Bio:
One of the finest pianists of the past 60 years, Eddie Palmieri is a bandleader, arranger and composer of salsa and Latin jazz. His playing skillfully fuses the rhythm of his Puerto Rican heritage with the complexity of his jazz influences: Thelonious Monk, Herbie Hancock, McCoy Tyner as well as his older brother, Charlie Palmieri.
Palmieri’s parents emigrated from Ponce, Puerto Rico to New York City in 1926. Born in Spanish Harlem and raised in the Bronx, Palmieri learned to play the piano at an early age, and at 13, he joined his uncle’s orchestra, playing timbales.
Palmieri’s professional career as a pianist took off with various bands in the early 1950s including Eddie Forrester, Johnny Segui’s, and the popular Tito Rodriguez Orchestra. In 1961, Palmieri formed his own band, La Perfecta, which featured an unconventional front line of trombones rather than the trumpets customary in Latin orchestras. This created an innovative sound that mixed American jazz into Afro-Caribbean rhythms, surprising critics and fans alike. Palmieri disbanded La Perfecta in 1968 to pursue different musical endeavors, though he would return to the band’s music in the 2000s.
Palmieri perfected his arranging skills in the 1970’s releasing several impressive recordings that reflected his unorthodox approach to music. His unconventional style would once again surprise critics and fans with the 1970 release entitled “Harlem River Drive.” This recording was the first to merge what were categorized as “Black” and “Latin” music into a free-form sound that encompassed elements of salsa, funk, soul and jazz. In 1975, Palmieri won the first-ever Grammy for Best Latin Recording for The Sun of Latin Music (he’s won ten Grammys altogether to date), including two for his influential recording with Tito Puente, Obra Maestra/Masterpiece.
Recognizing Palmieri as an American icon, the Smithsonian’s National Museum of American History in Washington, DC, recorded two of Palmieri’s performances for its archives in 1988. Because of Palmieri’s proclivity for creating music in funk Latin style, Little Louie Vega invited him to record on Nuyorican Soul (1997), a release that became very popular in the house and underground music scenes.
In addition to the Grammys, Palmieri has received numerous honors: Eubie Blake Award (1991); Most Exciting Latin Performance, presented by the BBC in London (2002); Yale University’s Chubb Fellowship, usually reserved for international heads of state, but given to Palmieri in recognition of his work building communities through music (2002); Harlem Renaissance Award (2005); Jay McShann Lifetime Achievement Award (2008), induction into the Oklahoma Jazz Hall of Fame (2008). A year later, the Library of Congress added Palmieri’s composition “Azucar Pa’ Ti” to the National Recording Registry, which at the time only included 300 compositions documenting the history of all of recorded music history in the U.S. With his widely popular eight-and-a-half minute “Azucar Pa’ Ti” Palmieri changed the format of the recording industry, breaking the three-and-a-half minute barrier imposed by the recording industry.
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).