Ritmo Caliente

by Eddie Palmieri

Overview

If indeed there are no second acts in American lives, someone forgot to tell Eddie Palmieri. The monstrously gifted Latin pianist is on a career high, just shy of his 67th birthday, with a reconstituted band, La Perfecta II, that's plainly recharged his batteries. Where the band's first recording recapped the glory of Palmieri's '60s ensemble, Ritmo Caliente is a ringer for his groundbreaking '70s LPs. The albums -- Sun of Latin Music, Unfinished Masterpiece, Justicia -- that dazzled with their mix of electrifying dance numbers, searching excursions into Latin jazz, and baroque set pieces. This one's got 'em all, starting with "La Voz del Caribe": This crackling floor-filler, front-loaded with inspired inspiraciones from sonero Herman Olivera. Palmieri's solo, a four-dimensional romp that starts meditatively and builds to a flurry of keyboard karate chops, is one for the books. A reprise of "Sujétate la Lengua" finds Olivera admirably filling original vocalist Ismael Quintana's shoes; another remake, "Lo Que Traigo Es Sabroso," featuring Orchestra Broadway flutist Eddy Zervigon and a break into Afro-Cuban batá rhythms, will satisfy dancers like a plate of rice 'n' beans at 3 a.m. Then there's Palmieri the innovator: "Gígue (Bach Goes Batá)" marries the pianist's fascination with classical music to the rhythms of Afro-Cuban folklore. It's not nearly as outlandish as it sounds -- Villa-Lobos did similar work with his Bachianas Brasilieras -- and Palmieri can root out the rhythm in anything. Taking the 6/8 meter of the classical dance form and nudging into a 3/4 jazz strut and back, the effect is reminiscent of Sun's "Una Roza Española," a jaw-dropping history lesson in clave time. Meanwhile, "Grandpa Semi-Tone Blues" uncovers commonalities between New Orleans–style boogie-woogie and salsa; it's everything that boogaloo could have matured into. Convening the string section of "Gígue" for the gorgeous bolero/ballad "Tema Para Reneé," kicked off with a pointillistic sun shower of solo piano, Palmieri claims a territory for Latin albums as wide as it was in the '70s. By turns groundbreaking, nostalgic, and virtuosic, Ritmo Caliente simply raises the bar for Latin music, thanks to the maestro, once again.

Product Details

Release Date:	06/10/2003
Label:	UNIVERSAL MUSIC DISTRIBUTION
UPC:	0013431218029
Rank:	15133

Tracks

1. La Voz del Caribe
2. Grandpa Semi-Tone Blues
3. Billie
4. Lazaro y Su Microfono
5. Ritmo Caliente II
6. Tema para Rene¿¿
7. Leapfrog to Harlem
8. Gigue (Bach Goes Bat¿¿)
9. D¿¿me
10. Suj¿¿tate la Lengua
11. Lo Que Triago Es Sabroso II

Album Credits

Performance Credits

Eddie Palmieri   Primary Artist,Piano
Herman Olivera   Vocals,Maracas,Claves
Doug Beavers   Trombone
Chris Washburne   Tuba,Trombone
Conrad Herwig   Trombone
Robby Ameen   Drums
John Walsh   Trumpet
Joe Santiago   Bass
Ilmar Gavilan   Violin
Ivan Renta   Sax (Tenor)
Karen Joseph   Flute
George Delgado   Iya,Congas,Itotele,Shekere,Konakkol
Brian Lynch   Trumpet,Flugelhorn
Jos¿¿ "Cochi" Claussell   Timbales
John "Dandy" Rodriguez   Guiro,Bongos
Eddie Zervigon   Flute
Wan Yi Pan   Cello
Renaldo Jorge   Trombone

Technical Credits

Ignacio Palmieri   Composer
Johann Sebastian Bach   Composer
Eddie Palmieri   Arranger,Composer,Producer,Consultant,Supervisor
Leon Zervos   Mastering
Jon Fausty   Mixing,Engineer
John Burk   Executive Producer
Johnny Rodriguez   Coro
Brian Lynch   Arranger,String Arrangements
Glen Barros   Executive Producer
Doug Beavers   Orchestration
Valerie Whitesell   Production Coordination
Ana Baracca   Package Design
Jeff Hoffman   Assistant
Abbey Anna   Art Direction
Eddie Zervigon   Guest Artist
Franklin Rivers Vasquez   Coros
Mayito Fernandez   Composer
Frankie Vazquez   Coros
Andy Sarroff   Assistant

Editorial Reviews

Pianist Eddie Palmieri, an innovative part of the Latin jazz and salsa scenes since the late '50s, mixes together a variety of idioms on this intriguing set. He uses a number of horns (including two or three trombones), an expanded rhythm section, occasional strings, and (on six of the 11 selections) a vocal group. Although there are some fine individual solos (including those from Palmieri and trumpeter Brian Lynch), it is the joyful sound of the ensembles that is most impressive. The individual tunes do not stick in one's mind and sometimes the music wanders away from jazz altogether into commercial salsa, but most of this set should be of interest to Afro-Cuban jazz listeners.