shorter, recorded live at the Blue Note in New York. He anchors the first five songs with such skill that at the end of "This Is for Albert," Herwig singles him out for the audience's applause. Unfortunately, it's to say goodbye. When salsa legend Eddie Palmieri takes over on piano, the concert is sent into orbit. Perdomo never stood a chance.  "Adam's Apple" may not be Shorter's greatest composition, but Palmieri makes a convincing case with syncopated montuno vamps that drive drummer Robby Ameen's funky backbeat and inspire baritone saxophonist Ronnie Cuber's sly comments and robust soloing. Palmieri taps into "Masquelero"'s heart of darkness and Herwig's tone on trombone is elusive and introverted, before trumpeter Brian Lynch takes a note-bending solo that slides itself into the piano's rhythms like mortar. Herwig and Lynch's simpatico playing is the highlight of "Footprints," each of them winding similarly smooth and uncluttered solos around Pedro Martinez' congas. This is the third installment in Herwig's Latin Side series (following interpretations of Coltrane and Miles) and features silky virtuosic musicianship applied to intricate, intelligent, original compositions. Shorter's tunes are well-known and highly regarded as being flexible enough to suit a variety of instrumental lineups. Since he's gathered his own multi-horn groups in the past, the sound of these arrangements doesn't stray too far from his initial conceptions. But if you know a person who thinks jazz is difficult to get, lacks melody, or you can't dance to it, this is a CD that will change their mind. ~ Jeff Stockton https://www.allaboutjazz.com/the-latin-side-of-wayne-shorter-conrad-herwig-half-note-records-review-by-jeff-stockton.php

Personnel: Conrad Herwig: trombone; Brian Lynch: trumpet; Ronnie Cuber: baritone sax; Eddie Palmieri, Luis Perdomo: piano; Ruben Rodriguez: bass; Robby Ameen: drums; Pedro Martinez: congas.

The Latin Side Of Wayne Shorter

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Conrad Herwig - The Latin Side Of Herbie Hancock

Styles: Trombone Jazz
Year: 2008
File: MP3@320K/s
Time: 66:12
Size: 153,4 MB
Art: Front

(10:16)  1. Oliloqui Valley
( 5:33)  2. One Finger Snap
( 8:52)  3. Butterfly
( 6:58)  4. The Sorcerer
( 9:22)  5. Actual Proof
( 8:42)  6. Maiden Voyage
( 9:30)  7. Cantaloupe Island
( 6:55)  8. Watermelon Man

Trombonist and bandleader Conrad Herwig has quite colorfully and majestically explored the Latin side of some of modern music's most enduring composers and performers, and herewith adds his survey of Herbie Hancock's compositional catalog to previous Latin sets that honored Miles Davis and Wayne Shorter. "It's a little daunting in the sense that these tunes are so iconic," Herwig admits. "I grew up idolizing Herbie's music. His tunes became the new standards for a whole generation of post-Coltrane players." To navigate this territory, recorded in performance at the Blue Note in NYC, Herwig turned to two old friends: Trumpeter Randy Brecker, who first played with Herwig three decades ago; and pianist Eddie Palmieri, one of Latin jazz's reigning piano masters and one of Herwig's Latin jazz advisors for more than two decades. He also brought one new friend onboard: pianist Bill O'Connell, a veteran of classic sessions by Mongo Santamaria, Jerry Gonzalez, and others. O'Connell and Herwig either split or shared all these Latin Hancock arrangements. Brecker's trumpet burns through the group's collective descarga on "The Sorcerer" like a flame through tissue paper, while O'Connell takes charge with a powerful improvised passage that refracts Hancock's original tune into shards of melodic light. Brecker's and Herwig's intertwined improvisational passages only send these shards flying higher and brighter.

