DAVID BIANCULLI, HOST:
That is FRESH AIR. I am David Bianculli. Eddie Palmieri, the pianist, band chief and composer whose contributions to Afro Caribbean music formed the evolving style for many years, died Wednesday. He was 88 years previous. His first album, “La Perfecta,” is credited for launching the musical salsa motion when it got here out in 1962.
(SOUNDBITE OF SONG, “CONMIGO (PACHANGA)”)
ISMAEL QUINTANA: (Singing in Spanish).
BIANCULLI: Eddie Palmeri was born in New York Metropolis in 1936, the son of Puerto Rican immigrants who discovered work rapidly, his mother as a seamstress and his dad as a radio and TV repairman. When Eddie was 5 years previous, his household moved to the South Bronx and opened up an ice cream parlor. Eddie labored behind the counter as a soda jerk and likewise managed the jukebox, which was stocked with hits by Tito Puente, Tito Rodriguez and Machito. He started taking piano classes when he was 8 and led his first band at 14.
In 1961, he borrowed $1,000 to pay for a month’s lease on a nightclub within the Bronx, utilizing it as a headquarters to experiment with numerous musical lineups for music he needed to report. He settled on what he referred to as on the time his excellent formulation, the band he referred to as La Perfecta, consisting of a vocalist, a small rhythm part, trombone, wooden flute and Palmieri himself on piano.
(SOUNDBITE OF EDDIE PALMIERI SONG, “CONMIGO (PACHANGA)”)
BIANCULLI: Eddie Palmieri carried out and recorded all his life. He gained a number of Grammys, together with a Latin Grammy Lifetime Achievement Award, and was acknowledged as a jazz grasp by the Nationwide Endowment for the Arts. And there is a deal with proper across the nook for Eddie Palmieri followers. The brand new Spike Lee movie, “Highest 2 Lowest,” starring Denzel Washington, has a spectacular chase scene throughout a Puerto Rican Day celebration within the South Bronx. It options Eddie Palmieri Salsa Orchestra because the backdrop. In 1994, Eddie Palmieri spoke with Terry Gross.
(SOUNDBITE OF ARCHIVED NPR CONTENT)
TERRY GROSS: Eddie Palmieri, you had been born in Spanish Harlem in 1936, and I believe you had been about 7 when your loved ones moved to the South Bronx. Had been the neighborhoods very related or completely different?
EDDIE PALMIERI: Oh, nicely, they had been completely different at the moment. The Hispanic motion was definitely into the – el barrio, what they name. And we moved there once we – I used to be 5 years previous. And by 7 years previous, I used to be already being accompanied by my brother enjoying piano. He was 9 years older than me, and my brother handed away in ’88, 60 years younger. However then once we moved to the Bronx, then my father being a genius so far as being a radio and tv repairman, and plumber and every little thing you would assume that needed to do with handbook labor -he labored very, very arduous all his life. And my mom was a seamstress.
My mom arrived in New York in 1925. My father arrived on the subsequent ship a 12 months later, and by 1926, they married, and by ’27, my brother was born. I used to be born in ’36. Once we arrived within the South Bronx, it was only a lovely, lovely neighborhood. And it was fantastic experiences. Do not – no vehicles in any respect. We had been capable of play stickball and never fear about any vehicles on the street. It was fantastic years that I keep in mind within the South Bronx.
GROSS: What did it imply to you to be Puerto Rican while you had been rising up? Had been you very pleased with being Puerto Rican or simply – had been you simply Puerto Rican and never – did not give it some thought very a lot a method or one other?
PALMIERI: No, no – all the time fairly distinctive being Puerto Rican due to what I noticed, the household being so united. When my family members all got here from Puerto Rico, my uncles on – my grandmother, for instance, had an open-house coverage, you recognize, which meant that on Saturdays, you’ll see my grandmother taking place to the Safeway, A&P and doing the buying. And plus, she would cease on the liquor retailer and produce about, oh, six or eight bottles of various ryes and rums, no matter, merely as a result of my grandfather was additionally an expert gambler.
So on Saturday night time, Friday night time, the cardboard video games would begin. And by midnight on Saturday, there was no liquor shops open, and the one one which had the liquor was grandma. And as she offered you a liquor, she would mild up a cigar. After which my grandfather was fairly distinctive in enjoying, so he would clear up, and they might have a home kitty. And on Saturdays, all my uncles would get collectively, after which they’d take out the guitars, and they might begin to sing. By 13, I used to be already enjoying drums with my uncle, Chino Gueits (ph) y Su Alma Tropical as a result of I did not need to play the piano anymore. I need to change into my brother’s drummer.
GROSS: Now, I do know while you had been rising up, your mom actually needed you to play piano, however you needed to play drums.
PALMIERI: Proper.
GROSS: Let’s begin together with your mom wanting you to play piano. Why was she so huge on that?
