Brian Lynch: The Brian Lynch / Eddie Palmieri Project
AAJ: Thus far the following artists have signed on: Lila Downs, Conrad Herwig, Pedro Martinez, Robby Ameen, Dafnis Prieto and Ruben Rodriguez. Are there any other potential artists that you are interested in signing on?
BL: Let's not forget the great Phil Woods, who will be one of my very special guests on the project along with Lila Downs. And another great alto sax man, Donald Harrison who will also be on board. I still have some ideas for some other artists for the project, and there definitely be some additions between now and November. I think participants will be very happy with these additions (hush-hush for now)!
AAJ: No disrespect, but I have never known Eddie Palmieri to be at a loss for words! What are his thoughts on the Brian Lynch/Eddie Palmieri Project?
BL: He's into it! I really feel like Eddie is approaching this project like it's his own. There's some really incredible audio up on the project of Eddie and me working on tunes for the project at his house. You can really hear the concentration and commitment he puts into the music on these excerpts! It really knocks me out how he has embraced our collaboration.
AAJ: I should mention that there are various levels of participation, such as Studio Participant, Music Lover Participant, etc. Moreover, there is a membership fee involved which varies according to the level of participation . . .
BL: Part of the ArtistShare concept is that participants can take part at different levels. The basic level is the Studio Participant level, where the participant has access to the process throughout, and receives the CD upon its completion. But then there are Offers with additional content, designed for those participants with certain interests. The Composer, Trumpet Player, and Lecture Offers would fall under this group.
Also, there are Music Lover offers for those who want to combine participating in the project with exposure to some of my previous work. In these offers, the participant gets one of my previous recordings, original sheet music from that recording, all the Studio- level process content from the project, and a downloaded version of the project recording at the end.
Then there are the offers tailored to those participants whose interest in the project extends to wanting to provide a measure of material support for it at an elite level. These offers range in price from $100 to $7000, and all offer extended and exclusive access to the project experience. As the elite level rises, there are perks ranging from a signed folio of my compositions to my personal iPod full of my own listening favorites.
At the top level of Executive Producer, the participant receives one of my personal trumpets hand engraved and signed. All elite level participants also receive a special numbered limited edition version of the project CD, and acknowledgment of their support on the CD liner or project website.
AAJ: Obviously, you are in the beginning stages of the recording process. Have you come up with a concept?
BL: Of course the collaboration between Eddie and myself is the core of the project conceptually, Past that, it'll also be the way I use Eddie and my knowledge of his music in a slightly different way for my own music. And then, simply the idea of the interaction among all these fantastic musicians, coming from their respective places. The overall program of music will be crafted to offer variety and tell a story throughout the whole CD.
AAJ: How is this for synchronicity? A few years back I attended a Lila Downs concert at the Museum of the American Indian (in lower Manhattan). To make a long story short, you were there. I distinctly remember thinking to myself that it how interesting it would be to see you and Lila perform on the same stage. Lo and behold, it has come to pass!
BL: That was the first time I heard Lila sing in person myself! How interesting that we were both there. I think the idea of working with her started at that concert too. My wife Marissa first brought Lila's music to my attention. I think she's one of the greatest singers in the world regardless of genre, and it's going to be incredible to work with her.
AAJ: For the record, I am a big fan of Lila Downs. I am looking forward to hearing the results of your collaboration. In closing, is there anything else you would like to mention concerning your project?
BL: I really appreciate the opportunity to explain my project to your audience. Sometimes it's a hard for me to make folks understand the full nature of the project, since there's so much going on. I encourage all your readers to explore my project site and participate!
AAJ: Once again, congratulations to you and Eddie in what promises to be a unique and enlightening experience.
Brian Lynch, Conclave (Criss Cross, 2005)
Brian Lynch, 24/7 (Nagel-Heyer, 2005)
Eddie Palmieri, Listen Here! (Concord, 2005)
Brian Lynch/Bill Charlap, Brian Lynch Meets Bill Charlap (Sharp Nine, 2004)
Eddie Palmieri, La Experiencia (Fania, 2004)
Brian Lynch, Fuschia/Red (Cellar Live, 2003)
Eddie Palmieri, Ritmo Caliente (Concord, 2003)
Eddie Palmieri, La Perfecta II (Concord, 2002)
Brian Lynch, Tribute to the Trumpet Masters (Sharp Nine, 2000)
Eddie Palmieri, Live (EMM, 1999)
Eddie Palmieri, El Rumbero del Piano (RMM, 1998)
Brian Lynch, Spheres of Influence (Sharp Nine, 1997)
Eddie Palmieri, Jazz Latino, Vol. 1 (RMM, 1997)
Eddie Palmieri, Vortex (RMM, 1996)
Brian Lynch, Keep Your Circle Small (Sharp Nine, 1995)
Eddie Palmieri, Arrete (RMM, 1995)
Eddie Palmieri, Palmas (Elektra, 1994)
Eddie Palmieri/Cal Tjader, Palmieri& Tjader (Tico, 1993)
Eddie Palmieri, Music Man (Sonido, 1992)
Brian Lynch, In Process (Ken Music, 1991)
Eddie Palmieri, El Ray de Las Blancas Y Las Negras (Sony, 1991)
Brian Lynch, Back Room Blues (Criss Cross, 1989)
Eddie Palmieri, The Truth: La Verdade (Fania, 1987)
Brian Lynch, Peer Pressure (Criss Cross, 1986)
Eddie Palmieri, Solito (Music Latino, 1985)