But Herwig's closing trilogy, a howling ensemble hurricane, is simply as good as Latin jazz gets. O'Connell's arrangement strings tethers the familiar "Maiden Voyage" melody to soft horns that float in harmonic space, the shadow of a passing cloud that gently darkens the rhythm section's roiling sea, with Craig Handy on flute, Brecker on trumpet so soft that your ears hear flugelhorn, and O'Connell on piano, painting brilliant solo strokes. More than a beautiful rendition, "Maiden Voyage" rediscovers this jazz classic. Palmieri jumps back in to help fire the remainder back up to a torrid Latin boil. Latin rhythms illuminate the sweet funky insides of "Cantaloupe Island," which, after Palmieri's two-fisted piano excursion, culminates in a blazing percussion/horn breakdown; with no piano or bass to anchor them to the percussion rhythms, Handy, Brecker and Herwig are left free to scatter and soar skyward like untethered birds. In a torrent, "Watermelon Man" pours out from the aftermath of "Cantaloupe," highlighted by Palmieri's spirited dialogue with the rhythm and percussion instruments. Even on just the strength of these last three tunes, Herwig's Latin Hancock presents tremendously rewarding, eye-opening and ear-popping, new interpretations of classic jazz pieces. ~ Chris M.Slawecki https://www.allaboutjazz.com/the-latin-side-of-herbie-hancock-conrad-herwig-review-by-chris-m-slawecki.php

Personnel: Conrad Herwig: trombone; Craig Handy: saxophones, flute, bass clarinet; Mike Rodriguez: trumpet; Bill O'Connell: piano; Ruben Rodriguez: bass; Robby Ameen: drums; Pedro Martinez: percussion; Eddie Palmieri: piano; Randy Brecker: trumpet.

The Latin Side Of Herbie Hancock

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The Brian Lynch/Eddie Palmieri Project - Simpático

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 66:43
Size: 153,9 MB
Art: Front

(7:54)  1. The Palmieri Effect
(5:25)  2. Que Seria La Vida
(8:52)  3. Guajira Dubois
(6:03)  4. Jazz Impromptu
(8:39)  5. Paginas De Mujer
(8:18)  6. Slippery
(8:24)  7. Jazzucar
(6:15)  8. Tema Para Marissa
(6:50)  9. Freehands

Two decades of working as a highly accomplished trumpeter in Eddie Palmieri's Latin jazz band has culminated for Brian Lynch with this completely ravishing recording alongside his musical mentor. While the name of the group might raise the question of "who's on first?", rest assured that this is an inspired collaboration with the less-celebrated Lynch firmly at the helm. Most of the tunes are his, and the versions of Palmieri's pieces are marked by Lynch's hand. In fact, this album marshals some playing from Palmieri, particularly on the tumbling "The Palmieri Effect," which opens the album with a roar from Palmieri's piano, that I've missed from some recent discs under Palmieri's leadership. While the program of Simpatico is clearly Latin jazz and Palmieri's salsified McCoy Tynerisms are resplendently prominent throughout, there are lovely selections that wouldn't be expected on a Palmieri album. One example is the Lynch original "Jazz Impromptu," which has a sound you'd expect from a hard-blowing Blue Note session from decades ago. The bop roots in Lynch's original compositions are even evident in a guajira-chacha like "Guajira Dubois," where guest alto saxophonist Phil Woods, hardly a supreme Latin jazzman, brings an interesting bop sensibility to the proceedings.

The seventeen musicians (in addition to the superstar Palmieri) are all playing at the top of their game, bringing out an acute brilliance in Lynch's playing that I've never heard so thrillingly projected. But the biggest surprise among this crowd of talent is the Mexican-American diva Lila Downs. Her vocals have a dusky sensuality and subtle understatement that compels re-visioning just how extroverted a great Latin jazz vocalist need be. Lynch may have revolutionized the already rising career of Downs by showcasing her in a context so far removed from her own recordings, which are deeply rooted in traditional Mexican song.  

There's a move afoot in the jazz world to expand the parameters of Latin jazz, with Hilary Noble, Rebecca Cline and Dafnis Prieto among the prime instigators. In his own sweet way, in spite of being less radical conceptually in breaking out of a traditional Latin jazz style than those three musicians, Lynch is triumphantly pushing Latin jazz boundaries. This is a magnificent recording, whatever label you pin on it, and it makes you hope for more Lynch collaborations with his mentor in the near future. ~ Norman Weinstein https://www.allaboutjazz.com/simpatico-eddie-palmieri-artistshare-review-by-norman-weinstein.php

Personnel: Brian Lynch: trumpet; Eddie Palmieri: piano; Lila Downs: vocals; Phil Woods: alto saxophone; Donald Harrison: alto saxophone; Conrad Herwig: trombone; Giovanni Hidalgo: congas; Dafnis Prieto: drums; other players including Gregory Tardy, Mario Rivera, Boris Kozlov, Ruben Rodriguez, Luques Curtis, Robby Ameen, Pedro Martinez, Johnny Rivero, Edsel Gomez, Marvin Diz, Pete Rodriguez.

