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Dave Douglas Jazz at Lincoln Center March 3-4 Eric Nemeyer’s WWW.JAZZINSIDEMAGAZINE.COM FEBRUARY-MARCH 2017 Interviews DianneDianne ReevesReeves Jazz At Lincoln Center Rose Theater, Feb 10-11 Dave Douglas Jazz At Lincoln Center March 3-4 Billy Hart Jazz Standard, March 9-12 Eddie CDCD REviewsREviews Eddie Comprehensive DirectoryDirectory Palmieri of NY Club, Concert Palmieri & Event Listings 80th Birthday Celebration, Jazz At Lincoln Center, March 3-4 Spectacular Jazz Gifts - Go To www.JazzMusicDeals.com Fabulous CDs, Box Sets & The Jazz Lovers Lifetime Collection 20 PRINTED VOLUMES, OVER 6000 PAGES + 20 CDS = 40 POUNDS OF JAZZ To Advertise CALL: 215-887-8880 December 2015 Jazz Inside Magazine www.JazzInsideMagazine.com 1 COVER-2-JI-15-12.pub Wednesday, December 09, 2015 15:43 page 1 MagentaYellowBlacCyank To Advertise CALL: 215-887-8880 February-March 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 1 Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) February-March 2017 – Volume 8, Number 3 Cover Photo (and photo at right) of Eddie Palmieri by Eric Nemeyer Publisher: Eric Nemeyer Editor: John R. Barrett, Jr. Marketing Director: Cheryl Powers Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Ken Weiss Contributing Writers: John Alexander, John R. Barrett, Curtis Daven- port; Eric Harabadian; Alex Henderson; Joe Patitucci; Ken Weiss. ADVERTISING SALES 215-887-8880 Eric Nemeyer – [email protected] ADVERTISING in Jazz Inside™ Magazine (print and online) Jazz Inside™ Magazine provides its advertisers with a unique opportunity to reach a SUBSCRIPTION INFORMATION SUBMITTING PRODUCTS FOR REVIEW highly specialized and committed jazz readership. Call our Advertising Sales Depart- Jazz Inside™ (published monthly). To order a subscription, call 215-887-8880 or visit Companies or individuals seeking reviews of their recordings, books, videos, software ment at 215-887-8880 for media kit, rates and information. Jazz Inside on the Internet at www.jazzinsidemagazine.com. Subscription rate is and other products: Send TWO COPIES of each CD or product to the attention of $49.95 per year, USA. Please allow up to 8 weeks for processing subscriptions the Editorial Dept. All materials sent become the property of Jazz Inside, and may or & changes of address. may not be reviewed, at any time. Jazz Inside™ Magazine | Eric Nemeyer Corporation EDITORIAL POLICIES COPYRIGHT NOTICE MAIL: P.O. Box 30284, Elkins Park, PA 19027 Jazz Inside does not accept unsolicited manuscripts. Persons wishing to submit Copyright © 2017 by Eric Nemeyer Corporation. All rights reserved. No part of this OFFICE: 107-A Glenside Ave, Glenside, PA 19038 a manuscript or transcription are asked to request specific permission from Jazz publication may be copied or duplicated in any form, by any means without prior written consent. Copying of this publication is in violation of the United States Federal Telephone: 215-887-8880 Inside prior to submission. All materials sent become the property of Jazz Inside unless otherwise agreed to in writing. Opinions expressed in Jazz Inside by contrib- Copyright Law (17 USC 101 et seq.). Violators may be subject to criminal penalties Email: [email protected] uting writers are their own and do not necessarily express the opinions of Jazz Inside, and liability for substantial monetary damages, including statutory damages up to Website: www.jazzinsidemagazine.com Eric Nemeyer Corporation or its affiliates. $50,000 per infringement, costs and attorneys fees. CONTENTS 22 Clubs & Venue Listings INTERVIEWSINTERVIEWS PERFORMANCE REVIEW CLUBS, CONCERTS, EVENTS 22 Dianne Reeves 24 Bobby Hutcherson—Life Celebration FEATURE 13 Calendar of Events, Concerts, Festi- (at St. Peter’s,Church New York City) 4 Eddie Palmieri 32 Dave Douglas vals and Club Performances PAY ONLY FOR RESULTS LIKE US www.facebook.com/ JazzInsideMedia PUBLICITY! FOLLOW US Get Hundreds Of Media Placements — ONLINE — Major Network Media & www.twitter.com/ JazzInsideMag Authority Sites & OFFLINE — Distribution To 1000’s of Print & Broadcast Networks To Promote Your Music, Products & Performances In As Little As 24 Hours To Generate Traffic, Sales & Expanded Media Coverage! WATCH US www.PressToRelease.com | MusicPressReleaseDistribution.com | 215-600-1733 www.youtube.com/ JazzInsideMedia 2 February-March 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 February-March 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 3 Feature EddieEddie PalmieriPalmieri Interview by Curtis Davenport wonderful, as far as what we used to do, JI: I’m going to skip ahead to the beginning which was play ball. Stickball was the most of your