Tito Puente and Eddie Palmieri - Masterpiece/Obra
Maestra
2000 RMM Records
Two of the
most prolific accentuators of Latin rhythm namely percussionist
Tito Puente and pianist Eddie Palmieri, along with a renowned
group of prominent musicians, come together on "Obra Maestra"
(Masterpiece). Unfortunately, this historic meeting between these
two master musicians would be partly over-shadowed by the death
of Tito Puente soon after the completion of this CD. However,
not before Puente could once again breath life into creating
musical magic as he had done so eloquently for over 60 years.
Joined in the studio for the first time ever, Puente and Palmieri
leave no stone unturned with their vast musical talent. The first
track "La Ultima Copa" (the last cup) features some
tango tinges, but immediately breaks into a hard-hitting salsa
groove with Herman Olivera on lead vocals. In the old skool cha
cha montuno style comes "Muddy's Club Blues in Weinhein"
this time with Jerry Medina who produces some nifty vocal scat
sounds. Tito is also heard on vibraphones.
With the virility of a lion, sonero mayor Oscar D' Leon lends
his unique vocal style to a medley of two classic mariachi songs
turned salsa called "Cielito Lindo" (beautiful sky)
and "La Negra" (the black woman). Next, "Marchando
Bien" (marching good) is a son montuno for happy dancing
feet featuring another giant of la musica Pete "El Conde"
Rodriguez on vocals. Eddie Palmieri's vintage "salsa"
tumbao is evident, not to mention...sabroso!
A typical Latin Jazz instrumental, "Picadillo Jam"
(ground beef jam) finds Puente and Palmieri exchanging golpes
(licks) in a brief call-n-response session with timbale and piano.
The descarga continues with another son montuno titled ""El
Puente Mundial" (the world bridge) recounting many places
around the world that Tito has taken his sound and rhythm. Following
is a straight ahead salsa interpreted by vocalist Michael Stuart
called "El Beso" (the kiss) featuring a piano solo
by Eddie Palmieri.
Puente's timbale and Palmieri's piano continue cooking hard
and steadfast on the son montuno "El Bochinche" (kidding
around). Next, the band slows to a medley of boleros that include
"Enseñame Tù" (teach me) and "Piensalo
Bién (think about it good) featuring Puente on the vibes.
Vocalist Oscar D' Leon returns with some explosive vocal improvisation
on "Paris Mambo."
The horn section takes flight in a homage to England on "Yambu
Pa' Inglatarra" with some traditional Cuban dance style
son vocal harmony coros as Puente unleashes an exhilarating timbale
solo. The last track, Milton Cardona chants a short canto in
the old style African tradition Yoruba religion as well as performing
the Bata drum on "Itutu Achè" followed by a
salsa beat where Palmieri performs a piano solo and Puente breaks
into another admirable timbale solo as only he can.
Overall, the session lingers on the traditional rather than
being inventive or innovative. Clever riffs centered well around
the clave are carefully placed in textbook method. Perhaps in
this case, too much of a good thing becomes bad as the session
grows increasingly boring and predictable with the repetition
of familiar rhythms. And while the leaders attempt to reverse
this ongoing process by offering several different vocalists,
some prove to be stronger than others--of which Oscar D'Leon
reigns supreme followed by Herman Olivera whose vocal expression
is almost reminiscent of the famed Fania singer Hector LaVoe.
One particular part almost towards the end of the first track,
Olivera comes off a slaming mambo and chorus with explosive vigor
improvising "munstro, sirvame la ultima copa" catapulting
the music to greater hights and taking everybody with him. Other
tunes do offer surprises by intergrating non-traditional instruments
different Latin American rhythms like the Bandiñon, the
Vihuela, even notable sounds from Spain are produced by Spanish
guitar and castonettes.
The musical arrangements are sophisticated and tight, some
done by Palmieri and others by Puente. Also impressive is the
parade of musicians that participate on this recording--including:
the entire Tito Puente Orchestra (4 trumpets, 5 saxes, 3 trombones
with full rhythm and percussion section) with additional musicians
namely saxophonist Paquito D'Rivera, trombonist Chris Washburne,
Ramòn Ponce Jr. on the Guitaròn, and many others.
The meaty brass section is constantly interacting with the mighty
trombones and sleek saxes to create that powerful classic big
band Latin sound that bursts out like a runaway locomotive or
a relentless stampede of elephants.
Unfortunately, "Masterpiece" fails miserably when,
other than the featured vocalists, the liner notes do not mention
the musicians that participate on each individual song. In such
a huge recording project where over 40 musicians are involved--each
a seasoned warrior that adds his or her own individual musical
distinction to this music which thrives on the sum of its parts--it
seems inconceivable that proper credit was not given to identify
each musician's role in the creative process. For instance, there's
a total of ten percussionists, not including Puente, who are
listed as part of the roster. Who plays in what song is a total
mystery. And there's an amazing trumpet solo on track one in
which the musician remains a sphinx. Beyond that "Obra Maestra"
(Masterpiece) depicts the essence of Cuban dance music at its
best as well as the resounding talent of both maestros Tito Puente
and Eddie Palmieri. Not just for the good music, but perhaps
because this was Tito's last record date before his untimely
passing, "Obra Maestra/Masterpiece" might be considered
an important music collector's item. However, only time will
tell and critics may argue if it lives up to its title of being
a "Masterpiece."
review by John Davis
JDavis@latnjazzclub.com
Contributing writer
LatinJazzClub Magazine
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