Soul Silver Rom Anti Freeze

Mount

Eduardo Palmieri (Photo: Martin Cohen)

Many people considered it their best production. At least the title song to the album, Vamonos Pa'l Monte, can be included without much thought in the list of the ten best songs of all the Latin of the last 50 years. Or more. Warrior is an album made with a boundless passion, when things that could still be free and allowed the luxury Palmieri also to commit certain eccentricities.
As sold, as it was 10 years ahead of any other musician of his class, and had a reputation within the music scene and no one was shadow in terms of sonic experimentation, Eddie decided, for the third time, chipping ahead and experiment with new sounds, to do so, he sought new grounds. After all that song to
equality that was the album Justice, Palmieri was influenced by the psychedelic experience Superimposition in (which is, of course, my favorite album of Eddie and I will discuss in a future), but never put down the redefinition of the Cuban sound that both liked to play and combine.
These new quests are also reflected in Vamonos Pa'l Monte , his last studio recording for Tico Records. This time, however, thus depriving the electric hue, because the very daring had no better idea to put his brother to play the organ in montunos, while he was in charge of adding an electric piano in other parts resulting in a mosaic of sound that is far above any other musician of his caliber. Account
Miguel Estivil, producer of this work, to work with Palmieri meant to be subject to a strict regime of late changes. Not to bring the man did not bring to studies A & R Recording , where he began to gather his musicians the September 24, 1970, final arrangements for each of the subjects to be included in the disc, everything is solved on the fly. What I ordered were four pianos, which they rented, downloaded and installed. I wanted to try them, pick one and send back the other three.
As simple as That.
Estivil said that meetings with Palmieri began taking chords of the piano, while the rest of the musicians: José Rodrigues-trombone-guitar-Bob Bianco, Alfredo Chocolate Armenteros Victor Paz, Charles Camilleri, trumpets, Ronnie Cuber, baritone sax, tenor sax Pere-Yellin, "Monchito Muñoz-hype," Nick Marrero timbales and bongo-conga Eladio Pérez-big-and Ismael Quintana on members, they would uniting, infected by the spirit. It seems unbelievable that this scheme could creative things occur as well structured. But it did. One reason was the effort that had Bianco, a great friend, for Eddie to further his studies of theory, music theory and composition.
The result is seen in the disk.

The spirit in Revolt / Freedom, logical , one of the most thrilling of his entire career, is capable of remejer the foundations of a skyscraper. Begins with the title and structure, which originated with a fanfare almost jazz-with much of Thelonious Monk, to pass dissonances characteristic of rock and then the overflow of a montuno fierce, very fierce, Quintana releasing her face rather than singing, "these verses-calling and ask-an equality of rights for Nuyorican, while the trumpets of Armenteros and Peace (a Cuban, traditional, and one Panamanian, much more modern) are duel. Nicky Marrero, just 21 years, pinch the skins of the drums and bass Monchito used like a weapon of war, giving an idea of \u200b\u200bthe intentions of the subject. The original title was going to hymn to freedom , and when asked about that word, his answer was very clear: yes, of course, freedom is the logical response to problems.
And stayed. Walking
puts things in slow motion and this is where the electric sound begins to emerge, with lots of flavor and a catchy chorus composed of names from the likes of Santos Colon, Justo Betancourt, Marcelino Guerra, Yayo el Indio Elliot Romero and Mario daddy Muñoz. Choruses that owe nothing to boogaloo sounded until recently.

Another significant change, another experiment is below: Vamonos Pa'l Monte guaracha is completely ignoring the mambo-song-structure and montuno goes straight to the last part ... that's where the juice. Eddie captain of the ship from the electric piano while making a syncopation to the melody and played with a posh guest: his brother Charlie on organ, which is released, and who does not like things, one that is among the best in the genre. The chorus plays Ismael uses two alternating phrases pastoral idea of \u200b\u200bgoing to the countryside to escape the troubles of the city ( here in the big cities is just congestion, but there on the mountain mine, there is peace and fascination ), although many others say no more than a song to marijuana and recreational drugs, of which Eddie was user for several years

Vamonos Pa'l Monte, a mountain to guarachar pa'l

let's go Pa'l Monte, which I prefer Mount .

and

Mount For me because I'm happy.

original 1971 Home

Ismael strongly denies a interview that there were drugs at the time by thinking about the subject. The lyrics, in fact, he wrote, by request of Palmieri. However, care little conclusion to draw: just listen to the game of metals versus trombone trumpets, saxophones while filled and add color to the discharge, to understand that this is unique. It was demonstrated that the saxophone, in these conflicts, it serves as a filler and not to create sound buildings, because otherwise occur somewhat unfortunate things like this .
sly old is an old Cuban son and the circumstances refurbished electrical drive, and has a heavy montuno in which, there yes, saxes shine setting the pace while the trumpets are responsible for lifting the bows and the mambo that adorn each of the breaks. Chocolate again shows his virtuosity, this time with memories of earth are gradually is becoming unloading, jam session, and see who dares to stop this.
was missing a bolero, and I do not know is the ideal opportunity to showcase the potential that has always been Quintana as bolero, and the ease with which this genre and intermingle with jazz and welcome arrangements that could well play a blues. The disc closes Comparsa of Fools , another tribute to the Cuban rhythmic richness ideal opportunity to catch all the hell that accumulate in the studio and simply releasing the music getting a result by other wonderful.


Given the importance of this production, the new owners of the recordings decidieron lanzar hace dos años una edición especial, Masterworks , en la que incluyeron otros temas más que fueron grabados en esas sesiones de 1970. Estos permiten palpar las otras inquietudes de Palmieri en cuanto a música se refiere y que se reflejarían en muchos de los discos producidos por él a partir de los años 90, ya imbuido en los ensembles de jazz latino. De esta forma, además de incluirse la toma 9 de Viejo socarrón (ya pudieron haber puesto alguna otra toma de La libertad, lógico o de Vámonos pa'l monte) incluye una soberbia descarga:  VP Blues , que se pierde en la distancia de sus más 14 minutes of dissonance, rhythm, bravo, piano mumbling like a demon and several great solos of the musicians in the studio.
Mixed marriage is another demonstration of the sonic experiments were in the air, this time giving superb field at a low, some leather to tone (or no) to the tune, a guitar that escapes rock and exalted keyboard keeps reminding us that Palmieri is in charge. And finally, Moon Crater 1 (Lindsay's Raiders) , an experimental / rock band tribute to Paul Revere & The Raiders and vocalist Mark Lindsay, who by that time would record Indian Reservation, an issue that ranked first in the U.S. charts.
Ultimately, Vamonos Pa'l Monte is a fundamental drive to better understand the term salsa. One of these experiments had no sequels. A tribute to the times we were living and that wonderful music that still sounds fresh. Rabid
.


A detail of which I remember: In some cases, little truth, I have read or heard some opposition to the idea of \u200b\u200bPalmieri on the grounds of Latin jazz. Or whatever it is called. Has seemed a kind of betrayal that in the last 25 years has often been away from the salsa wave. And I ask: why not? Could it be that much difference? Latin jazz was already or whatever, in 1970. The best example of this is the B side of Superimposition.
One may have some type of repair in some detail of the artistic life of Eddie Long. Normally, we go. But if there is something to be applauded it is their lack of orthodoxy has never made any sound Asquith by expressing interest, wherever it comes from, helping to greatly enrich his music.
Eso, a fin de cuentas, es lo que importa,  ¿no?