Before the new millennium of music arrived, making recording reasonably affordable and online distribution powerfully potent, the record label maintained a make or break position in the life of an artist, a group, or a style. The creation of a professional quality recording that clearly expressed an artist’s ideas required a specialized studio environment and highly skilled sound engineers. These people and places were few and far between, allowing them to charge a steep fee for their services; in most cases, this fee largely outweighed the resources that most musicians held. The record labels would front the money to create the recording, tying them to the artist for years to come. Once the recording was made, artists also relied upon labels to promote their work, spreading the word about their music to a national, and in many cases, international audience. Before e-mail, MySpace, Twitter, and Facebook, the best that an independent artist could muster would be a snail mail list - a time consuming and expensive proposition. Labels had the money and connections to promote new albums on radio, television, magazines, newspaper, and more, finding all the right places for the world to discover a young artist. In many ways, record labels held the life of the music industry in its hands, and successful artists or genres required the whole hearted support of a record label to survive.

Ralph Mercado created RMM Records in 1987, a time when crass commercialism was taking over the popular music world; fortunately Mercado saw beyond this one-way road and served as an ideal spokesman for New York Latin music. Mercado was more than simply the head of a record company sitting in an office; he was an active participant on the Latin music scene. He had promoted concerts, venues, and artists for many years, and he had established relationships with most of the major names in the New York Latin music scene. He knew these people both personally and musically; he knew their potential and their limits. He had a rich understanding of Latin music from a listener’s perspective; he loved the music and he knew what worked. When considering a combination of musicians for a recording, he knew how individuals complemented or clashed with each other. Mercado had listened to these artists perform for many years, and he understood their jazz side on several levels. He related to the jazz market and saw potential for these artists to expand his company. He had watched the music evolve historically, and he saw the blurry line between salsa and Latin Jazz. Mercado was the head of RMM Records, but he was always much more than that; he was a Latin music insider who saw the bigger picture of the New York scene and he held a vested interest in the continuation of the art form

RMM Records created a huge number of salsa albums during the 1980s and ’90s, from romantica to salsa dura, but again, Mercado saw beyond the commercial viability of that music and also supported Latin Jazz on numerous recordings. He drew upon all the assets that made him a great salsa promoter in working with these musicians - it really was a natural transition considering that many of these musicians doubled between salsa and Latin Jazz repertoire. He had established relationship with these artists, he knew what worked musically for them, and he was willing to work with them to build interesting projects. It was an ideal match, and as a result, RMM Records left us with a number of important Latin Jazz albums. The label was sold in 2001 after Mercado declared bankruptcy (the result of a financially draining legal settlement), and Universal Music Group acquired the label’s catalog of recordings. Universal has re-released many popular RMM recordings, but several others continue to sit on the shelf awaiting release. As a result, some of the albums listed below can be difficult to find, but take the time; it’s worth the search!

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1. Arete - Eddie Palmieri
Pianist Eddie Palmieri had a well-established career when he joined the RMM label, but his association with Mercado’s label allowed him to continue the new direction that he began in 1994 on his Elektra release Palmas. Palmieri maintained the core members of his band on his first RMM recording, Arete, delivering more of the intensive New York Latin Jazz that made Palmas so intriguing. Trumpet player Brian Lynch, trombone player Conrad Herwig, and saxophone player Donald Harrison acted as the primary soloists with a massive rhythm section anchored by Palmieri, bassist John Benitez, timbalero Jose Clausell, and conguero Richie Flores. Several up-tempo aggressive Latin Jazz tunes such as “Don’t Stop The Train” and “Caribbean Mood” resonate with a classic Palmieri flavor and the cha cha cha “Definitely In” transfers that intensity to a moderate tempo. Palmieri also adds some variety with a swing waltz in “Waltz For My Grandchildren” and gets emotionally expressive with the gorgeous ballad “Sisters.” The album as a whole cleanly represents another chapter in the life of his Latin Jazz unit, and firmly established Palmieri as a heavy player outside the salsa world. He followed this release with another RMM recording in 1996, Vortex, a heavy Latin Jazz set with touches of classical music and electronic sounds. El Rumbero del Piano sent Palmieri back to his salsa roots in 1998, and Eddie Palmieri & Friends Live displayed his energetic spontaneity on CD in 1999. Palmieri’s RMM releases captured a significant period in his career where he focused on a top-notch ensemble and his most jazz specific releases.

