Eddie Palmieri

WXPN used to use part of the title track on one of their station IDs, although I didn't figure out until the past few years that this was the album it came from. I was walking around today in sunny, warm (but not too humid, amazingly), Philadelphia singing "Lucumi Lucumi Macumba" to myself (with that little "salt PEA-nuts salt PEA-nuts" like sudden jump at the end of "Lu-cu-MI Lu-cu-MI")--very catchy. The second track is a discoesque (what's the correct adjectival form?) number, probably my least favorite on the album, but okay.

I think this album deserves a better reputation than it seems to have. (I'll take it over boring Palmas any day, but I also think it's better than the 90s-on Palmieri albums I've heard, not that there aren't good individual tracks here and there on those recordings.)

He's got a new one but it's going to be very jazzy, not really aimed at a salsero audience but rather at a very mainstream jazz audience, with guests like Regina Carter and Michael Brecker.

(I'm sad that gareth has lost interest and moved on to flea market 70s Christian rock vinyl.)

HARLEM RIVER DRIVE

HEY !

My favorite albums so far are:

Azucar Pa'ti (Sugar for You) (1965)
Lo Que Traigo es Sabroso (1964)

[Those are both very early and the sound is especially bad, but the energy is good.]

Palo Pa' Rumba (1984)
Unfinished Masterpiece (the last half of which is somewhat ruined by bad recording)
Lucumi, Macumba, Voodoo (1978)

Vamonos Pa'l Monte (1976)
La Verdad - The Truth (1987)

[I need to listen to these two again though. I've just heard a bunch of these for the first time recently and it's all a blur.]

And somewhat grudgingly:

Eddie Palmieri (1981) which I should love because it has three tracks featuring Cheo Feliciano, one of my favorite soneros, but I'm not totally bowled over by it. A lot of the songs have lengthy semi-classical danzon (recently mentioned on the genres that don't get discussed thread) type intros which isn't my favorite sound.

Justicia has some good stuff on it, but the political spoken word bag is a little passe.

http://s39.yousendit.com/d.aspx?id=1RP1IBE3OSBVI2UGCIQCHAHAOB

http://s38.yousendit.com/d.aspx?id=0HMGDZ0AWXWKY0F693ORI12PS9

http://s38.yousendit.com/d.aspx?id=1GBBZ4JDRNYU70L5E9D9VS4RFZ

People asked about Charlie Palmieri earlier on this thread. On one listen, I'm pretty sure I like Charlie Palmieri Y Meñique: Con Salsa y Sabor (1977) and Charlie Palmieri Y Vitin Aviles: Con Mucha Salsa (1977) sounds good so far. Charanga Palmieri y la Duboney: Charanga! is not so much fun, but as I've repeatedly said, charanga usually rubs me the wrong way, especially relatively traditional charanga.

So he goes back a ways. (He might even have been a source for Cheo Feliciano's style.)

1. Unfinished Masterpiece
2. Azucar Pa' Ti (early material with La Perfecta)
3. Palo Pa' Rumba (which includes a lot of covers of his earlier material, but all well done)

Unfortunately, all of these, except the third, suffer from very poor audio quality.

(Hey FW, you should post comments about Palmieri to this thread.)

Sat., May 6, Allison Miner Music Heritage/Lagniappe Stage, 4 p.m. (interview w/ Palmieri); BellSouth/WWOZ Jazz Tent, 5:45 p.m. performance

Then he's touring the US again (I think). I know he's doing a bunch of nights in June at tiny Georgetown DC club Blues Alley

I think he's fun to watch live even if you don't like his noisy jazzy side. He is just quite a character...

How is he a character? Those groaning noises?

I am surprised that gareth picked him, but I guess I shouldn't be!

I will send some helpful links as well.

There are some fantastic passages and moments on this album, perhaps as intense as anything else in his catalog. I think it tends to be a bit overlooked because it's so oddball (for salsa, anyway): the Palmieri album with the most overt references to African-based religions also has the most overt disco moments, along with the occasional sudden appearance of European classical instruments seldom heard in Latin music.

