An die musik live
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Buy tickets online through InstantSeats.
To buy via phone, please call 410-385-2638.
Thank you for your interest in attending our concerts.
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Fri, 12/21/07
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(2007 days ago)
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From: 10:00 PM
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To: 11:00 PM
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Location: An die Musik Live
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Contact:
henry@andiemusik.com
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(410) 385-2638
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Eddie Palmieri, piano
Brian Lynch, trumpet
Luques Curtis, bass
Palmieri had so much fun celebrating his 70th birthday with us last year, that he's coming back for his 71st!!
Tickets: $35 general / $30 students & seniors
ABOUT THE ARTISTS:
EDDIE PALMIERI's musical career spans 50 years as a bandleader of salsa and Latin jazz orchestras. His discography includes more than 32 titles. He has been awarded Eight Grammys, including the first presentation in the Best Latin Album category for his 1975 release The Sun of Latin Music, and the following year for Unfinished Masterpiece. Palo Pa' Rumba won in 1984, Solito in 1985 and La Verdad in 1987. He received two Grammy's for his 2000 release with Tito Puente Obra Maestra/Masterpiece one from the traditional Grammy awards and one from the Latin Grammy's.
He was awarded the Eubie Blake Award by Dr. Billy Taylor in 1991 and he is among the few Latin musicians recognized by the Legislative Assembly of Puerto Rico and the New York State Assembly. In 1988, the Smithsonian Institution recorded two of Palmieri's performances for their catalog of the National Museum of American History in Washington, D.C., a rare public honor.
The 1998 Heineken Jazz Festival in San Juan, PR, paid tribute to his contributions as a bandleader, bestowing him an honorary doctorate degree from the Berklee College of Music. In 2002, Yale University awarded Mr. Palmieri the Chubb Fellowship, an award usually reserved for international heads of state, but given to him in recognition of his work in building communities through music.
As a member of the New York chapter of the National Academy of Recording Arts and Sciences, he was instrumental in creating a new category for Latin Jazz in 1995. His 1994 album, Palmas, was among the nominees for the first award presented in that category in March 1995. In 1996, he was once again nominated for his album Arete. In 2006, the National Academy of Recording Arts and Sciences (NARAS) awarded Eddie Palmieri's newest release, Listen Here!, the Grammy in the "Best Latin Jazz Album" category. This was Eddie Palmieri's 8th Grammy in his over 50 year musical career and was awarded on Wednesday, February 8, 2006 at the Staples Center in Los Angeles.
Born in Spanish Harlem in 1936, Palmieri began piano studies at an early age, as did his celebrated older brother, the late salsa legend and pianist Charlie Palmieri. For Latin New Yorkers of Eddie's generation, music was a vehicle out of the barrio. At age 11, he made his classical debut at Carnegie Hall, a venue as far from the Bronx as he could imagine. Possessed by a desire to play the drums, Palmieri joined his uncle's orchestra at age 13, where he played the timbales. Says Palmieri, "By 15, it was good-bye timbales' and back to the piano until this day. I'm a frustrated percussionist, so I take it out on the piano."
He began his professional career as a pianist in the early '50s with Eddie Forrester's Orchestra. In 1955 he joined Johnny Segui's band. He spent a year with the Tito Rodriguez Orchestra before forming his own band, the legendary "Conjunto La Perfecta," in 1961. La Perfecta featured a trombone section (led by the late Barry Rogers) in place of trumpets, something that had been rarely done in Latin music, and which demonstrated the early stages of Palmieri's unconventional means of orchestration. They were known as "the band with the crazy roaring elephants" for the configuration of two trombones, flute, percussion, bass and vocalist. With an infectious and soaring sound, Palmieri's band soon joined the ranks of Machito, Tito Rodriguez, and the other major Latin orchestras of the day.