PALMIERI: Properly, as a result of she handed the Despair right here, and truly, in 1929, she was right here already. She arrived in ’25. And a lesson was 25 cents. And the thought was, you recognize, attempt to get the 25 cents. With $1.25, they made a complete grocery buying. It is wonderful what occurred within the years of the Despair. And since my brother was already enjoying piano and he is 9 years older than me, then my mom definitely insisted on me to play piano, too. And I did. And I could not thank her, you recognize, sufficient for that.
GROSS: Now, while you had been enjoying in your uncle’s band – you had been in your early teenagers – what did you play within the band?
PALMIERI: Oh, I performed timbales, and my uncle sang. My different uncle performed conga, and we had two guitars, a tres and a second guitar who sang, a trumpet and the bass participant, Nicolas (ph). Once they wasn’t sufficient cash to pay the bass participant Nicolas, Nicolas was out.
GROSS: Now, you studied classical music while you had been younger – proper? – on the piano.
PALMIERI: Properly, due to Miss Margaret Bonds. She was a classical live performance participant. And by 11, I gave a recital at Carnegie Corridor Recital Corridor. However all these years from 11 by way of 12, I simply needed to play drums. So it damage me from probably not stepping into the basics of the instrument as I must, and I do now.
GROSS: Did you resent having to play classical music?
PALMIERI: No, no. I simply did not need to play the piano in any respect. I imply, I needed to play drums. And, you recognize, it’s important to be – it’s important to ponder, like, what is going on by way of my thoughts, ‘trigger I need to play stickball on the street, you recognize. And the blokes are calling me downstairs. Come on, Eddie. Come on, Eddie, you recognize, and I obtained to be enjoying scales, you recognize, after which making an attempt to, you recognize, like, cheat on my scales. And my mom had…
GROSS: (Laughter).
PALMIERI: …An unimaginable ear. I referred to as them mama ear chops.
GROSS: (Laughter).
PALMIERI: I imply, she may hear. She’s, hey, you recognize, that do not sound correct, you recognize, an additional quarter-hour. Oh, issues like that.
GROSS: (Laughter).
PALMIERI: And I used to be lacking the sport. And I used to be the primary baseman, after which I needed to change into the supervisor as a result of if I wasn’t the supervisor, in all probability they would not let me play.
GROSS: So while you had been enjoying timbales in your uncle’s band, what was the ambiance like? You had been, I do not know, 13 or 14.
PALMIERI: Oh, yeah.
GROSS: And he was enjoying in dance halls.
PALMIERI: Yeah, dance halls and up within the Villas. The Villas is just like the Borscht Circuit, you recognize, the Catskills right here.
GROSS: You had been enjoying within the Borscht Belt while you had been 13 or 14?
PALMIERI: No, no, however within the Spanish ones.
GROSS: The Spanish Borscht Belt.
PALMIERI: Yeah. They had been owned by Spaniards at the moment. That was the place – they name them La Villas. And…
GROSS: So that is within the Catskill Mountains of New York, the place a number of summer time resorts artwork.
PALMIERI: That is Plattekill, off Newburgh. Yeah. And I began working up there in 1950, ’51. You already know, I imply, it is unbelievable.
GROSS: So what was the ambiance like? What sort of folks did you meet?
PALMIERI: Properly, I will provide you with an concept. When – the primary day I obtained there, I noticed – I went to see the pool. They informed me they’d a pool on this villa, and I went to see the pool. There was a cow ingesting and one within the pool.
GROSS: A cow?
PALMIERI: Yeah.
GROSS: I do not know. I did not know her if title was Elsie at the moment, so I did not do something (ph) – from Borden’s Milk. The primary factor is that that was the cows that gave you the milk. For $35, you would keep every week on the Villas room and board, and that recent milk pitcher was there within the morning. After which my uncles and my grandfather would like to go up there as a result of they’d play – excuse me – they might gamble up there. They may play playing cards all day lengthy, or dominos. And that was their world. And my uncle was booked in – because the music of the Villas and I used to be a part of that. In order that was the best way we made a dwelling.
GROSS: Did you drink while you had been younger?
PALMIERI: No, however my uncles definitely did, and I all the time tried to, like, seize a drink or so, you recognize. Nevertheless it was troublesome ‘trigger all my aunts had been there, they usually had been tattletaling (ph) my mom (laughter).
GROSS: Proper.
PALMIERI: Heard – that is my mom (laughter).
BIANCULLI: Eddie Palmeri talking to Terry Gross in 1994. Extra after a break. That is FRESH AIR.
That is FRESH AIR. Let’s get again to Terry’s 1994 interview with pianist, band chief and composer Eddie Palmieri, who died on Wednesday on the age of 88.
(SOUNDBITE OF ARCHIVED NPR CONTENT)
GROSS: Once you had been younger, you performed with Tito Rodriguez. What did you study showmanship and working a band from watching him?
