Repetition is key for most forms of dance, deep house for the rite of spring - an explicit pulse that keeps members in the motion. Eddie Palmieri for music brand "nuyorican" Afro-Caribbean can be as complex and sophisticated as jazz, but its Latin rhythms are incorporated into each tune it plays.
There is little space for dancing to Ronnie Scott, but everywhere where you expected people were moving, travel, tapping of feet and fingers to Palmieri infectious grooves. Waiting for the staff, their trays in hand, surrounded by in strict tempo. As Palmieri locked in the clave fierce Chang of Tito Puente, a quick-footed Server grabbed a friend passing by the hand and she played a graceful arabesque.
Many themes, such as Piccadillo de Puente, sound as elegant melodies of Blue Note draped on a clave Latin tense. Jose Claussell (timbales) and Vincent "Little Johnny" Rivero (congas) spaces which are different from those to leave kit drummer could create, enabling us to assess the accuracy of the arrangements of Palmieri jigsaw: band clatters away as a dear old steam engine.
It is too, subtlety, numbers such as Tema Para Rene of the Palmieri, who triggered magnificent solo trumpeter Philip Dizack and saxophonist Louis Fouche. Palmieri also can be playful, as shown in the funky interaction between piano and bass (Luques Curtis) on a long intro, but his solo finals are fiercely bright. Genius of the Palmieri is to remain anchored in the heart of his rhythmic band while playing with the improvisation of Horace Silver or McCoy Tyner flair. It is a musical sleight of hand that connects effortlessly from salsa dura of its golden age in the 1960s to hard bop and beyond.