Not a bad record, but then Palmieri virtually never makes a bad record, and this isn't one of the great ones. DBW Eddie Palmieri With Harlem River Drive Recorded Live At Sing Sing There are five lengthy tunes here, a mix of greatest hits "Palo Pa' Rumba" and recent Latin jazz "Slow Visor"but the mood is unaccountably mellow: Palmieri's bands tend to be hard-hitting no matter what type of music they're playing, and I can't imagine why the sound is so subdued here, unless the setting the Hostos Center for the Arts and Culture or the video crew made them overly serious.
The result is, the live versions are less vital and exciting than the studio originals the traditional setcloser "Camagueyanos Y Habaneros" is fast and loud, but even that lacks sparkand you're better off with any of his other 90s work.
Full as the sound is, it's often anonymous "El Bochinche"and I for one would've much rather heard the two principals working their idiosyncratic magic backed by a small rhythm section and a few horns. An overdone embarrassment of riches, but still impressive, and it won Puente and Palmieri their umpteenth Grammies. There's one break from the program, the improvised piano-bass-drums "Apeiron.
DBW Listen Here! With all those things going for it, why am I so unenthused by this record? Well, the tunes are serviceable but - "In Flight" aside - ordinary, and while the band is appropriately loud and tight, they never generate the rapturous menace that Eddie usually achieves so easily.
Eddie Palmieri With Harlem River Drive Recorded Live At Sing Sing by Richard Seidel and Palmieri. Eddie and the band sound terrific, though "Freehands"and there's more emphasis on horn solos than usual. As with almost everything Eddie puts his name on, this won a Grammy: this time for Latin Jazz. I was concerned that Palmieri didn't have much left in the tank, not only because of the long gap between albums but because he'd been recycling himself for a decade before that, and I'm happy to report I was gloriously wrong.
Nearly instrumental Latin jazz once again, with fire and Various Italo Disco Legacy Original Motion Picture Soundtrack the tunes with standard structure and chord changes sound fresh "Locked In" Angelo Badalamenti Soundtrack From Twin Peaks the more experimental numbers "Spinal Volt" sounds perfectly grounded - not to mention tracks that glide effortlessly from one to the other "Jibarita Y Su Son".
Both spend much time with his eyes closed under bright studio lights, but they seem to be able to see each other, or at least Eddie Palmieri With Harlem River Drive Recorded Live At Sing Sing to each other, while their way into a sound that both learned in his youth. Able to play these old tapes and listen to excerpts in which you hear someone say Eddie Palmieri With Harlem River Drive Recorded Live At Sing Sing shot' while consuming cocaine or whatever those people do is a blessing.
It's deep. Perhaps some of them hear this and like Eddie Palmieri With Harlem River Drive Recorded Live At Sing Sing. So begins the chain reaction. The objective of this remix was possible to hear the feeling of walking into a jungle where a new world opens up.
Historically, all this music originated in Africa, and through the movement of the slave trade it spread around the world. It was important for me to establish its roots. I used many natural sounds of the forest, jungle and animals to generate the feeling of going somewhere.
Then comes the flute and percussion and strongly enter the piano, like a tribal meeting. What kept the Nu Guinea Amore multi-track was a flute and percussion.
Everything else reproduced: the Lemelle You Got Something Special of the jungle, more percussion The story begins in Africa and across the new world. The production is completely original. The reason why I suggested that we used it was to give this project a real sense today, something new and something now that fits into the idea of "hammock house".
He was working with Jai Veda before starting this project Nucleus Well Talk About It Later this is a song that I Kiss Rock And Roll Over from the start because it has a kind of Latin style that complements the rest.
Then it was just a demo; originally had a slower rate hip-hop, so I called my brother Joseph to help me redo it with a Latin beat, and the end result is a two-part story that travels from one another. Jai was thrilled when I said I was going to be part of this. I used to play the original version all the time for years, but not many people know, so I thought that if this project is a DJ that exposes the world to some lost or hidden music, then had Maroon 5 Hands All Over use it.
Initially production was so good we did not really need anything, but in my original attempt to strengthen I added more percussion and Rhodes electric piano lines to complement the original chords Rhodes. The new percussion sounds are Eddie Palmieri With Harlem River Drive Recorded Live At Sing Sing brother playing at the same time as the original parts of Santamaria, who was a great Cuban percussionist.
Because this was recorded in the late 60s, many original sections as these were buried in the mix, perhaps because they were produced for listening caseramente. As a child I remember that everyone admired. The atmosphere around her was profound. My mother loved Bauhaus This Is For When. This is a song in Yoruba, the African religious music. I just tried to give a more modern profile, with the addition of the lower and percussion, both produced by my brother, and some sound effects interwoven with bells, whistles and African kaba layers.
So I brought a pianist Bennett Paster, who played for a while, talking and responding to the music rhythmically and really complement the melody. It's a monster! Everything was there, so I decided to do a more traditional remix with him, as they did in the 70s, when they did remixes manipulating Eddie Palmieri With Harlem River Drive Recorded Live At Sing Sing tracks of the multi-tracks and reorganized parts that were already there.
