Eddie Palmieri: the sun of latin music part 2

Latin Beat Magazine, August, 2002 by Louis Laffitte

For the last 40 years Eddie Palmieri has enriched Latin music with his imagination. It is difficult to say he had one good year above all others because Palmieri has improved with each recording, an indication that he hasn't reached his peak. I'm not surprised that others are envious of him. Many dancers say that he is the best. Many say that he is the sun of Latin music, the most powerful in the world. He is reverentially referred to as the Messiah but I see him as Latin music's leading astronaut gliding in a spaceship over the musical heavens, searching, listening, imagining new ideas and sounds that will enable Latin music to branch out unto another dimension and perhaps make it universally accepted. --Max Salazar

(Part 2-Continued from June/July, 2002 issue) Coco Records

In 1973, Coco Records released Eddie Palmieri's Sentido. It was produced by Harvey Averne and Eddie Palmieri, and recorded in a small town called Blauvelt, New York. Palmieri packed a ferocious punch. Sentido contained Puerto Rico and Adoración: both composed by Eddie and his lead singer Ismael Quintana. Condiciones Que Existen (written by Palmieri) showed again the power of Latin rock and featured Harry Viggiano on electric guitar and studio musician Rick Marotta on drums.

"We were playing at a dance up on Boston Post Road (Bronx) and I was going through some financial situations at that time. I hadn't been recording and sure enough, Harvey Averne came to the dance that night. I had trouble making the payroll and he said, `Can I help you with some money?' I couldn't believe it. Wow! I was able to pay the band and everything. He told me, `Look, I'm starting a new company, I'd like to know if you're interested in signing with me to record,' and I said, "Sure! A brand new company, I like challenges like that." But I explained to him my situation with Tico and he said, `Well, let me have a partner talk to Tico and Morris Levy.' They made a monetary arrangement for my first two recordings for Mango Records (which became Coco Records). They compensated Morris Levy with a certain amount of money and bought me out of my contract for approximately thirty five thousand dollars. So, it was agreed upon and I signed with Mango."

The song Puerto Rico unquestionably became a modern-day classic that's been re-recorded but never duplicated. The late Barry Rogers' arranging skills were his best and the trumpet virtuosity of Victor Paz was unheralded. Palmieri's orchestra was obviously up for this one.

"I was living in Puerto Rico, by the ocean. I looked around, and as a matter of fact, it was a sad day because we had a trip to Puerto Rico ... Some of the musicians didn't want to stay and were going back, so they were leaving. I got the inspiration for the tunes Puerto Rico and Adoración. It hit me in Puerto Rico as I was swimming; I saw the islands, isla linda y bonita con sus aguas benditas. Three members of the orchestra departed: bass player Andy González and percussionist Manny Oquendo, who had returned briefly to the band left to form Conjunto Libre, along with Andy's brother, conguero Jerry González, still together today."

The debate concerning the origins of the term "salsa" has been a topic in recent years. What was taking place in New York City (in the early 1970s) was a phenomena catapulted by the Fania All Stars, the tempo and pace in New York City and the roots of Cuban-based music, combined with urban elements.

Around the time when he recorded Sentido, Palmieri was informed that Ismael Quintana, his lead singer since 1960, was leaving to become a Fania solo artist. Palmieri already had a deal with Harvey Averne and his new record label (Mango) and had resisted going with the burgeoning Fania Records. Palmieri was content collaborating with trombonist Barry Rogers again on a song called Un Dia Bonito, however, there was one small problem. "We didn't have a vocalist. In Puerto Rico I saw Justo Betancourt and I mentioned that I was looking for a young man that played guitar. He said, `Conozco a un chamaco que se llama Lalo (I know a kid named Lalo).' I said, `No kidding. Tell him to come to the hotel tomorrow.' And sure enough, the next day, there was a knock on my door. When I opened the door, I couldn't even see the young man; the guitar was bigger than he was. He came in and I said, `Let's go.' I took him to the home of René Hernández, who lived in Calle Del Parque in Puerto Rico. I told him to tune up the guitar and sing whatever he wanted, and he sang Deseo Salvaje. I looked at René Hernández. That's his first arrangement. We're in. The young man did the job and he rose to the occasion."

Both Eddie Palmieri and Harvey Averne (president of Coco Records) scored big with the 1974 release of The Sun of Latin Music. It was recorded at Electric Lady Studios in Greenwich Village, the same studios used by rock guitarist Jimmy Hendrix. The arrangements were all handled by pianist René Hernández except on Un Día Bonito, which Barry Rogers is arranged. The new singer, Lalo Rodríguez, was a mere 16 years of age.