| | Charlie Palmieri El Gigante Del Teclado CD Charlie Palmieri Discography of CDs
Personnel: Charlie Palmieri (melodica, piano, organ, percussion); Vitin Aviles (vocals); Bobby Nelson (flute, saxophone); Lou Laurita, Alfredo "Chocolate" Armenteros (trumpet); Bobby Rodriguez (bass guitar); 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 | List Price | $11.98 (You save $0.79) | | Category | World Albums, Jazz Instrument CDs, Tropical, Salsa/Tropical, Latin Jazz, Latin | | Label | Fania | | All Time Sales Rank |  64314  | | CD Universe Part number | 7039043 | | Discs | 1 | | Release Date | Mar 14, 2006 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Joe Cain | | Engineer | Tony May | | Recording Time | 37 minutes | | Personnel | Tito Puente - background vocals
Adalberto Santiago
Charlie Palmieri - melodica, piano, organ, percussion
Johnny Rodriguez - bongos
Bobby Rodriguez - bass guitar
Alfredo "Chocolate" Armenteros - trumpet
Vitin Aviles - vocals
Bobby Nelson - flute, saxophone
Luis Rodriguez - conga drum
Lou Laurita
Quique Davila - timbales
Robby Franquiz - percussion
Vayo El Indio
| | Additional Info | Remastered; Reissued |
Charlie Palmieri El Gigante Del Teclado Songs El Gigante Del Teclado Review
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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 of the popular evening raga, Malkauns; which is stated in ancient texts, has being one of the six original ragas of Indian music. Deep, peaceful and sublime in character, it is a melody traditionally associated with ...
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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.
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Additional Tracks
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