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Eddie Palmieri, the visionary pianist and band leader, who significantly shaped and expanded the Salsa sound language, died at the age of 88. His daughter Gabriela Palmieri confirmed to the “New York Times” that he died after a long illness.
Revolutionary ideas, rooted in tradition
Palmieri remained loyal to the Afrocaribical dance traditions. However, he radically experimented with new influences. And created one of the most powerful overall works in tropical music. With the debut of his legendary band La Perfecta in 1962, a journey through Salsa, Latin Jazz and Boogaloo, which included elements from classical, psychedelic, funk, acid rock and Puertorican folklore. His album “The Sun of Latin Music” (1974) was the first to win a Grammy in the “Best Latin Recording” category.
Born in 1936 in New York City as the son of Puertorican parents, Eddie Stark was influenced by his older brother Charlie, whom he always described as the “true king of buttons”. While Charlie remained true to the traditional salsa sound, Eddie showed his rebellious streak early on: he briefly switched from the piano to the Timbales, but returned after having drumming the drums through New York’s club scene too annoying. The stylish stage presence of Mambo star Tito Rodríguez also shaped him-especially when he accompanied it as a pianist.
Palmieri was known for his constant new findings. He regularly changed sound, arrangement and musician, but also used financial restrictions creatively: originally occupied with four trumpets, he replaced them in La Perfecta with two trombones – played by Barry Rogers and Jose Rodrigues. The so-called Trombanga format changed the New York salsa scene. Trombones dominated with massive riffs, while the rhythm group around Manny Oquendo received more space. La Perfecta developed into one of the rawest orchestras of her time – with hits like “Café” and “Muñeca” and the charismatic singer Ismael Quintana.
From Bolero to Salsa anthem
Palmieri’s early albums were already revolutionary, but in 1965 he reached a creative highlight with Azúcar Pa’ti. The album begins with the Bolero “Sólo Pensar En Ti” and ends with the ecstatic title piece “Azúcar”-a new salsa anthem that was tested live in the palladium and was particularly popular with black dancers. As an artist who appreciated jazz and Latin alike, he combined African -American and Latin American dance music and consolidated New York call as a cultural center. “Azúcar” is the first tropical piece in which the pianist acted rhythmically and melodically independently.
Like Tito Puente, Palmieri knew how to pick up trends – but he submitted to his own style. While many veterans were overwhelmed by the late sixties from the Boogaloo boom, Palmieri produced a boogaloo album, which is now considered to be a classic, with Pancho Cristal Champagne in 1968. With musicians such as Ismael Quintana, Joe Cuba, Cheo Feliciano and Cachao, it was both artistically and commercially a success.
Jazz, politics and tonal crossings
During this time, Palmieri also worked with the vibraphonist Cal Tjader – the albums El Sonido Nuevo and Bamboléate showed a new sophistication. In the seventies, Palmieri expanded his music in parallel to rock music in experimental: superimposition (1970) interpreted Arsenio Rodríguez ‘classic “Pa’huelé”, in 1971 Vámonos Pa’l Monte followed with Charlie Palmieri on the organ – a musical withdrawal to the country as a political statement.
With The Sun of Latin Music (1974), Palmieri was once again invented: new record company, new lead singer (Lalo Rodríguez), a 15-minute piece (“Un Día Bonito”) and Beatles-Case. Lucumí, Macumba, Voodoo (1978) went further to Afrokaribic avant -garde – no sales success, but artistically groundbreaking. In 1981 the masterpiece Eddie Palmieri (also known as El Álbum Blanco) followed, on which Cheo Feliciano opened a fiery tango cover.
Late return to the salsa
Palmieri performed less frequently in the 1980s. In 1992 he produced La India’s debut. After that, he turned again increasingly to Latin Jazz. He impressed live with long, complex improvisations. After a little inspired project with Tito Puente (Masterpiece, 2000), Palmieri surprised in 2002 with “La Perfecta II”, a reinterpretation of his classics with singer Hermán Olivera and a big band. “Ritmo Caliente” (2003) also convinced. Especially the extended piano solo in “Lázaro y Su Micrófono”.
These works showed that Palmieri remained powerful and innovative even in old age. “Y así se toca, boncó” – “This is how you play this music, brother”, the choir sang for a trombone solo. Palmieri proved that Salsa is more than dance music. An expression of love, justice and philosophy.
Last years, lasting legacy
In 2014, Palmieri lost his wife Iraida after over 60 years of marriage. The grief did not stop his creative river. “Mi Luz Mayor” (2018) was a tribute to her love, with guests like Carlos Santana and Gilberto Santa Rosa. Particularly noteworthy: a big band version of “Sun Sun Babaé”.
Palmieri was known for his positive charisma. His contagious laugh. And his clever, bilingual speeches about the secret of the Afrokaribic sound. As the last living giant of the salsa era, he leaves a complex work. One that will need generations to fully understand it. Latin American music became unpredictable in his hands. And dangerously beautiful.