2. Thru My Eyes - Michel Camilo
One of the cornerstones of pianist Michel Camilo’s career has been the unique voice that he presents in both his playing and composing; his one recording with RMM Records allowed him to step outside that role and revisit some classic Latin Jazz. Thru My Eyes gathered some of the most standard tunes in the Latin Jazz repertoire and completely reshaped them based upon Camilo’s musical vision. As always, Camilo kept impressive musical company on this album, employing the talents of drummer Horacio “El Negro” Hernandez, electric bassist Anthony Jackson, and double bassist John Patitucci. “Mambo Inn” becomes a dramatic songo romp with the classic melody, a chromatic vamp, Camilo’s blistering technical proficiency, and an attention grabbing solo from Hernandez. “Afro Blue” simmers with an understated intensity as Camilo and Patitucci emphasize the melody with offset kicks before sliding into a smoldering slow swing for a bluesy solo from Camilo. Jackson and Camilo tear through a unison melody on “Armando’s Rhumba” before Camilo lights his improvisation on fire and Jackson trades fours with Hernandez. “A Night In Tunisia” becomes a no holds barred race to the finish with mind-boggling breaks and ferocious improvisations from both Camilo and Patitucci. Camilo shows his connection to history with some fairly straight-ahead interpretations as well - “Watermelon Man” rides over a bubbling cha cha cha, “Song For My Father” captures the subtle bossa nova groove of Horace Silver’s original, and “St. Thomas” swings with a buoyant calypso feel. It’s a unique recording that balances Camilo’s generally overwhelming presence with Latin Jazz history; another must have recording on the RMM label.

3. Dancemania ‘99: Live At Birdland - Tito Puente
Tito Puente spent much of the 1980s and ’90s recording with his small Latin Jazz ensemble on Concord Records, and his transition to RMM Records signaled a return to the big band sound of his Palladium days. While Puente’s Latin Jazz Ensemble created some wonderful music, Puente’s musical soul lived in the big band mambo. At first glance, Dancemania ‘99: Live At Birdland might seems like a rehash of Puente’s classic 1958 album, but it delivers so much more than that. There’s definitely some classic Puente in this recording - “Complicación,” “El Cayuco,” and “Barbarabatiri” all bring the Puente legacy into the modern age with the enthusiasm and vitality of a young ensemble. Puente stays closely connected to his jazz repertoire as well, bringing classic tunes such as “Lullaby of Birdland,” “Mambo Inn,” and “Mambo en Blues” onto the recording. The album combines Puente’s two musical personalities - salsa dance star and jazz musician - into that big band Palladium sound that only Puente can deliver. He recorded several more albums for RMM in his last few years, including Mambo King: His 100th Album and Mambo Birdland, indulging in a combination of the past and present with his full force big band. Puente’s return to this format served as a fitting end to his career, reintroducing the world to a totally unique and important sound that often gets lost in today’s Latin music world. Thanks to RMM Records, Puente kept the big band Palladium sound alive in the modern age.

4. TropiJazz All-Stars, Vol. 1
5. TropiJazz All-Stars, Vol. 2
Mercado realized that RMM Records housed the cream of the New York Latin Jazz scene, and that the only thing that could make his roster better would be an all-star gathering. The resultant group, the Tropijazz All-Stars, brought together the best Latin Jazz talent on the label, presenting the likes of Tito Puente, Eddie Palmieri, Hilton Ruiz, and more. The band kept a core of musicians such as pianist Hilton Ruiz, conguero Richie Flores, bassist John Benitez, and drummer Horacio “El Negro” Hernandez performing on each song while the larger names like Puente on Palmieri only performed on individual tracks. Trombonist Juan Pablo Torres directed the group, bringing his years of experience, songwriting, and arranging skills into the label’s forefront. The horn section was as close to a Latin Jazz dream team as possible, featuring the work of Torres on trombone, saxophonist David Sanchez, trumpet players Charlie Sepulveda and Humberto Ramirez, as well as flautist Dave Valentin. The group brought the best of the New York Latin Jazz scene together for two unforgettable albums and select live performances, and these musicians took full advantage of the opportunity.

TropiJazz All-Stars, Volume 1 and Volume 2 deliver everything that would be expected from a group of this caliber and more. Ruiz contributes some full force Latin Jazz intensity on his composition “Straight Street,” giving Sanchez an opportunity to dig into the changes with a frenzied bebop flair. Benitez provides a funky bass line underneath an energetic percussion descarga on “Five Beat Mambo,” opening the stage to El Rey, Flores, and Hernandez, who fill the space with style and passion. Valentin dives into “Oh My Goodness Baby” with a possessed fervor, singing through his flute and turning it into a complete percussion instrument. There’s more straight-ahead Latin Jazz flavor on “Right Call,” as several of the all-stars take a turn at improvising. Torres contributes “Rumba De Cajon,” a spacious rumba that explodes into another feature for a driven young Sanchez, improvising at the top of his game. Palmieri joins the group on the fiery 6/8 piece “Suite 925-2828,” adding his characteristically intensive personality into the already inspired setting. Although many of these musicians would collaborate with one or another over the next few years, they never came together again in this formation, making these two RMM releases mandatory listening for any Latin Jazz fan.

