Search - Eddie Palmieri :: Molasses

THIS IS THE BAND!!!

Ramon Melendez | Anaheim, CA USA | 03/03/2005

(5 out of 5 stars)

"New York City, 1966, the place is The Palladium. After the Second Declaration of La Habana, the missile crisis and the embargo Cuba is out of the music scene, Cuba is closed. Moreover in Cuba traditional Afro-Cuban music became the music of the lumpen-proletariat, it represents capitalistic values, alienation: this music is out. The new capital of Afro-Cuban music is NYC, where Latin American immigants, many Cuban but mostly Puerto Rican, live and die by this music. This music is their break after a long day's journey with discrimination and low wages in an America where civil rights were newer than the mambo. The Palladium is the big stage of Afro-Cuban music: there are the big three: Machito, Tito Puente, Tito Rodriguez, the big band sound, the founding fathers. And there is a multitude of bands coming up with new sounds or keeping up the tradition: Joe Cuba with his vibe-based combo, Charlie Palmieri, Jose Fajardo, and Pachecho with their charangas; there is Ricardo Ray and there is Ray Barretto's hybrid La Moderna. But if there is a band that gives all these bands and the Big three a run for their money is La Perfecta. In 1966 Eddie Palmieri's bone based band is the hardest swinging force in NYC. This album in particular shows you why. The bones are loud, in your face with solos and moñas that are edgy, inventive; the percussion is solid, pulsing; the piano is relentless, driving; the singing is inspired and rooted in the tradition. This band doesn't sound hygienic like today's bands, this band is sweaty, alive with a big heart pumping at you with the clave. THIS IS THE BAND. And Barry's trombone playing here is superb like Randy Brecker said about Barry: "there were a lot of guys probably that could play faster or higher or whatever, but Barry would play the hippest stuff"."