Hm, is The sun Of Latin Music an entirely different album from El Sol... , then?

http://ec2.images-amazon.com/images/P/B00005RYD2.01._AA240_SCLZZZZZZZ_.jpg

(That's not exactly what the reissue will look like, but presumably close.)

Eddie Palmieri's Lucumi Macumba Voodoo is linked to here:

http://revolucionno.wordpress.com/

A must-hear album if you are interested in 70s Palmieri (and maybe if you are interested in weird late 70s Latin/disco fusions, not that that describes more than two or three tracks). I think I already gave my reasons above, and possibly on some other threads.

HARLEM RIVER DRIVE

HARLEM RIVER DRIVE

HEY !

-- Ellis From Die Hard, Saturday, June 18, 2005 11:33 AM (2 years ago) Bookmark Link

this

Go download Lucumi Macumba Voodoo!

i will! when i'm not at work

Revive just to say that Ellis is OTM and a half--that Harlem River Drive stuff is deathless. "Idle Hands" is my favorite song of all time, this week.

Revive just to say I am listening once again to Azucar Pa' Ti, and the original La Perfecta albums have gradually become my favorite part of EP's output, though initially I didn't like them much.

Barry Rogers, man.

Eddie Palmieri is playing this weekend (in Philadelphia) and I don't have tickets yet

Just saw him live again (this time at the Kennedy Center) and once again when someone yelled for something old with a clave beat he said he didn't have a singer, so he couldn't. It's pretty clear he doesn't really like playing with a singer anymore and is more comfortable with his current Latin jazz approach. ALthough he did let his timbales, bongos, and conga player get rhythmic at times with he accompanying them in a more straightforward manner. He's charismatic enough and such a good player that I genreally enjoy him live no matter what (although this 1 hour 15 minute gig that was being recorded for NPR could have used an encore and less of his explaining the history of salsa according to him)

Maybe he can make more money this way than he would having to pay a vocalist. Maybe he's spoiled from working with excellent vocalists over the years and is not interested in grooming a new young vocalist.

I don't think its a money thing; I think its a music style thing--he doesn't want to have a vocalist standing around doing nothing when he decides to do noisy forearms on the keys solos

Maybe. Maybe, but on plenty of his 70s/early 80s salsa recordings (with vocalist) he goes into dissonant solo passages, but maybe not as extended as he likes to do? I don't know. I think I only saw him perform one time, back in 1998 (or 99?), and I was practically brand new to Latin music at that point. Mostly he was promoting El Rumbero Del Piano.

I still suspect vocalists would take a bigger slice of profits than other band members, at least if they are vocalists with an established reputation.

This Chris Washburne book has me thinking of salsa in very economic terms. The more I think about both the social and economic context of salsa in the past, the less optimistic I am about a large-scale recovery of the genre. Not that I was optimistic anyway. As great a genre as it is, I don't see how the stars will ever align in the right way to bring about a revival.

Well, what happened to Hernan Olivera? I have seen him sing with Eddie before and once I saw him with Chris Washburne who had invited him to the gig after a few shows with Eddie- Chris plays the La Perfecta gigs when either Conrad or Jimmy, your favorite, can't make it.

Yeah, I have quite a few musicians complaining about the drying up of the lucrative Latin gigs.

I don't know, but Olivera is no longer so new and he's got a pretty solid reputation, so again I wonder if someone like that wants more money than he's worth to a bandleader like EP who can just go instrumental. Then again, what has Olivera been doing lately? I'm not in New York, but recording-wise I don't think there's been that much. Could be wrong because whatever it is would probably just be some uninspired cover/tribute project.

I think Herman still sings with him, I just think he doesn't have a vocalist every show.

He hasn't had a vocalist with him at a Washington D.C. show in forever. I don't think I ever remember seeing him with a singer here, and I've seen him here countless times over the years. We just get the Palmieri Latin-jazz presentation.

But I see that Olivera sang with Eddie out in Hollywood last year

http://irom.wordpress.com/2012/08/17/live-latin-jazz-the-eddie-palmieri-salsa-orchestra-and-ruben-blades-at-the-hollywood-bowl/

I checked with some DC folks in the know and they said that way back in the '70s Eddie used to have no-name singers with him regularly in DC; but more recently just twice over the last decade; with the last time being around 5 or so years ago.

