The Revisiting series features albums from the past that played a significant role in Latin Jazz history. The purpose of this series is to introduce new Latin Jazz listeners to important albums and look back at these albums in historical perspective. Each entry will jump to a different point in Latin Jazz history - this week we jump forward 36 years into the mid-nineties.

Bandleader Eddie Palmieri always integrated jazz ideals into his work in the Salsa world. As a pianist, Palmieri counted jazz greats such as Thelonious Monk and McCoy Tyner as strong influences. These studies, combined with his deep roots in traditional Latin dance music led to an assertive solo style that rivals contemporary jazz pianists. His affinity for experimentation made room for extensive amounts of improvisation in his music, as demonstrated by his 1960s group La Perfecta. His formal composition and arranging studies helped him stretch the boundaries of Salsa form with new structures and ample jazz harmony. In addition, he consistently balanced his dance repertoire with both original and classic instrumental Latin Jazz pieces. Palmieri repeatedly peeked into the jazz world, yet kept his position as a bandleader firmly planted in the salsa dance category.

In 1994, Palmieri moved outside the salsa realm and dedicated himself exclusively to Latin Jazz with the release of Palmas. The recording drew much of its jazz strength from the three wind players who serve as the main improvisers throughout the album - trumpet player Brian Lynch, trombonist Conrad Herwig, and saxophonist Donald Harrison. All three musicians brought extensive traditional jazz experience as well as a thorough knowledge of Latin styles into the ensemble, allowing them to improvise both knowledgably and passionately. The rhythm section on this recording contained heavyweight Latin musicians including conguero Richie Flores, bongocero Anthony Carrillo, timbalero Jose Claussell, drum kit player Robby Ameen, and bassist John Benitez. These musicians refused to lighten the aesthetic to make room for jazz - the groove remained relentless, providing a fiery basis for improvisation. As a composer, arranger, and performer, Palmieri served as the connection between these two worlds, fully reveling in this complete balance of Latin and jazz.

The album’s repertoire equally emphasizes jazz harmonies and Latin rhythms, while leaving ample room for improvisatory experimentation. The album opens with “Palmas,” which contains an intensive melodic shape and rhythmically askew line, driven by the rhythm section’s unstoppable drive. Lynch, Herwig, Harrison, and Palmieri all deliver powerful solos that immediately establish the recording’s serious jazz nature. The cha-cha-cha “Slowvisor” contains bluesy underpinnings with a sparse rhythmic melody and Palmieri’s funky montuno. Benitez provides a memorable solo, cutting through the texture with soulful melodies and rhythmic invention. “Mare Nostrum” walks the line between Latin, funk, and jazz with a chromatic melody and slap bass line. The track recalls Palmieri’s cross between salsa and R n’ B, but it stays firmly seated in the jazz world with an interesting harmonies and strong solo statements. The bridge on “Doctor Duck” moves through lush jazz changes while maintaining a rhythmic intensity, and “Bouncer” consistently keeps a descarga openness. All the tracks stay sharply focused upon Palmieri’s equal vision of Latin and jazz, exploding with fierce determination and passion.

Palmas marked a new stage in Palmieri’s career, both artistically and commercially. It opened a door for him to travel between the jazz and salsa worlds, continuing his jazz trajectory on Arete and Vortex while returning to dance music with La Perfecta II and Ritmo Caliente. Although Palmieri would utilize a variety of rhythm section players over the next decade, Lynch, Herwig, and Harrison remained steady collaborators, maintaining the virtuosic improvisation and spontaneous interaction found on this recording. Palmieri became a huge draw in the jazz world, playing festivals and high profile jazz clubs around the world. He continued to be recognized for his musical excellence, earning Grammy awards for Listen Here!, Obra Maestra/Masterpiece (his collaboration with Tito Puente), and Simpatico (a project co-led with Lynch). Most Latin music fans understood Palmieri’s importance much earlier, but Palmas served as a wake-up call to the jazz world and they’ve never stopped listening.

Revist More Classic Latin Jazz Albums:
Tanga, Mario Bauza and his Afro-Cuban Jazz Orchestra
Concepts in Unity, Grupo Folklorico y Experimental
Cal Tjader’s Latin Concert

Stumble it!