Palmieri's influences include not only his older brother Charlie but Jesus Lopez, Chapotin, Lili Martinez and other Cuban players of the1940s; and jazz luminaries Art Tatum, Bobby Timmons, Bill Evans, Horace Silver, Bud Powell, McCoy Tyner, Herbie Hancock and Miles Davis. Equally important were influences derived from Palmieri's curiosity and incessant search to unearth his family's roots and seek out the origins of the music that profoundly inspired him. Says Palmieri, "In Cuba, there was a development and crystallization of rhythmical patterns that have excited people for years. Cuban music provides the fundamental from which I never move. Whatever has to be built must be built from there. It's that cross-cultural effect that makes magnificent music." His solid interpretation of Afro-Caribbean music and its confluence with jazz is evident in Eddie Palmieri's astute arranging skills, which assemble those components in dramatic and compelling compositions.
His accomplishments have taken him through Europe, Japan and Latin America, showcasing his assemblage of seasoned musicians and kaleidoscope of musical styles. He served as a consultant to Paul Simon on his 1990 release Rhythm of the Saints and in 1993 was appointed to the board of governors of the New York chapter of the National Academy of Recording Arts and Science. His interest is in expanding recognition of Latin music in its diverse forms.
Palmieri remains a powerhouse of brilliance and sound that has stirred audiences for 50 years, continually and successfully seeking to captivate and elevate the senses, and taking them down paths of intensity to a place where there are no musical boundaries.
"This is the end of the century, and a lot of music has gone down," BRIAN LYNCH said several years ago. "I think that to be a straight-ahead jazz musician now means drawing on a wider variety of things than 30 or 40 years ago. Not to play a little bit of this or a little bit of that, but to blend everything together into something that sounds good. It doesn't sound like pastiche or shifting styles; it's people with a lot of knowledge."
Few musicians embody this 21st century credo as profoundly as the 48-year-old trumpet master. A respected insider within both the hardcore bebop and Latin communities, he's as comfortable negotiating the complexities of clave with Afro-Caribbean pioneer Eddie Palmieri as swinging through advanced harmony with bebop maestro Phil Woods. He's worked in recent years with Buena Vista Social Club alumnus Barbarito Torres, dance remixer Joe Clausell, and the members of the influential Latin alternative group Yerba Buena. He arranges for Japanese pop star Mika Nakashima and producer Shinichi Osawa, has written string charts for Phil Woods, and has played with such pop luminaries as Maxwell, Prince, and Sheila E.
Born September 12, 1956 in Urbana, Illinois, Lynch grew up in Milwaukee, Wisconsin where he apprenticed on a high level with such local residents as pianist Buddy Montgomery and organist Melvin Rhyne, while earning a degree from the Wisconsin Conservatory of Music. Located in San Diego in 1980-81, he gained further valuable experience in the group of alto master Charles McPherson. Towards the end of 1981, Lynch moved to New York, and soon linked up with the Horace Silver Quintet (1982-1985) and the Toshiko Akiyoshi Jazz Orchestra (1982-1988). Simultaneously, he played and recorded on the Latin scene with salsa bandleader Angel Canales (1982-83) and legendary cantante Hector LaVoe (1983-87). He began his association with Eddie Palmieri in 1987, and at the end of 1988 joined what turned out to be the final edition of Art Blakey and the Jazz Messengers. He began his association with Phil Woods in 1992, and also worked frequently with Benny Golson around this time.
In 1986, Lynch recorded his first album as a leader, Peer Pressure, for Criss-Cross. There followed Back Room Blues and At The Main Event [Criss-Cross], In Process [Ken], Keep Your Circle Small [Sharp Nine]), and a string of sideman dates with Art Blakey and Phil Woods. On each, Lynch documented his fiery, coherent tonal personality. Whether limning a ballad or tearing through a searing bop structure, he projects a rich tone that ranges from warm to brilliant, uncoiling serpentine lines that land in the most surprising places.