Actually that reminds me that I recently came across this video
https://www.youtube.com/watch?v=ZEh1BGsqW3g&feature=youtube_gdata_player
One of the comments said the bass player looks like Oscar Stagnaro but I have since asked two people who would know who it was and they both immediately said: " Is it Oscar? No, that's not Oscar." I'm working up the nerve to ask his son if his dad has a doppelgänger.

So I was reading a reference to Palmieri's Unfinished Masterpiece (1974) where he allegedly(I haven't heard it) started out trying to add more African rhythms to his salsa and jazz but he gave up on the effort; and then his label, band and producer decided to add more and "finish" it. But I see on Amazon that the album is out of print, and my quick look on Spotify did not find it either.

I was reading a reference to it in the Will Hermes book on '70s NY music, but I see it was discussed way upthread here also.

I bet the whole thing is up on youtube, and you might as well listen to it that way considering how lo-fi the sound of the CD is. Here's "Cobarde":

https://www.youtube.com/watch?v=QeCR0es4Je8

Of course. will do

Found only one other song from the album so far, but need to look more. Wow, that one u posted is noisy and polyrhythmic.

It's not actually all that different, just maybe an extreme point in the 70s Palmieri sound. Also, as I said above, I hear Lucumi Macumba Voodoo as being pretty close. Not as raw, but also much better recorded.

I was just thinking lately about this funny post about that album:

Lucumi, Macumba Voodoo. Definitely one of his weirdest. To this day I never understood why? Why out of tune Cello's after that Brazilian rythm that starts off that weird modal piano solo, only to go into the son MI CONGO? Other than the heart of thsi song and Colombia Te Canto, I don't know what he was thinking with those other three tunes....

rec.music.afro-latin

https://www.youtube.com/watch?v=w5z4gIg9wlQ

I still say rec.music.afro-latin was the best online discussion of Afro-Latin music I ever came across (as someone who only reads English, of course). It technically still exists but it's been essentially dead for many years. (Appropriate? Haha.) It was an education, and I assume I'll never be on the same level as most of the people who used to post to it. Also, for me personally, the timing was really good. I took my first salsa dance class in very late 1997. I started fooling around with newsgroups at around the same time, probably closer to 1998. (I was somewhat of a late adapter I guess.) The rise of the web happened to coincide with my entree into the world of Latin music and dance, and I think it helped speed up my learning curve (especially w/r/t the music).

I missed out on that.

Unrelated-

Fania/Codigo keeps renaming a 2 cd Eddie Palmieri compilation. First they confusingly named it "The Sun of Latin Music" which is the name of an actual earlier Palmieri album, then they renamed it "A Man & his Music" and now its called "El Virtuoso"

Lol. Trying to be (Japanese band) Boris. Maybe they should call it Heavy Rocks.

I have that comp. A Man & His Music is the name of the whole series (the Celia Cruz & La Lupe ones are called A Woman & Her Music, the Sonora Ponceña and Fania All-Stars ones are called A Band & Their Music, obviously), and each one has an individual title as well. The Sun of Latin Music is (or was) the official title, and I guess now they've re-named it El Virtuoso.

I bought the cd as a gift and it showed up as "El Virtuoso" although Amazon does not list it by that title (the songs and photo matches us with the older titles)

http://lehmancenter.org/th_event/eddie-palimieri/

You New Yorkers should go up the Lehman College in the Bronx for this:

The maestro will be joined by Special Invited Guests Ronnie Cuber (Baritone Saxophone), Alfredo de la Fe (Violin), Donald Harrison (Alto Saxophone & Vocals), and Joe Locke (Vibes). Also joined by Invited Guests, Anthony Carrillo (Bongo, Bata), Luques Curtis (Bass), Vicente “Little Johnny” Rivero (Congas, Bata), and Camilo Molina (Timbales, Bata).

opening act:
The Mambo Legends Orchestra is comprised of former members of the Tito Puente Orchestra. Led by famed bongocero Johnny “Dandy” Rodriguez and musically directed by timbalero and arranger José Madera, the band is dedicated to keeping the ‘50s and ‘60s Palladium-era sound alive as it explores new musical concepts

Would love to but don't think I can. Never seen Alfredo de la Fe in person.