Simpático

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Eddie Palmieri - Straight Ahead

Bitrate: MP3@320K/s
Time: 37:59
Size: 87.0 MB
Styles: Afro-Cuban jazz
Year: 2009
Art: Front

[5:15] 1. Si Echo Palante
[6:33] 2. Cafe
[4:05] 3. Mi Corazon Te Llama
[4:02] 4. Suave
[3:34] 5. Tu Tu Ta Ta
[3:34] 6. Es Mejor Separarnos
[5:27] 7. Mi Jeva
[5:27] 8. Sin Sabor Nada

This is one of Eddie's little known gems. Back in 1973 when I first listened to this album it was already a classic and not easy to find. I played trombone in a a garage salsa band back home in PR. We played mostly Willie Colon tunes. One day my uncle handed me this album and "Mozambique", he knew what we have been missing. When we heard the trombones come in on "Echando Pa'lante" we were stunned we couldn't believe our ears. Then we heard "Cafe" and that was it. This was the real deal, the band all the other trombone bands played second fiddle to.

La perfecta sound in this album is particularly clean and tight but with a feeling of sparseness and space. This session is not as explosive as "Mozambique" or "Molasses" still is a small band with a lot of drive and an absolute classic. Here you will find all the good things that made old salsa so enjoyable: Eddie's relentless and driving piano, heavy handed, pulsating percussion, clean and sharp brass playing infectious riffs, great singing and more importantly solos and descargas that bring excitement to the dancers and listeners alike. This is Vintage La Perfecta it doesn't get any better than this. ~Ramon Melendez

Straight Ahead

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Christian McBride - Conversations with Christian

Styles: Post-Bop, Straight-Ahead Jazz 

Year: 2011

File: MP3@320K/s

Time: 76:27

Size: 175,2 MB

Art: Front

(4:21)  1. Afrika (feat. Angelique Kidjo)

(4:40)  2. Fat Bach and Greens (feat. Regina Carter)

(4:19)  3. Consider Me Gone (feat. Sting)

(6:18)  4. Guajeo Y Tumbao (feat. Eddie Palmieri)

(5:21)  5. Baubles, Bangles and Beads (feat. Roy Hargrove)

(7:07)  6. Spiritual (feat. Dr. Billy Taylor)

(5:09)  7. It's Your Thing (feat. Dee Dee Bridgewater)

(5:32)  8. Alone Together (feat. Hank Jones)

(5:35)  9. McDukey Blues (feat. George Duke)

(9:06) 10. Tango Improvisation #1 (feat. Chick Corea)

(6:39) 11. Sister Rosa (feat. Russell Malone)

(5:36) 12. Shake 'n Blake (feat. Ron Blake)

(6:39) 13. Chitilins and Gelitefish (feat. Gina Gershon)

Plenty of ink has been spilled by those espousing their opinions on the art of the trio, but the duo format doesn't get its due nearly as often either in print or on record. The trio format allows for various permutations in musical interaction, but pairing two artists together is all about direct, head-to-head conversation, and bassist Christian McBride knows a thing or two about this. While McBride has made a name for himself as a go-to bassist for all occasions and styles of music, his podcasts, Sirius-XM Radio Show (The Lowdown: Conversations With Christian McBride) and work as the co-director of The National Jazz Museum in Harlem have also shown the bassist to be an engaging presence in one-on-one games of the aural variety.  While McBride considered the idea of a duo record in the late '90s, he had other things on his mind at the time. Now, more than a decade later, he brings this concept to fruition with some help from thirteen A-list partners. Violinist Regina Carter joins the bassist for a baroque-meets-the-blues exploration of Johann Sebastian Bach's Double Violin Concerto ("Fat Bach And Greens"), vocal-pop icon Sting makes an appearance with guitar-in-hand on "Consider Me Gone," McBride and vocalist Dee Dee Bridgewater engage in saucy repartee on the funky and engaging "It's Your Thing," while shtick comes into the picture on a bluesy Jew's harp and vocals-meet-bass number with actress Gina Gershon ("Chitlins And Gefiltefish").

