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This is the second lp by latin pianist Eddie Palmieri and his group ‘La Perfecta’. They were the originators of a sound called ‘trombanga’, introducing two trombones and a flute instead of trumpets. This contributed a lot to their early sixties succes in the New York latin scene. Later it was also used by artists such as Willie Colon and Manny Oquendo among others.
Find album reviews, stream songs, credits and award information for The Truth -- La Verdad - Eddie Palmieri on AllMusic - 1987 - This is a late-'80s date for the Eddie Palmieri Find album reviews, stream songs, credits and award information for The Truth -- La Verdad - Eddie Palmieri on AllMusic - 1987 - This is a late-'80s date for the. Eddie Palmieri 1987 - La Verdad.rar - 83.7 MB Eddie Palmieri 1981 - Timeless.rar - 33.6 MB Eddie Palmieri 1995 - Arete.rar - 46.7 MB Eddie Palmieri 2007 - El prodigioso Los 50 a Publicar un comentario en la entrada.
The vocals on this 1963 album are taken care of by Ismael Quintana. Tracks; 1 El molestoso 2 Asi es la humanidad 3 Lazaro y su microfono 4 Contento estoy 5 Sabroso guaguanco 6 Yo sin ti 7 Co un amor se borra otro amor 8 En cadenas 9 La gioconda 10 No critiques This entry was posted in,. Bookmark the.
Bacoso's been posting some great Eddie Palmieri over at OIR which has encouraged me to drag out my latin albums again. Eddie's a genius and a revolutionary giant.
Latin had never seen harmonies like this before - Palmieri pushed at both the latin boundaries and the jazz boundaries at the same time without letting them wash each other out. Palmieri's great early 70s albums like and began to mix up genres in a way that reflected the cultural gumbo of New York itself. He began to really stretch his own boundaries in the studio with ' in 1974, particularly with the sprawling 15 minute 'Un Dia Bonito', which begins with atmospheric textures and dramatic pacing, then works through an extraordinary, almost classical cross-harmonic brass buildup before morphing into a latin stormer. (I've added this as a bonus track in the comments). The album netted him his first Grammy award, which was in fact the first-ever Latin Grammy.
In 1973 he released, which in tracks like 'Condiciones que Existen' began to incorporate the funk textures from the album by his project, once again a distinctly New York cultural stew that can also be heard on the live albums from 1971, and influences other live recordings like the album. Less funk and more cuban textures in this album from 1975, but it's still from the period when Palmieri had most of his considerable irons in the fire at the same time, moments of descarga - listen to everyone go crazy in the 12-minute standout track 'Cobarde'; piano atmospherics and experimentation in 'Random Thoughts'; percussion to die for in 'Oyelo Que Te Conviene'. There's the salsa of 'Un Puesto Vacante' with Lalo Rodriguez tearing up on the vocals, some boogaloo strains in 'Kinkamache', and finally jazz and even big band textures in 'Resemblance'. That last track has quite a different lineup of jazzers including Ron Carter, Jeremy Steig, Steve Gadd, and Eddie Martinez on the rhodes.
And all the way through there's Eddie himself, always unexpected and exploratory in his piano progressions, and writing incendiary brass parts like no-one else can. He was apparently never fully satisfied with getting this album finished, but Coco Records put it out anyway - thus the title. He won his second Grammy award with this one. WAV and 320 MP3 versions of 'Unfinished Masterpiece' are at the bottom of the post, also a bonus of the aforementioned track 'Un Dia Bonita' from 'The Sun Of Latin Music'.
![Verdad Verdad](/uploads/1/2/5/5/125575557/492994754.jpg)
Also check out the discography below for 53 more Eddie Palmieri-related albums. Finally here's more from this blog.
JAMES MOODY & the early 1970s While Moody's albums had played around the edges of bebop, in the 1970s he both embraced and influenced the emerging paths being taken by his collaborators in structure, source and instrumentation - not travelling deep into the avante-garde, but always looking beyond jazz's perceived boundaries. 1970's wistful and laid-back saw Moody turning more to his flute alongside his better-known tenor and alto saxaphone, at the same time as his harmonic structures in some tracks began to journey below the U.S. After recording the relatively straight-ahead with Al Cohn in 1971, he released (1971), on which he began to embrace soul jazz, funk and some New Orleans-tinged blues elements, a smorgasbord that seemed to either reflect or grow from Dizzy Gillespie's fusions on Perception Records at the time, albums such as in which many of the same players took part. Fellow Gillespie comrade, who'd been on, also brought Moody on board for his '72 album, which furthered some of the textures established on, particularly pushing up the funk quotient by incorporating Alex Gafa's wah-wah guitar. The soul jazz factor came to the fore on Moody's first Muse record in 1972, with his tenor sax working hard against Mickey Tucker's great hammond organ work on tracks like 'Freedom Jazz Dance'. 'Feelin' It Together' was recorded on January 15th, 1973; and represents another stage in the type of growth he speaks of above.
The album opens by looking back to the players' bebop roots with a complex, frenetic nine-minute rendition of 'Anthropology', composed by Dizzy Gillespie, Charlie Parker and Walter Bishop, originally derived from a bebop variation of 'I Got Rhythm'. Moody soars on alto sax here, trading solos with Kenny Barron's acoustic piano and Larry Ridley's bass, while drummer Freddie Waits scats around Ridley's insistent walking improvs. While the title of his previous album had apparently referred to his desire to stick to tenor playing from now on, 'Feelin' It Together' features Moody on tenor, alto and flute for two tracks each. Keyboardist was ten weeks away from recording his debut album, and that album's references to latin rhythm and brazilian harmonic structures can be felt here in nascent form in his two compositions, 'Morning Glory' and 'Dreams', both of which feature his spacious rhodes work. Moody's flute work is superb on 'Dreams', with finely controlled and varying tremelo that initially engages directly with the inbuilt tremelo on Barron's rhodes, working around the rhodes' metered pulse with subtle variations - dancing with the machine, if you like. Likewise, his alto sax work on Barron's 'Morning Glory' sits above the warm bed of rhodes chords in a whisper-to-a-scream display of dynamic virtuosity. Barron's work with Moody went as far back as (1962), and since then he'd appeared on the Moody albums (1966) and “ The Blues And Other Colors” (1969), as well as working with him on a multitude of Dizzy Gillespie albums in the 60s.