PALMIERI: Oh, he was the one. He was the dandy. He was the dandy as a result of nobody dressed like him.
GROSS: How did he costume?
PALMIERI: Oh, immaculately, man. You already know, so hip. And he was so sharp. The orchestra all uniform as a result of he was one of the best singer that we had right here, so far as a rumbero singer, of an orchestra chief. And he had the preparations to do it. And he simply stored enhancing always due to his aggressive edge, you recognize, that he all the time had with Mr. Tito Puente. If Tito Puente performed vibes, Tito Rodriguez went to discover ways to play vibes, you recognize?
GROSS: (Laughter).
PALMIERI: It was a type of issues that there was one thing that simply irked him, you recognize? However after I was working with him from the 12 months ’58 to ’60, I definitely discovered an incredible quantity from Mr. Tito Rodriguez. And will he relaxation in peace. However he is aware of that he is in my coronary heart.
GROSS: What did you put on within the band?
PALMIERI: Oh, all completely different sorts of uniforms. Typically we regarded like waiters, you recognize?
GROSS: (Laughter).
PALMIERI: And they’d ask us for a drink and that, you recognize? You already know, and I’d give them my drink and, you recognize, take the tip or one thing like that. The primary factor is, all tuxedos. However we labored as a result of with Tito, at the moment, he went to Vegas and we did Vegas. And he had a present. His spouse was Japanese, and he or she sang. And he had a Cuban dancer, Martha. He was after that Desi Arnaz-Lucille Ball motion since he knew Desi and he knew Lucille Ball as a result of his spouse additionally got here from a type of present cabarets. However he was so sharp, you recognize? And he may dance. And the factor was he may sing.
(SOUNDBITE OF SONG, “CUANDO, CUANDO”)
TITO RODRIGUEZ: (Singing in Spanish).
GROSS: When did you’re feeling able to type your personal band?
PALMIERI: 1960 after I left Tito Rodriguez. It took a couple of 12 months, after which by 1961, I began completely different types of orchestra. However La Perfecta I began in late ’61, which was the orchestra then that stood collectively for seven, eight years. And we had two trombones, flute, picket flute, timbales, conga, bass, singer and I. It was a complete of eight.
GROSS: Had been trombones uncommon for a Latin band?
PALMIERI: At the moment, sure. They referred to as us, like, the sound of the roaring elephants.
GROSS: So when folks in contrast your sound to elephants, was that in reward?
PALMIERI: Oh, nicely, in reward and in annoyance. You already know, it was a mix of each as a result of we had been enjoying up within the Catskills for 3 summers with that orchestra. And that is a extremely industrial setting. And the orchestra definitely did not belong there, however we would have liked to be there as a result of that was the best way we might have the ability to preserve our standing within the metropolis by being away for the summer time. Like, Machito would go to the Harmony and Tito Puente would go to the President Lodge in Swan Lake or no matter. And we landed up in Kutsher’s Nation Membership, after which I landed up in Brown’s, after which I landed up ultimately in ’65 within the Raleigh Lodge, and that is the place they referred to as us the roaring elephants.
GROSS: Now, a number of the motels that you just talked about had primarily Jewish clientele vacationing there.
PALMIERI: Proper. That is why I informed you earlier than, typically, at most it was fairly annoying.
GROSS: So had been you used to seeing individuals who weren’t Latin doing the cha-cha, the mambo and every little thing? I’m wondering what you considered their dancing.
PALMIERI: Oh, no, in fact as a result of within the ’50s, keep in mind that the Jewish clientele was the clientele within the Palladium on Wednesdays.
GROSS: Oh.
PALMIERI: And what we noticed was not solely the Jewish clientele dancing to essentially the most unimaginable dances that you could find, however you noticed Marlon Brando there. You noticed him enjoying bongos with Tito Puente.
GROSS: (Laughter).
PALMIERI: I imply, you noticed issues within the ’50s you would not consider.
GROSS: (Laughter).
PALMIERI: After which the mambo with Tito Puente, once more, and Tito Rodriguez and Machito, these had been nice orchestras that the Jewish clientele adopted. On Friday, then Saturday, the Palladium was extra Hispanic, and on Sunday, it was undoubtedly Black. We had 4 completely different days there that we had 4 completely different distinctive ethnic teams coming to bounce. They usually all danced beautifully.
GROSS: I need to play one in every of your basic recordings. I need to play “Puerto Rico.”
PALMIERI: Oh, I like it. We simply did that in Puerto Rico simply now.
GROSS: Did you?
PALMIERI: Sure.
GROSS: Properly, let me play an early recording of it. And that is my visitor, Eddie Palmieri, his band. He is featured, in fact, on piano.
(SOUNDBITE OF SONG, “PUERTO RICO”)
PALMIERI: (Singing in Spanish).
