One of the greats of world music, Eddie Palmieri, died today. In his excellent article on the Puerto Rican pianist, composer, and bandleader, Giovanni Russonello (The New York Times) writes, “He roped salsa into conversation with jazz, rock, funk and even modern classical music. ‘A new world music,’ one critic said, ‘is being born.’”
Eddie Palmieri, a pianist, composer and bandleader whose contributions to Afro-Caribbean music helped usher in the golden age of salsa in New York City, and whose far-reaching career established him as one of the great musical masterminds of the 20th century — not to mention one of its fieriest performers — died on Wednesday at his home in Hackensack, N.J. He was 88. His youngest daughter, Gabriela Palmieri, confirmed the death, which she said came after “an extended illness.”
From the moment he founded his first steady band, the eight-piece La Perfecta, in 1961, Mr. Palmieri drove many of the stylistic shifts and creative leaps in Latin music. That group brought new levels of economy and jazz influence to a mambo scene that was just beginning to lose steam after its postwar boom, and it set the standard for what would become known as salsa. From there, he never stopped innovating.
In the 1970s, Mr. Palmieri roped salsa into conversation with jazz, rock, funk and even modern classical music on a series of highly regarded albums, including “Vamonos Pa’l Monte” and “The Sun of Latin Music,” as well as with the fusion band Harlem River Drive. He also teamed up with thoroughbred jazz musicians — Cal Tjader, Brian Lynch and Donald Harrison among them — making essential contributions to the subgenre of Latin jazz.
Mr. Palmieri’s fundamental tools, he once said in an interview, were the “complex African rhythmic patterns that are centuries old” and that lie at the root of Afro-Cuban music. “The intriguing thing for me is to layer jazz phrasings and harmony on top of those patterns,” he said. Explaining where he got his knack for dense and dissonant harmonies and his gleefully contrarian sense of rhythm, he cited jazz pianists like McCoy Tyner and Thelonious Monk as inspirations.
But the art historian and critic Robert Farris Thompson, writing in 1975 about the emergence of salsa, noticed other influences as well. “He blends avant-garde rock, Debussy, John Cage and Chopin without overwhelming the basic Afro-Cuban flavor,” he wrote of Mr. Palmieri. “A new world music, it mightbe said, is being born.”
Juan Flores, a scholar of Puerto Rican culture, wrote in “Salsa Rising: New York Latin Music of the Sixties Generation” (2016) that Mr. Palmieri had been “the pioneer and prime innovator” driving the “cultural movement” that was salsa music.
For his part, Mr. Palmieri was never fond of the word “salsa.” He described his music in terms of its roots: “Afro-Cuban,” he said in a 2012 interview with the Smithsonian Oral History Project. Through the participation of Puerto Ricans and Nuyoricans like himself, he explained, it had become “Afro-Caribbean. And now it’s Afro-world.”
By the end of his life Mr. Palmieri was a highly decorated statesman in both jazz and Afro-Latin music. In 2013 he was named a Jazz Master by the National Endowment for the Arts and a received Lifetime Achievement Award at the Latin Grammys. [. . .]
For full article, see https://www.nytimes.com/2025/08/06/arts/music/eddie-palmieri-dead.html
One of the greats of world music, Eddie Palmieri, died today. In his excellent article on the Puerto Rican pianist, composer, and bandleader, Giovanni Russonello (The New York Times) writes, “He roped salsa into conversation with jazz, rock, funk and even modern classical music. ‘A new world music,’ one critic said, ‘is being born.’” Eddie