A local promoter brought de La Fe down to the DC area once and booked him in a tiny narrow little upscale lounge. Plus the promoter showed Fania era footage on a small screen beforehand. It was a great show.

Here's part of my 2008 review:

De La Fe waited until the third song, "La Negra Tomasa," to join the 10-piece combo. Juste Lounge does not have a stage, so the group positioned itself along a wall right in front of the salsa-dancing couples. Using his trademark electric violin that has six strings on a skeletal plastic frame, the dreadlocked De La Fe quickly made his presence felt, heading out among the dancers and passionately slashing at the strings with his bow. Keeping the interests of the rug-cutters in mind, De La Fe did not solo too long and was accompanied by the band's insistent clave beat via the timbales, congas, keyboard and bass. Although De La Fe has, rock-style, used a wah-wah petal, this evening he kept his technique within the bounds of the Afro-Caribbean tradition.

That is awesome, thanks for posting.

Ben ratliff liked the show where Palmieri and an expanded group re-did his 1971 Harlem River Drive album, plus some other songs

http://www.nytimes.com/2016/05/23/arts/music/review-eddie-palmieri-reprises-a-tantalizing-harlem-river-drive.html?mabReward=CTM&moduleDetail=recommendations-0&action=click&contentCollection=Europe®ion=Footer&module=WhatsNext&version=WhatsNext&contentID=WhatsNext&src=recg&pgtype=article

On the record, he used a mixture of his own musicians with others who were working with Aretha Franklin. One of his own was the timbalero Nicky Marrero; one of Ms. Franklin’s was the drummer Bernard Purdie. Luckily, both were present for Saturday’s show, and important parts of it

Lucumi, Macumba, Voodoo is available on Spotify now. It's flawed (in crazy ways) but has some great material on it:

https://play.spotify.com/album/6rkKQA8OiqgdIiT0DrUWWE?play=true&utm_source=open.spotify.com&utm_medium=open

Not 100% sure that link will work.

It's a very well-recorded album compared to some of EP's albums from roughly the same time period, notably Unfinished Masterpiece, which was a bit of an audio botch.

I can do without the disco/fusion track or tracks, but the exploratory piano duel with his brother Charlie, and the other expansive stretches are good, as is the title cut (which I first heard as part of a station ID for WXPN in the 80s, without knowing who it was, many years before I ever got into salsa).

http://www.youtube.com/watch?time_continue=3&v=i1huT6eX6bw

I just repeated my earlier post even more than I realized. This is why I am a semi-retired poster.

As far as Palmieri goes, in general, my favorite material now is most of the La Perfecta era (not so much the first album) and large stretches of what he put out in the 70s through very early 80s. After that it's a lot more hit and miss, but I don't generally care for purely jazz-focused EP, which tended to become more dominant at some point in the early 90s if not sooner. Not going to check to see to what extent I am repeating myself again.

Watched some of his solo NPR Tiny Desk appearance. No obvious dance rhythms till the third tune. The first two are nice and only occasionally get into the discordant banging he sometimes does solo.

http://www.npr.org/2016/08/18/490480164/eddie-palmieri-tiny-desk-concert

http://www.villagevoice.com/2017/05/16/palmieris-wisdom/

Palmieri's been doing a bunch of Monday gigs in NYC at Subrosa-- some noisy, some slightly more rhythmic.

i saw him last year in a big outdoor amphitheater and it was SO FUN
so much dancing, lots of energy, awesome show

Saturday (tomorrow, 16) at Lehman Center, Bronx: Eddie Palmieri and Friends, plus (quoting the propaganda): "Del Caribe Latin Jazz All Stars, led by Cuban pianist, master arranger and composer Emilio Morales, musical director and tres guitarist Nelson Gonzalez with musicians: Johnny Rodriguez, Ruben Rodriguez, George Delgado, Orestes Vilato, Ricardo Pons, and special invited guest artist, Giovanni Hidalgo." This is a chance to hear two great pianists. You know Eddie Palmieri, and you might know Havana piano hero Emilio Morales, but if you don't, you should. This band of Emilio + Nelson + the cats played Monday night in a tribute to Palmieri at the Bronx Museum, and it's a treat.

