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Palermo is a song, is a dance, is poetry
Palermo sings in our heart in a very special way that makes us smile
Palermo makes us stands with the joy of life in our bodies
Palermo makes us feel worth of life
Palermo has always made me feel like I'm home because it has a very special beauty
This recording is dedicated to this wonderful feeling that I, Stephan and Nasheet feel in this beautiful city
I hope that listeners will feel this emotion with us
Flanking pianist Bill Evans for eleven years and chosen by Charles Mingus to play in his latest recording “Me, Myself and Eye”: that would be enough as card to present double-bass player Edgardo “Eddie” Gomez from Puerto Rico. Countless his playing together with other relevant musicians, from Miles Davis to the drummers who followed each others in Bill Evan’s trios (’66-’77) – Philly Joe Jones, Marty Morell, Jack DeJohnette (the latter with Gomez in “New Directions”) – , from Lee Konitz and McCoy Tyner to Adam Nussbaum and Chick Corea, passing through the band Steps Ahead (1979-1984) to the most recent, but it also very lasting, syntony with Steve Kuhn. Supported by his mate in four recording adventures and several concerts, Swedish pianist Stefan Karlsson (with Rufus Reid, Marc Johnson, Marvin “Smitty” Smith, Chris Potter, Dick Oats, Tim Hagan, Bobby Shew, Red Mitchell, Richard Perry, Eliot Zigmund, Steve Houghton, 7 albums as a leader and about 40 as sideman); and by the propulsive power of Nasheet Waits on drums (following his father’s steps, Fred Waits, and Max Roach’s favourite, featured in Fred Hersch trio, Jason Moran’s Bandwagon, and with Sam Rivers, Geri Allen, Ron Carter, Greg Osby, Steve Coleman, Orrin Evans, Stefon Harris, Andrew Hill, Jackie McLean, Joshua Redman, Jacky Terrasson, Antoine and Wallace Roney as well), under the label Jazz Eyes Gomez proposes a jewel-case consisting of four standards and four original compositions – one by himself, two by Karlsson and the title track by the three – on a cd with a particular title, Palermo, chosen by the bass player himself, to confess his fond for this city and its spirits and moods.
Spirits and moods all appearing from the opening track, lyrical and rhythmical, co-written down by the six hands of the characters, but also from the original compositions that, on their own turn, underline the great understanding among the three stellar musicians, both on Missing you, signed by Gomez and on the pianist’s tunes, Illusion and Smilin’ eyes. The bass-player’s solo on the masterpiece On green dolphin street constitutes a master example of technique combined to a particular sensitiveness of expression, as well as his intro on Bill Evan’s We will meet again. And just to reveal all the cards played on this album, the last two standards are If I should loose you and My foolish heart. A recording not to be missed, thus, for all the enthusiasts on the style of this elegant bass-player, a very piece of the jazz history of all time, who, just together with this trio, reaches the very top of his own depth expression in jazz.
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