| | Charlie Palmieri El Gigante Del Teclado CD Charlie Palmieri Discography of CDs
Personnel: Charlie Palmieri (melodica, piano, organ, percussion); Vitín Avíles (vocals); Bobby Nelson (flute, saxophone); Louis Laurita, Alfredo "Chocolate" Armenteros (trumpet); Bobby Rodriguez (bass guitar); Dr. Luis Rodriguez (conga drum); Johnny Rodriguez (bongos); Quique Davila (timbales); Robby Franquiz (percussion); Vayo El Indio, Adalberto Santiago, Tito Puente (background vocals). El Gigante Del Teclado Music Charlie Palmieri El Gigante Del Teclado Songs | 1. | La Hija de Lola |
| 2. | La Llave y el Candao |
| 3. | Sedante de Rhumba |
| 4. | Que Se Vaya |
| 5. | El Mundo Esta Bien-el Loco Soy Yo |
| 6. | Coco |
| 7. | El Pan Sobao |
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El Gigante Del Teclado Review
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The strong and powerful influence of African music is hard to miss on this CD, which illustrates the rich cultural heritage of blacks in Bahia and Northeastern Brazil (a region that has produced many musical greats). Legends like Tito Puente, Tito Rodriguez, and Machito were on the scene, so aspiring young salseros assumed they had no choice but to give 200 percent. The percussionist and his longtime partner Andy Gonzales bring that unwavering work ethic to On the Move! (Muevete!), an outstanding live date recorded at Bimbo's 365 Club ...
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The long-awaited follow-up to the earlier Thai Elephant Orchestra album, Elephonic Rhapsodies takes much of the same basic idea, but adds experience and mastery to the proceedings, along with a bit of studio work. The original plan was along the lines of a dance mix of the more avant-garde sounds of the orchestra. Instead, new instruments were added, more elephants were brought in, and they tried new techniques on their various instruments. Only a bit of studio influence can be heard, mostly in basic cleaning on the sounds, and a couple of isolated loops of the elephants' calls. The sound is thoroughly different from the previous album in many ways, more sophisticated perhaps, but also more exploratory (how else would one top the first album of elephant orchestral music, after all?). Pick it up as a continuation of the idea of collaborative inter-species music, or perhaps as an enjoyable listen in its own, aesthetic, right. Where else can you hear a junior-high marching band collaborate with a troupe of elephants on Beethoven? ~ Adam ...
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The ability to successfully absorb external influences and at the same time retain one's own unique cultural identity has been a feature of Indian music history. Violin has played an active role in Indian music culture since the eighteenth century. Until N.Rajam first burst onto the music scene in the 1960's, it was employed mostly as an accompanying instrument, played in ensembles and orchestras or providing instrumental support for singers. She was responsible for introducing the vocal style, known as 'Gayaki ang' into the violin repertoire. Since then, this style of playing has become a great favourite with Indian classical music audiences.Dr.N.Rajam hails from a family, which boasts generations of great violin players, her brother; T N Krishnan is a well-known South Indian violinist. Her technique was inherited from her father Sr. Narayana Iyer, who encouraged his daughter to absorb influences of vocal music and the ancient string instrument the 'Veena' into her playing.Later, her yearning for self-development took her to the holy city of Benares, on the banks of the River Ganges, where she embarked on fifteen years of rigorous musical training under the guidance of legendary singer Omkarnath Thakur. As a devoted disciple, N.Rajam served out an invaluable apprenticeship, regularly accompanying her teacher on stage, echoing all of his subtle vocal nuances. Her guru encouraged her to approach music with utmost tenderness, love and humility; virtues which have characterised Rajam's playing for the last thirty years. Those who were lucky enough to have experienced the performances of Omkarnath Thakur speak of music of a high emotional intensity.She has been able to successfully adapt many varieties of vocal styles into her playing, namely khayal, thumri, tappa and bhajan, vocal styles with distinctive characteristics and traditions. It is the combination of these forms gives her music a sense of completeness. Her technique is the envy of violinists worldwide, and in India, as well as a popular performer, she is regarded as a musician's musician. In 1984, The Indian government recognised her service to music by honouring her with the 'Padmashree', one of the highest awards bestowed on any artist.This recording features a live performance given at the 2002 Saptak Music Festival.It begins with a rendition ...
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By 1984, Julio Iglesias was the biggest star in Latin music, but he was still pretty much unknown to mainstream American audiences. Much as they would with Ricky Martin a generation later, Columbia broke Iglesias, at least temporarily, with a concerted promotional effort. Unlike the music of Martin (and Iglesias's own son Enrique), 1100 BEL AIR PLACE largely downplays Latin influences in favor of a north-of-the-border blend of easy listening and MOR pop.
Bracketed by a pair of duets--with Diana Ross on a flirty version of Cole Porter's "All of You" and Willie Nelson on the immediately epochal "To All the Girls I've Loved Before"--most of 1100 BEL AIR PLACE consists of smooth pop songs co-written by producer Albert Hammond (himself the father of a next-generation pop star, the Strokes' lead guitarist Albert Hammond Jr.) and featuring ...
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