A 1997 recording called Spheres of Influence [Sharp Nine], which earned a 4-1/2 star Downbeat review, was Lynch's first project to reflect the panoramic range of interests that influence his working life as a musician. During these years he documented cross-cultural investigations with Eddie Palmieri's seminal Afro-Caribbean Jazz Octet on Arete, Palmas and Vortex [Nonesuch and RMM]. As the 90s progressed, he steadily refined his concept, eventually collaborating with Palmieri as an arranger, co-composer and musical director. In a rare gesture, Palmieri took advantage of Lynch's pen on the recent albums La Perfecta II and Ritmo Caliente [Concord Picante]. The synchronistic nature of their relationship will continue in 2005, when Palmieri collaborates with Lynch on his ambitious project for Artists Share.
Lynch has continued to advance the Spheres of Influence concept, gathering around him a repertory company of top-shelf Pan-American oriented musicians. These include drummers Dafnis Prieto, Horacio Hernandez, Robby Ameen, and Ernesto Simpson; percussionists Richie Flores, Pedro Martinez and Roberto Quintero; pianists Luis Perdomo, Edsel Gomez, and David Kikoski; bassists John Benitez, Ruben Rodriguez, and Hans Glawischnig; and saxophonists Miguel Zenon and Yosvany Terry.
The fruits of his work in this area are now becoming apparent through a remarkable series of recordings.
On Conrad Herwig's The Latin Side Of Miles Davis [Half Note] and on Que Viva Coltrane [Criss-Cross], a Herwig-Lynch collaboration, Lynch reharmonizes tunes like "Freddie Freeloader," "Miles Mode," "Wise One" and "Straight Street," fluently navigating the changes over dynamic guaguanco, songo, bolero and timba beats.
Joined by tenor saxophonist Ralph Bowen and pianist Luis Perdomo, he addresses his own compositions similarly on an upcoming 2005 Criss Cross date entitled Jazz Con Clave. Also, in 2005, EWE, a Japanese label, will release Lynch's piece de resistance; a commissioned six-part composition for nonet entitled the "Spheres of Influence Suite."
On Fuchsia/Red, a live date from 2003, Lynch presented, in the words of critic Russ Musto in All About Jazz, "an electric Miles-inspired excursion conceived and executed with such assurance as to create a whole new perspective on Lynch's artistry." Musto added: The music is alternately earthy, spacey, pretty, funky and swinging and often, just like Lynch, all of these things at once."
But don't think Lynch has forgotten about his roots. That he's evolved into a major postbop stylist is apparent on 2000's Tribute To The Trumpet Masters [Sharp-9], an instant classic on which Lynch, blending superlative technique with deep soul, pays forward-thinking homage to trumpet lineage spanning Dizzy Gillespie to Woody Shaw. Brian Lynch Meets Bill Charlap [Sharp-9] is a nuanced, interactive 2003 collaboration with the renowned pianist, a long-time Woods bandmate. "It's the kind of standard fareballads, bebop and bluesthat is often lackluster in the hands of lesser bands, but brings out the best in these masterful musicians," wrote Russ Musto in All About Jazz.
After crediting Palmieri and Art Blakey as the Alpha and Omega of his musical thinking, Lynch stated: "Eddie inspired me to want to do my own thing, because that's what he does, and how he energizes and leads the band. And being a Messenger is something that will never be taken away from me. I can see Art sitting up there saying, 'You've got to go on and be a leader.' It's easy to be a sideman; it's very hard to be a leader. Now I'm ready."
LUQUES CURTIS started performing at a very young age. He had studied the piano,
violin, cello, and tumbadoras before settling with the upright bass.
Before he entered high school, he performed with the great Jesus Chucho
Valdes on baby bass in a Manhattan club. Luques is a graduate of Berklee
in Boston and has developed a reputation as one of the most versatile
bass players.
Along with his Insight commitments, he is performing worldwide with the
Donald Harrison Quintet, The Ralph Peterson Sextet, Gary Burtons
Quintet, and the Christian Scott group. He has studied with great
bassists such as Dave Santoro, Andy Gonzalez, Carlos Del Puerto, John
Lockwood, Ron Mahdee, Mickey Bass and Volkan Orhan. Luques is currently
the bass player for Gary Burton's newest incarnation of the Generations
band, and both his playing and composing is featured on group's
crticially-acclaimed CD, "Next Generation."
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