GROSS: What stage had been you at while you recorded that?
PALMIERI: Oh, I used to be in fairly an unimaginable stage, all the time with the economical pressures round you. However I discovered myself in Puerto Rico strolling on the seaside and that stunning ocean. And that is what the lyrics say – (talking Spanish) – you recognize, lovely island, together with your blessed water surrounding you. In order that’s a particular album and a particular 12 months you play from.
GROSS: In Latin music, there’s a number of repetition that the piano performs. Is that referred to as montuno?
PALMIERI: That is precisely proper. It is a montuno half, but it surely’s referred to as a guajira. You may hear like, (vocalizing). That might be the guajira that I am utilizing there. And I will use that, the guajiras behind the percussionist as a result of the least quantity of harmonic modifications in Latin is the place we get the best diploma of synchronization, which is what you are after. We simplify the chord modifications. And there we get what we name masacote, which is the synchronization of the rhythm part and the piano and bass in order that we’re that includes that soloist that’s showcasing himself or that I am showcasing on the report, or in stay, you recognize, stay displays to the general public.
(SOUNDBITE OF SONG, “PUERTO RICO”)
PALMIERI: (Singing in Spanish).
GROSS: I need to play one thing out of your new album, “Palmas.” And you’ve got a chunk on right here referred to as “Bolero Dos.”
PALMIERI: Proper.
GROSS: And it opens with an prolonged piano solo. There is no rhythm behind you on this piano solo.
PALMIERI: Proper.
GROSS: Which may be very uncommon in Latin music. I imply, the rhythm by no means stops in Latin music.
PALMIERI: Properly, I’ve all the time completed that since “The Solar Of Latin Music” that gained the primary Grammy, simply piano alone.
GROSS: Now, why do you go for that?
PALMIERI: Oh, I discussed that earlier than is I like variations of a theme. And I do know precisely what is going on to come back behind me. Nevertheless it’s such a lovely melody that why not play with the, you recognize, piano first? And there is by no means been a piano opening or intro that has irritated or not introduced in an viewers. So while you’re in an viewers that your rhythm might be sophisticated, it is fantastic to listen to a piano first. And we simply, you recognize, like, I will simply slip it in, you recognize, like, by enjoying piano. After which abruptly, then I will go into my orchestra. And it has been very, very well-accepted. And I like to do it. And it is extra pianistic, so it helps me in my course of attending to know my instrument higher and higher.
GROSS: Properly, let’s hear the start of “Bolero Dos.” That is Eddie Palmieri on piano.
(SOUNDBITE OF EDDIE PALMIERI’S “BOLERO DOS”)
GROSS: We may hear you growl on that track (laughter).
PALMIERI: I informed you, I warned you (laughter).
GROSS: How did you begin growling like that?
PALMIERI: Properly, let me inform you what occurred. My first recording, you recognize, we began to report years in the past. First recording, Alegre. And abruptly, I see the proprietor strolling with the engineer. And he walks in and I say, what’s up? He goes, what’s that? You already know, and what’s what, you recognize? And we begin in search of one thing that no one can – you recognize, what’s what? And we begin wanting. And certain sufficient, we return to recording and he comes again and, what’s that, you recognize? And eventually, he came upon it was me. So then they did not know what to do with me, both gag me or put some sort of a…
GROSS: (Laughter).
PALMIERI: Yeah, they needed to gag me, both that or put, you recognize, like, cowl the piano. They usually did every little thing with the piano till in a while within the different recordings, completely different, you recognize, he stated let or not it’s. That is the best way he sounds. And, you recognize, that is him. Let it go, let it go. What are you going to do? You already know, do not gag him. You’d in all probability choke him (laughter).
GROSS: Had been you conscious of the truth that you growled earlier than the engineer talked about it?
PALMIERI: Not like that. You already know, actually your proof is while you hear it again and say, what’s that, you recognize (laughter)? Nevertheless it’s simply, you recognize, it is that inside, you recognize, that spirit inside. And it provides me, like, some sort of an atmosphere for myself after I play, and it helps. And I simply cannot assist it. It is simply me.
GROSS: Eddie Palmieri, a pleasure to speak with you. Thanks a lot.
PALMIERI: Thanks, my pricey Terry. And I need to want you one of the best within the metropolis of cohesion, and now after speaking to you, it is sisterly love.
BIANCULLI: Eddie Palmieri talking to Terry Gross in 1994. The influential pianist, band chief and composer died Wednesday on the age of 88. After a break, we revisit George Clinton on the event of the fiftieth anniversary of his basic “Mothership Connection” album. And I will overview the return of “The Addams Household” TV spinoff “Wednesday.” I am David Bianculli, and that is FRESH AIR.
(SOUNDBITE OF EDDIE PALMIERI’S “BOLERO DOS”)
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