CAL PERFORMANCES PRESENTS Saturday, April , , pm Zellerbach Hall Eddie Palmieri Septet featuring David Sánchez, tenor saxophone with Brian Lynch trumpet Joe Santiago bass Jose Claussell timbales Donald Harrison saxophone Giovanni Hidalgo conga Conrad Herwig trombone Th is performance is made possible, in part, by the National Endowment for the Arts. Cal Performances thanks our Centennial Season Sponsor, Wells Fargo. CAL PERFORMANCES 3 ABOUT THE ARTISTS ABOUT THE ARTISTS Eddie Palmieri’s musical career spans years as back to the piano until this day. I’m a frustrated York City, Mr. Sánchez quickly became a member a bandleader of salsa and Latin jazz orchestras. His percussionist, so I take it out on the piano.” of its swirling jazz scene. He gigged with pianist discography includes more than titles. He has He began his professional career as a pianist in Eddie Palmieri, sometimes sharing the stage with been awarded eight Grammy Awards, including the the early s with Eddie Forrester’s Orchestra. saxophonist Paquito D’Rivera. At the recommen- fi rst presentation in the Best Latin Album category In , he joined Johnny Segui’s band. He spent dation of D’Rivera and trumpeter Claudio Roditi, for his release Th e Sun of Latin Music, and the a year with the Tito Rodriguez Orchestra before who had admired Mr. Sánchez’s performance, Dizzy following year for Unfi nished Masterpiece. Palo Pa’ forming his own band, the legendary “Conjunto Gillespie invited the young saxophonist to join his Rumba won in , Solito in and La Verdad La Perfecta,” in . La Perfecta featured a United Nations Orchestra in . in . He received two Grammys for his re- trombone section (led by the late Barry Rogers) in Th e Departure, his debut recording for Co- lease with Tito Puente, Obra Maestra/Masterpiece— place of trumpets, something that had been rarely lumbia, gained critical kudos as did the disc’s suc- one from the traditional Grammy Awards and one done in Latin music, and which demonstrated cessors, Sketches of Dreams and Street Scenes. Mean- from the Latin Grammys. the early stages of Mr. Palmieri’s unconventional while, Mr. Sánchez had begun touring with various He was awarded the Eubie Blake Award by Dr. means of orchestration. Th ey were known as “the jazz greats such as Kenny Barron, Roy Haynes and Billy Taylor in and he is among the few Latin band with the crazy roaring elephants” for the Elvin Jones and recording with Barron and Haynes, musicians recognized by the Legislative Assembly confi guration of two trombones, fl ute, percussion, respectively. When he returned to the studio for of Puerto Rico and the New York State Assembly. bass and vocals. With an infectious and soaring his next project, the results were notable. Produced In , the Smithsonian Institution recorded two sound, Mr. Palmieri’s band soon joined the ranks of by Branford Marsalis, Obsesión garnered the saxo- of Palmieri’s performances for their catalog of the Machito, Tito Rodriguez and the other major Latin phonist his fi rst Grammy Award nomination. He National Museum of American History in Wash- orchestras of the day. followed that album with the Grammy- and Latin ington, D.C., a rare public honor. Mr. Palmieri’s infl uences include not only his Latin Grammy Award-winner David Sánchez is Grammy-nominated Melaza. In , Mr. Sánchez Th e Heineken Jazz Festival in San Juan, older brother, Charlie, but Jesus Lopez, Chapotin, being hailed as “the most profound young tenor appeared on high-profi le recordings with bassist Puerto Rico, paid tribute to his contributions as a Lili Martinez and other Cuban players of thes, saxophonist working today. In a review, world-re- Charlie Haden (Nocturne) and trombonist Steve bandleader, bestowing on him an honorary doctor- as well as jazz luminaries Art Tatum, Bobby nowned jazz critic Howard Reich saluted the young Turre (TNT ) before issuing another release on Co- ate degree from the Berklee College of Music. In Timmons, Bill Evans, Horace Silver, Bud Powell, bandleader saying, “Technically, tonally and cre- lumbia, Travesía, also garnering rave reviews from , Yale University awarded Mr. Palmieri the McCoy Tyner, Herbie Hancock and Miles Davis. atively, he seems to have it all. His sound is never jazz cognoscenti. Chubb Fellowship, an award usually reserved for Equally important were infl uences derived from less than plush, his pitch is unerring, his rapid-fi re Mr. Sánchez’s most recent recording for Co- international heads of state, but given to him in Mr. Palmieri’s curiosity and incessant search to playing is ravishing in its combination of speed, ac- lumbia, Coral, released in August , is the most recognition of his work in building communities unearth his family’s roots and seek out the origins curacy and utter evenness of tone.” Such is the ac- ambitious