Eddie Palmieri is a titan in the world of Latin music: a ten-time Grammy Award winner, NEA Jazz Master, pianist, bandleader, and true innovator. 💥

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One of the most fascinating aspects of Palmieri’s musicianship is his unique approach to playing the piano. As a left-handed pianist, he turns potential challenges into strengths. He skillfully plays in two distinct moods: his left hand maintains complex, repetitive rhythmic patterns known as montunos, while his right hand improvises. AND this creates the effect of two pianists performing simultaneously! I’ve watched many YouTube videos of him playing the piano, and he truly embodies the joy and energy of his music. He laughs heartily and appears to be dancing with the music all the time. 🎹

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Palmieri’s creative genius first shows itself with the formation of his band La Perfecta in 1961. The band’s sound is revolutionary at the time, most notably for its “trombanga” (he forms a combination of trombones and flute and uses them in place of the more traditional trumpet-driven front line). With this bold change, La Perfecta earns the nickname "the band with the crazy roaring elephants." 🐘 (a “roaring” sound that paves the way for the trombone-heavy salsa explosion of the 1970s and Palmieri's distinctive style that melds Afro-Caribbean rhythms with modern jazz.)

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Throughout his career, Palmieri continues to push boundaries. “Harlem River Drive,” released in 1971, stands as a demonstration of his innovative spirit. It is one of the most important works of Latin-funk fusion, merging Black and Latin music in a way that had never been done before, incorporating elements of funk, jazz, soul, and salsa into a free-form, genre-defying sound.  To be honest, I debated with myself for some time about whether to focus on “Harlem River Drive” (due to its importance for the genre) or “Lucumí, Macumba, Voodoo,” but my heart was drawn to the mystical allure of the latter.

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The 1978 album “Lucumí, Macumba, Voodoo” is a fascinating one that reveals Palmieri's depth and drive. It's a fusion masterwork that expertly combines Afro-Cuban and Latin jazz with strong funk and soul elements. But what truly sets this album apart is its deep connection to spiritual traditions.

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Drawing inspiration from Santería and other Afro-Caribbean spiritual practices, “Lucumí, Macumba, Voodoo” bridges the sacred and the secular through its hypnotic grooves, complex rhythms, and arrangements. The title itself references three distinct spiritual practices: Lucumí (a language and religious tradition tied to Yoruba culture and Santería), Macumba (a religion from Brazil), and Voodoo (an Afro-Caribbean religion most notably practiced in Haiti). These traditions share African roots, and their influence is woven into the fabric of the album.

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A 30-piece orchestra, five tunes, and such spiritual depth! 
So, of course, tracks like the title song, “Lucumí, Macumba, Voodoo,” have that exotic energy. The groove isn’t just danceable; it’s almost ceremonial. Even in the album's funkier moments, the music retains an otherworldly quality!

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I love the entire album, but “Colombia Te Canto” is my favorite! The song begins with a traditional salsa vibe before kicking into an intense groove that captivates the listener. And there is the “standout moment”—the dueling piano solo between Eddie Palmieri and his brother Charlie, showing off their virtuosity and transporting us to the world of avant-garde jazz. 💕

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Gülben - 09/2024

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📌 Official Site

📖 Anthony Brown interviews Eddie Palmieri - National Music of American History

📖 Eddie Palmieri Biography @ Yamaha

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🎶 Genre: Latin Funk

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