He'd continue to work on at least another four Moody albums, including in 1976. There's a nice extended version of the standard 'Autumn Leaves', with an atmospheric opening built over Freddie Wait's percussion rumbling. When the theme comes in, Moody's aching tenor is counterpointed by Barron's complex chord-based improvisations. There's no clear separation to sax 'solo' as Moody subtly builds his improvisations out of the song's melody, then hands over to Barron's piano for a floating series of arpeggio clouds. Moody and Barron also trade solos throughout an interesting interpretation of Jobim's 'Wave'.
Here's a for Moody's flute part. The track has a sparse, atmospheric opening with Freddie Waits on shakers and tin flute sliding over Barron's rhodes, before it develops into a chugging bossa with Moody on flute. (For a very different, but also great version of 'Wave', see Moody performing the track with the.) The album finishes with an unusual version of 'Kriss Kross'. After the theme is sparsely introduced by Moody's sax over drums, it cuts almost incongruously to a fugue-like sequence with Barron on harpsichord, then Ridley walks us into a more traditional bebop / blues take on the track, with Moody blowing a hard tenor solo. A subsequent rhodes solo from Barron makes way for a bowed sequence from Ridley, before we return to the harpsichord fugue. It's a strange finish.
Busy drummer Freddie Waits had played on Hubert Law's album three days before recording this one. He'd also worked on Moody's 'The Blues and Other Colours' (1969), and went on with Barron to record ten weeks later in April.
As a founding member of Max Roach's percussion collective M'Boom, Waits worked on Brother Ah's around this time, and would go on to record both Mboom's and Neal Creque's in August. Still two years away from recording his debut album for Strata-East Records, bassist Larry Ridley came to this album with a twenty year history as a sideman, playing on albums by people like, and many others. Ridley's most recent date had been as a member of the 'Jazz Contemporaries' for the 1972 Strata-East album. He'd also played with Moody on the 'Newport In New York: The Jam Sessions (Vol 3&4)' album in 1972, and had worked with Kenny Barron as far back as 1962 on brother Bill Barron's album 'The Hot Line'. Later in 1973 James Moody would join up with producer Richard Evans fo r ( later re-released as 'The World Is a Ghetto'), a more commercial production in the vein of Evans' production of Ahmad Jamal's, even covering two of the same tracks.
Some of it's a little too easy-listening for my ears, but there's three or so good tracks, nice rhodes work and some funky moments - worth checking out. You'll find links for 'Feelin' it Together' in the comments, but also check through the sections below for many additional albums and extra treats. Hope you enjoy this one, let me know what you think.
JAMES MOODY - 'FEELIN' IT TOGETHER' (1973, Muse) TRACKLIST 01 'Anthropology' - 9:07 (D. Gillespie / C.Parker / W. Bishop) pub: Music Sales Corp, ASCAP 02 'Dreams' - 4:59 (K.Barron) pub: Wazuri pubishing Co. BMI 03 'Autumn Leaves' - 9:31 (J.Mercer / J.Kosma / J.Prevert) pub: Morley Music Corp. BMI 04 'Wave' - 7:46 (A.Jobim) pub: Corcovado Music Corp.
BMI 05 'Morning Glory' - 7:21 (K.Barron) pub: Wazuri pubishing Co. BMI 06 'Kriss Kross' - 7:21 (R.Holloway / A.Hillery) pub: Red Holloway Publishing BMI MUSICIANS James Moody - alto sax, tenor sax and flute Kenny Barron - acoustic piano, electric piano and harpsichord Larry Ridley - bass Freddie Waits - drums, misc. The CD's not as good as the show was, but there's some stuff to be found here. It seems that as the year's progressed, the role of saxophonist / keyboardist / singer (anyone got his albums?) has been increased. At the show we saw, he was comping on the rhodes with his right hand while soloing on soprano, alto and tenor sax with the left, and singing like an angel with a few lead spots. Here he's mainly just on sax, and the keyboards are more dominated by the not-as-interesting work by Mark Adams, who favours more 90s-style wavetable synth emulations. Roy Ayers acts more as party MC and vocalist these days.
![Palmieri Palmieri](/uploads/1/2/5/5/125575557/932971822.jpg)
After 36 years of 'Sunshya-yine' he's understandably trying a few new tricks, some of which work better than others. He's playing rubber digital control pads with his mallets, which works ok for marimba sounds, but the sustain on the vibe samples is slightly dodgy. Occasionally he dials up a synth sound and goes all Jan Hammer with the mallets, but the dynamics are a little flat. There's a 14 minute take of 'Night In Tunisia ' that starts with a few minutes of Roy's syn-mallet work, but i've excerpted a little later instead: The night I saw had spectacular work from bassist Donald Nicks and drummer Lee Pearson, with extended solos in Night In Tunisia. There's a lot of visual humour from all the band in the live show that gets a little lost here, such as the entire band towelling Nicks down after his solo. Anyway, Ayers' sheer enjoyment of playing live and entertaining is infectious for both the band and the audience, and I recommend you catch them live when you can. ALSO ON THIS BLOG - wav / mp3 ROY AYERS BLOG DISCOGRAPHY at.