That's from N*d S*blette's email newsletter

can't believe he's in his 80s. perfect way to spend a cinco de mayo, even if he is from puerto rico

Wait you are seeing him tonight? Saw his double riding a bike along the East River yesterday

yes. he had a fancy princeton theater doing a conga line by the end of the show. magical

the album he put out last year, "sabiduria", is fantastic

How did I not listen to Sabiduria last year. Some great tracks on it. I like the New Orleans flavored one, and several others. This effort is more lively than some previous ones of his.

New album out today
https://www.broadwayworld.com/bwwmusic/article/Eddie-Palmieri-Releases-New-Album-Mi-Luz-Mayor-20181207

Both of his 2018 albums are great, but they're very different from each other.

Also, I interviewed him back in September and it was awesome.

wow, he's on a roll after sabiduria just last year and full circle earlier this year

this one is way more straight-ahead than those other ones, though

Yeah, it's all songs his late wife used to like, apparently.

aw that's sweet <3

He's got an app for music students to use now too---

Palmieri Salsa Jams is billed as “the world’s first interactive salsa music app.”

Available through noted jazz trumpeter Christian Scott aTunde Adjuah’s Stretch Music App platform, Salsa Jams enables students to read sheet music or play along by ear for every song on Palmieri’s “Full Circle” album. They can also mute or fade out altogether any instrument, so that they can play that instrumental part, as well as control the tempo, loop rhythms and melodies, and more.

‘I put salsa on my spaghetti, baby!’
“If students mean anything to you, you want to set them on the right track,” said Palmieri, who — at 81 — is likely the most senior Latin music legend to release an app of any kind, let alone a salsa app.

Never mind that this bearded composer and band leader snorts with derision at the mere mention of the word salsa, which came to the fore in New York in the 1960s. He regards the commercial tag placed on this Cuban-inspired Latin dance music hybrid as simplistic and misleading.

“Fania Records came up with name ‘salsa’ and it’s a complete misnomer,” charged Palmieri, who in 1962 released his debut solo album, “La Perfecta,” on Fania and was later featured on the first Fania All-Stars album.

“Like my great friend, Tito Puente, used to say: ‘I put salsa on my spaghetti, baby!’ It (salsa) comes from rumba, guaracha, danzón, cha-cha, mambo, guaguancó, changüí. They all have their proper names, but we lump it under one name: ‘salsa’.”

https://www.sandiegouniontribune.com/entertainment/music/sd-et-music-eddie-palmieri-interview-20181118-story.html

wow, a salsa app
will have to report this to my students

Interesting

Think I prefer the classic recordings of some of those tunes

Haven’t heard it yet, but guessing I will end up agreeing with you.

of his 2018 releases I like Full Circle the most so far.

.. it's so good!

https://youtu.be/MFQHW6yGBV4

Online Eddie Palmieri & La Perfecta II gig via NYC Summerstage

https://www.newyorker.com/culture/persons-of-interest/eddie-palmieri-says-dont-call-it-a-comeback

A nicely written, detailed and long but readable article by Carina del Valle Schorske about 87 year-old Eddie's whole life and how he's still at it. The author noted on Facebook that this is the first ever feature article in the New Yorker's history on an artist associated with salsa in the magazine's history.

On the Rolling Latino 2024 thread I think I mentioned how Palmieri was recently in DC for a gig at the Library of Congress where he was also honored for his lifetime of contributions to music.

That's a really good piece. I recently bought the Japan-only 2CD release of In Concert Live at the University of Puerto Rico, from 1971 (released 1973). The recording is raw and noisy; it has that same punk-rock energy you get from early Fruko y sus Tesos albums, but the music is amazing.