musical career, not the very begin- Jazz Inside: In doing my research, I found popular thing. And then listening to the re- ning, but when you first really started to get out we have a bit of a common background. I cordings that my brother would bring in and noticed, around the time of La Perfecta. Now, was born in the Bronx and you were raised in looking into all the orchestras that were hap- you have been credited with introducing the part there. You grew up down the block from pening in those years, the 1940’s, which was concept of a trombone-driven horn section in people such as Colin Powell. Can you speak a certainly the orchestra of Machito and His Latin music, and that would soon become the little bit about growing up in the Bronx? Afro-Cuban Orchestra. And from then on, that standard. When I grew up listening to Latin was it. Listening to the recordings, playing music, I expected to hear that trombone Eddie Palmieri: Well, I was born in Manhat- ball, and certainly practicing my piano. Stick- sound. tan. We lived at 112th Street between Madison ball was the most popular game, you know, and Park. And we moved up to the Bronx because it was everything baseball. And natu- EP: Naturally, trombones were used in the when I was a young man, and I was raised rally, I couldn’t play hardball or softball while great jazz orchestras; they used trombones in there. I went to elementary, junior high, and I was practicing my piano. So stickball really the recordings of Machito. But never were the high school there. It was really absolutely became my favorite sport. (Continued on page 6) 4 February-March 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 February-March 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 5 Eddie Palmieri “I rented a place next to it called the Riviera Terrace ...on Wednesdays … And I was my (Continued from page 4) trombones brought up front. That was some- thing quite different that we did. And the man own blocker outside. ‘Over here, folks, not that was responsible for that was a gentleman called Barry Rogers. I always wanted what we over there!’ … so we were pulling some called a cahunto, which means three trumpets in the rhythm section and vocals. One of the people into the place ... until the Palladium first men I worked with was a gentleman called Johnny Segui. He played bass and he broke down and went to the agent and also had a cahunto, which meant three trum- pets in the rhythms section and vocals. I said, ‘The kid is crazy out there! And worked with Sentico Valdes, and he also had a cahunto. That style was very popular com- he’s taking away our business’” ing out of Cuba. Tito Puente had a great ca- hunto, which my brother, Charlie Palmieri, played piano for. And Monga Santamaria was used to come in with a quintet or just one and we weren’t one of the favorite orchestras a conga player when he arrived here from trombone, and then with another gentleman that would draw [an audience]. But the Palla- Cuba via Mexico. So they all ended up with called George Castro, who played wooden dium went through a crisis when they had had Tito Puente. Tito had an incredible cahunto, flute with another group, and when he wasn’t a raid. And once they had the raid, it meant and so did Tito Rodriguez, so we were working he would work with me. I would call that now they couldn’t sell liquor, they got weaned to that. The only orchestra with five him, and one day I was able to get the flute their liquor license taken away, and they were saxes, as far as we were concerned, was the and trombone together, and I said, “That’s never able to receive it again. But the old man Machito Orchestra. I loved the sound of the what we’re looking for”. That was the sound. loved that place, and he just kept running the cahunto and I was used to it, but it was diffi- And after that we added one more trombone Palladium. And little by little, I knew that we cult when I first started, to get the trumpet to give it the power that we needed. And then had to get into the Palladium to perform be- players to stay with you because they would La Perfecta was a very exciting, very rhyth- cause the greatest dancers in the world were go to the highest middle and see whoever mic, musical, and potent ensemble tape, both going there. It was also very important to be could play the most in a gig. Then, in one of to dance to and to listen to. And the perfor- seen there. The way the Palladium used to those jam sessions that were happening in the mances were very, very exciting to see. sign you, they would sign you for thirty or Bronx right off Southern Boulevard, there was forty or fifty gigs.
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