While McBride is more than comfortable and compelling in every setting on this album, the piano and bass partnerships on display seem to rise above the rest of the performances. Eddie Palmieri brings high energy Latin jazz into the mix on "Guajeo Y Tumbao," the dearly departed Dr. Billy Taylor brings a sense of calm and peace to the album with his own "Spiritual," which opens and closes with some gorgeous arco work from McBride, and George Duke delivers the most chops-heavy piano work on the record, with "McDukey Blues." While the late Hank Jones' isn't nearly as aggressive as Palmieri or Duke, his connection with McBride may be more powerful and palpable, and this pair deserves to be dubbed The Great Jazz Duo for this performance. Preconceived notions concerning structure seem to surround most of these numbers, but McBride's duet with pianist Chick Corea is of the organically-developed variety. Suspense-filled sounds and Spaniard-Argentine influences abound as "Tango Improvisation #1" takes shape, but a blues foundation sneaks into the music as the piece develops, and the final act surrounds choppy, paranoid single-note statements from Corea's piano. Conversations With Christian McBride may, ultimately, be critically eclipsed by the bassist's fine big band record, The Good Feeling (Mack Avenue, 2011), that arrived a mere two months before this collection, but that would be a shame. These albums are actually companion pieces that highlight McBride's mastery of all things musical. ~ Dan Bilawsky https://www.allaboutjazz.com/conversations-with-christian-christian-mcbride-mack-avenue-records-review-by-dan-bilawsky.php

Personnel: Christian McBride: bass; Angelique Kidjo: vocals (1); Regina Carter: violin (2); Sting: vocals (3), guitar (3); Eddie Palmieri: piano (4); Roy Hargrove: trumpet (5); Dr. Billy Taylor: piano (6); Dee Dee Bridgewater: vocals (7); Hank Jones: piano (8); George Duke: piano (9); Chick Corea: piano (10); Russell Malone: guitar (11); Ron Blake: tenor saxophone (12); Gina Gershon: vocals (13).

Conversations with Christian                

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Eddie Palmieri - Listen Here!

Bitrate: MP3@320K/s
Time: 62:08
Size: 142.2 MB
Styles: Latin jazz
Year: 2005
Art: Front

[5:40] 1. In Flight
[7:19] 2. Listen Here
[5:13] 3. Vals Con Bata
[4:25] 4. Tema Para Eydie
[6:20] 5. Tin Tin Deo
[5:58] 6. In Walked Bud
[7:15] 7. La Gitana
[5:51] 8. Nica's Dream
[5:47] 9. Mira Flores
[8:16] 10. Ep Blues

Eddie Palmieri (piano); John Scofield (acoustic guitar, electric guitar); Regina Carter (violin); Donald Harrison (alto saxophone); David Sanchez , Michael Brecker (tenor saxophone); Nicholas Payton, Brian Lynch (trumpet); Conrad Herwig, Doug Beavers (trombone); Christian McBride, John Benitez (bass instrument); Horacio "El Negro" Hernandez (drums); Giovanni Hidalgo (congas). Recording information: Avatar Studios, New York, New York (01/2005).

Is Latin jazz some musicians' excuse for having fun? Eddie Palmieri's really a jazz-influenced Latin pianist, but he has lots of fun running and recording bands of top-line jazzmen. He's no conventionally accomplished contemporary jazz pianist, but all the better because he's unconventional, distinguished mostly by his very competent musical extrovert verve. This outgoing date has only occasional quiet moments, like John Scofield's near-mandolin acoustic guitar in "La Gitana," amid examples of the boss-man's bass- supported and very musical crash, bang, and extended flourish. The guests are a very musical extravagance. Regina Carter delivers robust swing violin with the octet doing the little big band thing on Palmieri's "In Flight," before the horns and bassist go for a beer with Carter and Mike Brecker comes in on R&B tenor for an Eddie Harris tune; Christian McBride replaces the bassist and solos substantially. David Sanchez's tenor comes in with John Scofield's electric guitar for another Palmieri tune, along with the full band. Then the bassist duets with Palmieri on another of the latter's tunes.