Yep Eddie live does have that energy. I remember once a former editor of mine asked me how I went from listening to punk rock to listening to Latin music, and I said that not only does the music live with its energetic tempos, and those noisy percussive sounds give me that same punk rock feeling, but I remember going to a panel discussion on Latin music at a DC museum before a gig, and horn player and percussionist Jerry Gonzalez showed up late for the panel, casually dressed and slowly walking down the theatre aisle to the stage with his trumpet or flugelhorn in a beat up case. His approach just seemed punk rock rebel to me.

RIP Eddie Palmieri at age 88. A legendary pianist who could play Afro-Cuban and Afro-Caribbean dance rhythms, or bang on the keys in a noisy way. Live he was charismatic, telling stories between songs and was such a bold Nuyorican often with a Yankees cap on. I saw him live with a band and solo multiple times. I was mostly with my now-late Dad who was a huge fan and who discussed with me his takes on each show we had seen.

https://www.nytimes.com/2025/08/06/arts/music/eddie-palmieri-dead.html

Glad I got to see him once, years ago, he was fantastic.

Bad Bunny paid tribute to him onstage in Puerto Rico
, I saw in someone’s IG story

Dude was there.

He makes an appearance in Spike Lee’s Highest 2 Lowest

Glad I got to see him once, years ago, he was fantastic.

I have a story about when I saw him which this thread might be the only audience for

Listening to “Vamanos Pa’l Monte “ again and reading Fania label notes on the link

https://fania.com/record/vamonos-pal-monte/

Weird thing about those notes is the credits mention that the trumpet was played by Chocolate, but the text doesn't. Actually the credits don't even mention his nickname either.

Oh wait I missed it, it's totally there

Never mind, nothing to see here

I just finished Will Hermes's "Love Goes to Buildings on Fire" and Palmieri was one of my biggest discoveries from there. Wish I'd read it sooner so I could see him live; sounds like it was an experience.

Saw that there would be a fan viewing at the funeral home on Tuesday

It's kind of weird for karaoke, but I've been meaning to do "Vàmanos pa'l monte."

Aargh, wrong keyboard accent mark

What's your story about when you saw him that you hinted at above?

It must have been 2009, June 2009 at Dizzy's Club Coca-Cola off of Columbus Circle. Eddie sounded great, played great, the band was awesome. I loved hearing him talk, the way he introduced the tunes and the band, although now I only remember him naming Ivan Renta, Luques Curtis, and "someone who has done so much for our music" or whatever he was said, when he brought up special guest Steve Turre, who played some cool stuff on a conch shell. After he was done I stayed for the aftershow, which is often a bit hipper hang.

The late show was a trio led by Bill O'Connell and he had Steve Berrios on drums. I know the date pretty exactly since Michael Jackson had just died and when the bands weren't playing the sound system was mostly playing each and every MJ hit. Steve was incensed,. He was in full-on Grumpy Old Jazzman mode, pointing his finger up in the air and saying "This is not jazz!"

But at one point he suddently froze and his body language changed. His finger still pointed in the air but now his face showed he was intensely listening. After a few seconds he said "What is THIS? Good is good!".

The song in question was "Stuck in the Middle With You," by Stealers Wheel.

So you see it is not much of a story and it is not really about Eddie.

I didn't know where to post it so I posted it here.

Ah, now I see.

Saw many musicians reminiscing about Palmieri in IG stories and elsewhere. The author of that New Yorker article on Palmieri posted a few

https://memorialstream.online/eddie-palmieri/?fbclid=IwY2xjawMKQ_BleHRuA2FlbQIxMQABHr47-JxoOBydW-zOmfvwbsgai80fzRw_w0YOnxo8trMN07amoMsdJqCOZXNU_aem_2KrXCZAtmnNSupWA8puj5g

Palmieri celebration of life service with speakers Father Henry Torres, Felipe Luciano, Rene Lopez, Conrad Herwig, Brian Lynch, Mr. Palmieri's grandchildren and his daughter Gabriela.

Read just now he has a cameo role in the new Spike Lee film out in a couple of days.

