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THE BRIAN LYNCH / EDDIE PALMIERI PROJECT - SIMPATICO (2006)

Brian Lynch - Trumpet
Eddie Palmieri - Piano
Phil Woods - Alto Sax
Lila Downs - vocal
Donald Harrison - Alto Sax
Conrad Herwig - Trombone
Gregory Tardy - Tenor Sax, Clarinet
Yosvany Terry - Alto Sax
Mario Rivera - baritone sax
Boris Kozlov - bass
Ruben Rodriguez - bass
Luques Curtis - bass
Danfis Prieto - drums
Robby Ameen - drums
Giovanni Hidalgo - conga
Pedro Martinez - conga, bongo, campaña, vocal
Little Johnny Rivero - bongo, campaña
Marvin Diz - timbales
Pete Rodriguez - maracas, guiro
Adam Rogers - guitar

THE BRIAN LYNCH / EDDIE PALMIERI PROJECT - SIMPATICO (2006)

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courtesy www.allaboutjazz.com By Russ Musto

Brian Lynch is one of the most proficient “bilingual” artists in music--equally adept in both jazz and Latin genres. On this superb collaboration with piano giant Eddie Palmieri, the virtuoso trumpeter brings together his wealth of experience in both fields in a scintillating synthesis that is intelligent, exciting and truly personal. Lynch’s understanding of Palmieri’s unique brand of salsa con jazz sensibility is accurately described by the date’s title, and the music here is the product of a truly sympathetic association: Lynch’s high-flying trumpet lines flow freely over Palmieri’s earthy rhythms.

Lynch’s tour-de-force opening track, “The Palmieri Effect,” ensures the date’s landmark status, with trombonist Conrad Herwig and saxophonist Greg Tardy joining the composer on the front line to deliver the intricate uptempo melody over the heady polyrhythmic foundation laid down by Palmieri, bassist Boris Kozlov and percussionists Dafnis Prieto, Johnny Rivero and Pedro Martinez. Vocalist Lila Downs’ dulcet-toned voice is showcased on her moving lyric to Lynch’s beautiful bolero “Que Seria La Vida,” which also features Phil Woods’ alto. “Guajira Dubois” is a Lynch original with a traditional Afro-Cuban big band sound recalling Mario Bauza and Machito. Another Lynch line, “Jazz Impromptu,” is reminiscent of Horace Silver.

Downs returns for a stirring reading of Palmieri’s “Paginas De Mujer”; Adam Rogers’ guitar and Tardy’s clarinet contribute to the authentic flavor of the tune, which spotlights Lynch’s pyrotechnical trumpet. Four Lynch/Palmieri compositions fill out the date: “Slippery,” a Randy Weston-flavored jazz waltz that finds Palmieri in a Monkish mood; “Jazzucar,” a remarkable reworking of Palmieri’s popular “Azucar” that adds Edsel Gomez playing Charlie Palmieri-inspired organ; “Tema Para Marissa,” an appealing piece dedicated to the trumpeter’s wife; and “Free Hands,” a vigorous vehicle for jazz improvisation over Latin rhythms. Creatively composed, flawlessly executed and superbly recorded, Simpatico represents the enormous talents of its co-leaders and their all-star cast.

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