manifestation to date of his continuing through music. of the music that profoundly inspired him. Says claim and respect that Mr. Sánchez has engendered expansion of the frontiers of mainstream jazz to in- As a member of the board of governors of the Mr. Palmieri, “In Cuba, there was a development from critics, music lovers and fellow artists through- corporate Afro-Latin infl uences. In the project, re- New York chapter of the National Academy of Re- and crystallization of rhythmical patterns that have out the world as he continues to push the frontiers corded in Prague and placing his jazz sextet against cording Arts and Sciences, he was instrumental in excited people for years. Cuban music provides the of mainstream jazz to incorporate a compelling and the backdrop of the City of Prague Philharmonic creating a new category for Latin Jazz in . His fundamental from which I never move. Whatever rich array of Latin and Afro-Caribbean infl uences, Orchestra, he explores obscure works composed by album, Palmas, was among the nominees for has to be built must be built from there. It’s that while remaining true to the tenets of the jazz genre. giants of the Latin American classical genre: Antonio the fi rst award presented in that category in March cross-cultural eff ect that makes magnifi cent music.” Born years ago in Puerto Rico, Mr. Sánchez Carlos Jobim, Alberto Ginastera and Heitor Villa- . In , he was once again nominated for His solid interpretation of Afro-Caribbean music began playing percussion and drums at age be- Lobos. In addition, he juxtaposes classical structure his album Arete. In , the National Academy of and its confl uence with jazz is evident in Mr. fore migrating to tenor saxophone four years later. with jazz improvisation in three of his original tunes Recording Arts and Sciences awarded Mr. Palmieri’s Palmieri’s astute arranging skills, which assemble While a student at the prestigious La Escuela Libre as well as in a composition by Carlos Franzetti, the latest release, Listen Here!, the Grammy in the Best those components in dramatic and compelling de Música in San Juan, he also took up soprano and arranger and conductor for all tracks on the album. Latin Jazz Album category. Th is was Mr. Palmieri’s compositions. alto saxophones, as well as fl ute and clarinet. Th e Th e expression of the jazz sensibility against the eighth Grammy, awarded on Wednesday, Febru- His accomplishments have taken him through bomba and plena rhythms of Puerto Rico, along backdrop of a classical structure, the hallmark of the ary , , at the Staples Center in Los Angeles. Europe, Japan and Latin America, showcasing his with Cuban and Brazilian traditions, were among Coral project, has recently led David to explore other Born in Spanish Harlem in , Mr. Palmieri assemblage of seasoned musicians and kaleidoscope the biggest infl uences on Mr. Sánchez’s early taste pairings of the jazz and classical traditions. Most began piano studies at an early age, as did his of musical styles. He served as a consultant to Paul in music. Sonny Rollins, Dexter Gordon and John recently, David has collaborated with the Alexander celebrated older brother, the late salsa legend and Simon on his release Rhythm of the Saints, Coltrane had the greatest impact on his saxophone String Quartet in performances of the Focus Suite, pianist Charlie Palmieri. For Latin New Yorkers demonstrating his interest is in expanding recogni- playing. “I’m just talking about tenor, now. Charlie composed by Eddie Sauter and recorded by Stan of Eddie’s generation, music was a vehicle out of tion of Latin music in its diverse forms. Parker is a major infl uence, of course, and many, Getz over years ago, and considered by some to be the barrio. At age , he made his classical debut Eddie Palmieri remains a powerhouse of bril- many others.” Getz’s fi nest recording. In the two ensembles’ at Carnegie Hall, a venue as far from the Bronx as liance and sound that has stirred audiences for In , Mr. Sánchez enrolled at the Universidad debut performance of the work in San Francisco, he could imagine. Possessed by a desire to play the years, continually and successfully seeking to capti- de Puerto Rico in Rio Píedras, but the pull of New the wildly enthusiastic audience response spawned a drums, Mr. Palmieri joined his uncle’s orchestra vate and elevate the senses, and taking them down York was irresistible. By , he had auditioned for performance collaboration between the two groups at age , where he played the timbales. Says Mr. paths of intensity to a place where there are no mu- and won a music scholarship at Rutgers University which continues to thrill concertgoers whenever it Palmieri, “By , it was good-bye timbales and sical boundaries. in New Jersey. With such close proximity to New is experienced.