I added some percussion, but it was enough, and Palmieri had great musicians playing with him. Moreover, it is one of the few Latin artists who used lots of delay and reverb, and tried to give an air of dub.
The guitars are echoed. There are a lot of reverb to give more space and what I like to call freakiness. Ray Barretto was a very special musician in my family life, as it was in the world of Latin music.
I wanted to make it a tribute to Ray and created an entirely new introduction. Everything up where chords say "exodus" was created as a tribute. I wanted people to feel the love and appreciation we all feel for this man, and why has such cosmic and spiritual introduction. This is the awakening, and there follows a Yoruba chant, saying "thank you".
One person singing is Liliana Santamaria, Mongo's daughter. I could have taken the part of "exodus" and add a kick, cymbals and a keyboard, and make it more type house. But my brother and I tried to turn it into something that more people could appreciate, and something that pleased even the same Ray. I enjoyed it and I just wanted to lengthen, and I remember I said then, "I wish I could get the multi-track this and do something with it. Then when we were finished, I heard one day in my iPod on a flight to Japan and thought, "Hmmm, maybe this itself is available!
For this version I took the song from a Latin style to one of more African percussion. Add some wind instruments. And so feels the rhythm house. Hence he is passing to a type of lounge music with which he could do nothing and re-did the rest. It came Eddie Palmieri With Harlem River Drive Recorded Live At Sing Sing me like a clue in the multi-track from another song he had asked, and when I heard the singing of the thought, "With this I can do something themselves.
Ismael Miranda, "I'm going now" I stumbled upon this topic while researching and listening to all CDs reissued Fania at the beginning of this project. I heard it in the car one afternoon on the way to give an oil change, while driving on Prospect Park West, and I fell for him. It was part of a collection of ballads, and he Eddie Palmieri With Harlem River Drive Recorded Live At Sing Sing about going to leave his wife. Their excitement is obvious that composed this song for one reason in particular.
Really impressed me. The entire production was already a beauty, and I wondered what I could do to take it to another level. Eddie Palmieri With Harlem River Drive Recorded Live At Sing Sing strings were already there, but not heard in the same way as the original, so I created a second part in the composition starts out as three minutes. By using only original strings could create what I like to imagine as a purely production Claussell, just because we try to do something new.
Is the perfect ending. I wanted to make a futuristic blend, where stories soundscapes and tapestries are created, and where transitions serve as introductions to each story. I wanted to create bridges with different rhythms, and Sandra The Long Play with my brother Joseph and other percussionists and musicians in the studio to create pieces that flowed together.
I wanted to create the feeling of passing, for example, the idea of "rhythm" in a scene to another scene of "love", where you can feel the real emotion of love.
The live mixed with four CD players, effects and touch-tapes, and then took her to the studio and edited some of the levels. I wanted to mix live for a more human feeling, to keep the authenticity of the texture of this music, because I wanted to reflect the process of working on this project.
Looking back, I am proud and grateful to have worked with power as historical music, and music that I grew up. I take my hat off to Michael Eddie Palmieri With Harlem River Drive Recorded Live At Sing Sing for his guidance with this too.
Thanks I'm here to thank the following individuals, without which Eddie Palmieri With Harlem River Drive Recorded Live At Sing Sing the idea needed to design the production of this concept might have been true.
Michael Rucker, a DJ to another Thank you for your confidence in my ability to do this with you. With love, respect and gratitude to all rhythm, Joaquin Joe Claussell Hammock House By Andy Battaglia Joaquin "Joe" Claussell hails from a part of Brooklyn that could double as the setting for a fantastical sort of Brooklyn of the mind.
There is surface noise on some of the atmospheric parts of Broken Home, for example, that has been there since I tore the plastic off the LP jacket — this is NOT virginbut it was also priced accordingly. And generally I think the sound is pretty warm and full. I hope you enjoy and encourage people to leave comments about what you think. The reason it should be a near mythical recording it has never been available in the U. Guess where War got it? The band seems endless, as if there are dozens of musicians playing seamlessly together live — dig the percussion styling of Manny Oquendo on the cowbell and conga and the choral work of Marilyn Hirscher and Allan Taylor behind Norman.
Harlem River Drive is a classic because after plus years, it still sounds as if listeners are the ones catching up to it. I remember reading about this album in a magazine that I The Martian Sex In Zero Gravity remember the name.
I would dig for records dreaming to find Harlem River Drive and no luck but thanks to your hard work,I get to have a Eddie Palmieri With Harlem River Drive Recorded Live At Sing Sing quality copy but I still hope to find a vinyl copy at a decent price. Thank you for your hard work!! I only recently stumbled across this one in a little record fair, got it for a song and since this has never left the platter, blowing away many heads when I drop the extended break on 'Idle Hands'.
This is an atom bomb on the floor… and then there's the rest of the album. Thanks for sharing Flabber, even re-issued this is hard to find, having a good digital is very handy.
Without a doubt this is easily in my top 5 funk LP's of all time, and I have a stack of them! Love this album, picked up a CD in Japan about ten years ago, re-issue from Incredible stuff. Thanks so much for posting this!
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