La Times excerpt from their review of new Spike Lee movie-Highest 2 Lowest

But then, liberation: The film hits the streets and Lee unfolds an absolutely sublime piece of kinetic New York City filmmaking, a chase scene with a subway car full of Yankees fans chanting their anti-Boston sentiments intercut with a Puerto Rican Day Parade performance by the Eddie Palmieri Salsa Orchestra. Finally, we’re cooking with gas. It’s one of the best sequences of the year.

Just saw it and would agree, it's a treat of a sequence and Palmieri and crew were killing it. It was *especially* welcome because Howard Drossin's own piano-led score for the film up to that point was utter fucking overbearing gloop, it was like flicking the energy switch from off to on.

He didn't use Blanchard?

Not this time out. Drossin's been a regular but not constant standby for a while now since 25th Hour; Blanchard's only done one or two in that stretch:

https://en.wikipedia.org/wiki/Howard_Drossin

(I was distinctly surprised to realize that Bruce Hornsby's done a score for him along the way too!)

yeah the Drossin score was unbearable. Palmieri was a welcome change of pace.

Jon Batiste just performed with Eddie Palmieri’s and to pay tribute

https://www.instagram.com/reel/DNjy3jINg2m/?igsh=bDJjamR6NTc4anQ=

Palmieri’s band

New trombonist Conrad Herwig album, Reflections-Facing South, is out and features Eddie Palmieri and bassist Luques Curtis but no drummer

Robby Ameen wasn't available?

Oh it's a trio record!

I know that Eddie's first call trombonists were Conrad and Jimmy Bosch.

Which I was told by the third guy he would call when he couldn't get one of them.

It's Herwig's record and he decided to do it just as a trio record it appears.

Sounds intriguing

Wild, didn't know about this---on first listen, I didn't quite get relationship of congas and traps at times, but piano and insistent vox yeah---great commentary from EP duh:
Harlem River Drive Revisited With Eddie Palmieri
https://www.npr.org/2016/12/09/504712369/harlem-river-drive-revisited-with-eddie-palmieri

A trombonist friend got me into Barry Rogers, so I'm going back to Mozambique, Molasses, some of the other early records. Had no idea a Polish Jew was one of Willie Colon's primary inspirations, and he's a beast, you love to see it. The records sound incredible too.

Barry Rogers is the coolest.

I've seen his son play a few times

There was a great profile of Barry Rogers on Descarga, maybe it can still be found on the Internet Archive.

Random details I seemed to recall: he was good at fixing cars and he really liked being in the coro, just being one of the guys and singing backing vocals and sounding like some old dude who had just come down from the mountains in the jungle on one of the islands.

Here's something about him:
https://latinomusiccafe.com/2017/05/22/barry-rogers-remembering-his-legacy-to-latin-music/

Lots of broken links until I found one that worked!
https://web.archive.org/web/20150525231313/http://www.descarga.com/cgi-bin/db/archives/Profile42

^Really one of my favorite pieces of music writing ever.

His son Chris Rogers did some public facebook posts I see about his Dad

Yeah. He plays trumpet himself.

First time I saw him play was with the Diane Moser Big Band in the John Birks Gillespie Auditorium at the Baha'i Center in the West Village. Mike Longo was out front handing the tickets and telling bad jokes as he always did.

https://www.youtube.com/watch?v=i3iQTFwKdCY

Thanks, that's an incredible article, I passed it on to my friend (who's a Rogers devotee and an incredible trombonist himself).

:)

There's also really long live version of "Muñeca" from the early seventies which I haven't listened to yet and it doesn’t say whether Barry is playing on it.

So I will just listen to the studio version on repeat for now.

Thanks for that descarga website bio of Barry Rogers . Wow . Love those details

You don't recall reading it when I posted it before? Guess it's been a while.

Heh, Luques Curtis just started following me on Instagram.

I never post anything there. It's really just another case of a musician following back their fans. Or sometimes even following forward.

Listening some awesome Barry Rogers playing on the radio, couldn't tell you what right now though

This: https://www.youtube.com/watch?v=-pXWFRrm91M