Justicia is the eleventh studio album by American pianist Eddie Palmieri . It was released by Tico Records in 1969. It is Palmieri's most overtly political album, with lyrics dealing with inequality, discrimination and social justice . Described as an "integrated discourse", i.e. a concept album , it combines the popular salsa dura style of the 1970s on side A with a more innovative approach to jazz experimentation on side B.
17-540: [REDACTED] Look up justicia in Wiktionary, the free dictionary. Justicia may refer to: Justicia (album) , by Eddie Palmieri, 1969 Justicia (Madrid) , a ward in the Madrid city center Justicia (plant) , a genus of flowering plants in the family Acanthaceae Justicia mayor , a 19th century Spanish Empire law enforcement and judicial officer SS Justicia ,
34-637: A British ship "Justicia", a 2018 song by Silvestre Dangond and Natti Natasha Justicia , the main sculpture at the Glorieta de las mujeres que luchan , in Mexico City "Justicia" ( Agents of S.H.I.E.L.D.: Slingshot ) People [ edit ] Justicia Acuña (1893–1980), Chilean engineer Pepe Justicia (born 1960), Spanish flamenco guitarist Jorge Rojas Justicia (born 1983), Spanish footballer See also [ edit ] Justitia (disambiguation) Justiciar Topics referred to by
51-487: A long-time member of Palmieri's band, playing in most of his albums, including Justicia . According to original album sleeve. Ismael Quintana Ismael Quintana (June 3, 1937 – April 16, 2016) was a Puerto Rican singer and composer of salsa music. Quintana was born in Ponce, Puerto Rico . His family moved to The Bronx sector of New York when he was only two weeks old; there he went to school and while he
68-539: A number of extraordinarily important Palmieri releases". Tony Wilds wrote a mixed review for AllMusic , describing the album as "interesting" but "only average for an Eddie Palmieri record, which is still heads above most, and probably essential listening". After its release, Justicia has a long-lasting impact on the thriving New York salsa scene, with numerous socially-conscious bands arising shortly after its release. Notable examples include Tony Pabón 's La Protesta and Manny Oquendo 's Conjunto Libre. Oquendo had been
85-408: Is different from Wikidata All article disambiguation pages All disambiguation pages Justicia (album) Throughout the 1960s, pianist Eddie Palmieri played an important role in the development of salsa with his conjunto La Perfecta. La Perfecta was one of the first Latin ensembles to feature multiple trombones, one of salsa's distinctive characteristics. The band's repertoire
102-420: Is mostly contained on side B of the album. "Everything Is Everything" is based on a standard blues form, with strong North American influences and a rhythm section similar to that of the soul jazz groups of the 1960s. "Verdict on Judge Street" is an extended jazz waltz, with long instrumental solos and few Latin elements. Nonetheless, on piano, Palmieri reserved his left hand for guajeos (vamping) throughout
119-696: The Fania All-Stars and went on tour with them to Africa, Japan, France, Central and South America and the United States. In 1976, he made an appearance in the movie Salsa , with Celia Cruz and the Fania All-Stars . During the 1980s, he recorded "Vamos, Háblame Ahora" ("Come On, Talk to Me Now") with Papo Lucca . Quintana semi-retired from the world of music because of health issues and lived with his family in New York. He moved with his family to Colorado where, on April 16, 2016, he died of heart failure, at
136-464: The Tico Records catalogue, re-issued the album on CD in 2006. The album cover was designed by visual artist Ely Besalel, who had worked on many previous Latin and jazz albums for Roulette Records and Tico Records. The cover displays the album title in a "stark, bold typography" that has been said to represent "a timeless cry for justice". In the top left corner, a small picture of Palmieri sitting on
153-572: The album is patent on the title track, which opens the album and has been said to "epitomize the salsa style". Although uncredited, its lyrics were written by lead singer Ismael Quintana . Musically, it has been described as "a composition in which the guaracha predominates within a multiform and polyrhythmic salsa", and its lyrics call for justice for "boricuas" (Puerto Ricans) and "niche" (African-Americans). This social theme would be continued in Palmieri's performance at Sing Sing Prison (particularly
170-482: The floor, "thinking, worrying", further reinforces the message of the album. The photograph was taken by Warren Flagler. Besalel, who had already worked with Palmieri, would go on to develop a longer lasting relationship with him, working on Superimposition , Vámonos pa'l monte and Unifinished Masterpiece . On his book Latin Jazz , John Storm Roberts wrote a favourable review of Justicia , calling it "the beginning of
187-447: The recitations), as well as the opener of Vámonos pa'l monte , titled "Revolt / La libertad, lógico". Together with the title track, side A contains the more Latin-based pieces of the album, such as Rafael Hernández 's bolero "Amor ciego" and Ignacio Piñeiro 's son-rumba "Lindo yambú". The folkloric-sounding "My Spiritual Indian" contains a trumpet solo by Alfredo "Chocolate" Armenteros . Palmieri's experimental approach to Latin jazz
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#1732844320747204-467: The same term [REDACTED] This disambiguation page lists articles associated with the title Justicia . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Justicia&oldid=1231239677 " Categories : Disambiguation pages Disambiguation pages with surname-holder lists Hidden categories: Short description
221-449: The track, while his right hand played jazz chords, creating an ambiguous contrast. The practice of including Cuban music on side A and experimental/jazz music on side B would be continued on Superimposition . The album was released by Tico Records in 1969. During the recording sessions, ownership of Tico Records passed from Morris Levy to George Goldner ; only the latter was credited as producer. Fania Records , which later acquired
238-584: Was awarded the 1966 Trophy for the "Most Popular Latin Singer of the Year", awarded at the Palladium Ballroom in New York. Quintana left Palmieri for a solo career and signed with Vaya Records (subsidiary of Fania Records ). Between 1974 and 1983, he recorded five albums as a solo artist, scoring his first major hit with "Mi Debilidad" ("My Weakness"). In addition to a solo career, Quintana also participated with
255-601: Was inspired by Cuban and Puerto Rican dance-oriented styles such as guaracha , son , pachanga and bomba . In 1968, Palmieri disbanded La Perfecta in order to seek a more experimental approach incorporating funk and soul elements into his music. Palmieri and his new ensemble (still similar to La Perfecta, with Barry Rogers being replaced by Lewis Kahn) recorded a series of four albums for Tico that have been said to contain his "best sounding" work. These four albums were Champagne (1968), Justicia (1969), Superimposition (1970) and Vámonos Pa'l Monte (1971). The album
272-408: Was recorded at Incredible Sounds studio in New York during the winter season. According to Palmieri, it was so cold he had to wear gloves during the recording sessions. In Justicia , Palmieri demonstrates the two main traits of his music during the era, namely "a grounding in social issues" at the lyrical level, and "a continuous, insistent experimentation" at the musical level. The social aspect of
289-406: Was still in high school he formed a band with his neighborhood friends. In 1961, bandleader Eddie Palmieri heard Quintana sing in an audition and invited him to join his newly organized conjunto (small band), La Perfecta. Quintana accepted and became the lead singer of the band between 1961 and 1973. During this time he co-wrote some of Palmieri's major hit songs. With Palmieri, Quintana
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