Back come all the horns for the Gil Fuller/Chano Pozo Dizzy Gillespie big band piece "Tin Tin Deo," Sanchez soloing, then Palmieri and the sparky Giovanni Hidalgo. Monk's "In Walked Bud" is next, en famille, with no guests, featuring a solo from everybody bar the bassist and Doug Beavers, who gets credit throughout for "additional arrangement and orchestration" wherever the band is bigger. The two trombones are the pivot of the larger group music. Monk's rhythms lose some subtlety in louder performance, but they Latinise well, and there's always ample swing. Even Scofield's quieter bout in the trio interlude "La Gitana" doesn't calm things, Palmieri makes certain. Carter and trumpeter Nicholas Payton are the guest soloists on Horace Silver's "Nica's Dream," third in a dream trilogy. "Mira Flores" is yet another good Palmieri number, with Christian McBride guesting brilliantly on bass, compensating for Mike Brecker's lapse into a current pop tenor saxophone sound. "EP Blues" is a final Palmieri composition for the time being, carrying things to a close, Benitez back with a vengeance and Payton acting as guest soloist. Why is Ivan Renta, sometime saxophonist in the Lincoln Center Jazz Orchestra, thanked for "additional alto saxophone"? Are his performances all unlisted? Did the excellent Donald Harrison need help, or a did a tape of him need patching? Conrad Herwig storms in solo, followed by Brian Lynch, Donald Harrison better than ever and Payton building to the climax, which is of course Palmieri's. Hidalgo takes things out. His business is what it's all about, considering the drummer on this date is no less than Horacio "El Negro" Hernandez. ~Robert R. Caldero

Listen Here!

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Eddie Palmieri - Sugar Daddy

Bitrate: MP3@320K/s
Time: 76:54
Size: 176.1 MB
Styles: Salsa
Year: 1964/2009
Art: Front

[2:41] 1. Ritmo Caliente
[2:46] 2. Mi Mambo Conga
[2:32] 3. Bailare Tu Son
[9:27] 4. Azucar
[4:16] 5. Tirandote Flores
[5:41] 6. Que Suene La Orquesta
[2:28] 7. Tema Del Apollo
[2:47] 8. No Critiques
[5:02] 9. Melao Para El Sapo
[6:31] 10. Cafe
[2:52] 11. Te Quiero, Te Quiero
[3:59] 12. Muneca
[2:42] 13. Conmigo
[3:56] 14. Lo Que Traigo Es Sabroso
[3:46] 15. Estamos Chao
[5:41] 16. Bomboncito De Pozo
[2:54] 17. Manha De Carnaval
[2:46] 18. En Cadenas
[4:01] 19. Campesino (El Pregon De La Montana)

An excellent recording by Eddie Palmieri & company. In reality, Palmieri has been amazingly consistent with his musical quality. Pick from any of his recordings and you'll find (with very few exceptions), his work to be always top notch. In this album, recorded in 1964, Palmieri & Conjunto La Perfecta cooks it up just right. The arrangements are clear and focused and suprisingly, do not sound dated at all. The brass section is tight and though there are no extended solos (that would come in later releases) they more than make up for it in harmonic interplay. The percussion section rivals the best of any group past or present. What you get here is conjunto workmanship at it's best. A beautiful album, well put together and crisply recorded. A young Ismael Quintana is heard on vocals doing what he has always done best, Sonear with sabor y dulzura. One of the best albums released by one of Palmieri's best bands. You can't go wrong with Palmieri and this one is no exception. ~Canuco

Sugar Daddy

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Eddie Palmieri - S/T

Bitrate: 320K/s
Time: 36:35
Size: 83.8 MB
Styles: Latin jazz
Year: 2009
Art: Front

[ 7:13] 1. El Dia Que Me Quieras
[10:31] 2. Ritmo Alegre
[ 6:51] 3. Páginas de Mujer
[ 6:05] 4. No Me Hagas Sufrir
[ 5:53] 5. Ven Ven

Eddie Palmieri, known for his charismatic power and bold pioneering drive, has a musical career that spans over 50 years as a bandleader of both Salsa and Latin Jazz orchestras. 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, 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.”

Eddie Palmieri’s musical style is paradoxical in nature: married to preserving the core fundamentals of latin orchestral tradition, he is possessed by a bold innovative drive and seeks all opportunities to challenge these very traditions. Eddie’s unique vision and distinctive arrangements have paved the way for ground-breaking compositions, ensuring a unique musical legacy. Eddie 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, Australia, North Africa and throughout the Caribbean. A true powerhouse of brilliance, he has shown that time is infinite with respect to his repertoire, as he continues to captivate live audiences throughout the world.

Eddie Palmieri

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