6. Trombone Man - J.P. Torres
By the time that Juan Pablo Torres joined the RMM Records family in the mid-1990s, he already had a long resume of influential works from his life in both Cuba and the United States. From his classic recordings with Estrellas de Arieto to his participation in the Fania era Tipica ‘73 en Cuba, Intercambio Cultural, Torres had established himself as one of the best on the scene. His first RMM album, Trombone Man, screamed that message loud and clear with a creative Latin Jazz vibe. Backed by a rhythm section that featured pianists Hilton Ruiz and Edward Simon, bassists Andy Gonzalez and Oscar Stagnaro, and percussionist Pernell Saturnino, Torres simply couldn’t go wrong. Torres and saxophonist Paquito D’Rivera take energetic solos over Ruiz’s cha cha cha “Sweet Cherry Pie,” while Ruiz creates a ferocious statement. D’Rivera contributes several compositions, including a fine feature for Torres, the elegant danzon “Memories.” Torres delivers a burning rumba on “From John To Johny” until the band jumps into a jazz influenced son montuno for solos from D’Rivera on clarinet and Torres himself. Stagnaro creatively applies his virtuosity to a chordal introduction on D’Rivera’s “Samba For Carmen” leading into a driving Brazilian groove for multiple solos. Torres blends two classics together on “Four & Como Fué,” bringing together jazz and Cuban music in a very real way. This album presents several highlights, a trend that Torres continued on future releases. He followed Trombone Man with another RMM release, Pepper Trombone, in 1997. After Mercado sold RMM, Torres continued with the label’s new owners, Universal Music Group, delivering several strong albums until his untimely death in 2005.

Masterpiece/Obra Maestra - Tito Puente & Eddie Palmieri
Masterpiece/Obra Maestra presents a balance of Latin Jazz and dance music, and honestly, its a little heavy on the dance side . . . but the historic nature of this recording can’t be denied. The Puente classic “Picadillo Jam” gets a stirring big band treatment with plenty of room for improvisation, including a dissonant and tension filled exchange between the two masters. A rhythmically askew groove introduces “Muddy’s Club Blues In Weinhelm” with a purely Palmieri flair that opens into some jazz fueled scatting from vocalist Jerry Medina and a classy vibraphone solo from Puente. There’s plenty of Palladium style mambo energy pushing “Paris Mambo” into an addictive groove, with some lively pregon work from Oscar D’Leon. Tango interludes add an interesting twist to “La Ultima Copa” which pulsates with a ’70s Fania vibe beneath Herman Olivera’s powerful vocals. Puente reworks his classic descarga “Ti-Mon-Bo” with added vocals from Frankie Morales, attention grabbing mambos, and new percussion improvisations on “El Puente Mundial.” “Marchando Bien” moves forward with a moderate yet forceful groove, providing the perfect showcase for classic Fania vocalist Pete “El Conde” Rodriguez. Percussionist Milton Cardona adds bata and folkloric chants to “Itutu Ache’,” which transitions into a full band number featuring both Palmieri and Puente who show their connections to folkloric music. Although Puente and Palmieri shared a common history in New York’s lively Latin music scene, they had never collaborated on a full album. Masterpiece/Obra Maestra gives them that opportunity, and we can only wish that they had worked together more extensively in the past - unfortunately they didn’t have the opportunity later. Puente died soon after the group finished the recording, leaving Masterpiece/Obra Maestra as a milestone meeting between two Latin music masters and a fitting swan song to El Rey.

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These six albums represent a good sampling of the outstanding Latin Jazz produced on the RMM label during its existence - but its not the final story! RMM Records was around for quite a few years, and as a result, there are numerous Latin Jazz albums. For more inspiring RMM Latin Jazz material, check out these albums:

Watermelon Man - Charlie Sepulveda
Island Eyes - Hilton Ruiz
Hands of Rhythm - Giovanni Hidalgo
Primitive Passions - Dave Valentin

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Check Out These Related Posts:
Remembering Ralph Mercado (1941 - 2009): Tropijazz All-Stars On Video
8 Tito Puente Albums To Kickstart Your Latin Jazz Record Collection
Orlando Lopez (1933 - 2009): 5 Albums To Help Remember Cachaito
Latin Jazz Standards: 10 Versions of Mambo Inn

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