If you go to New York City and ask any Latin jazz legend about Edy
Martínez they will tell you about him. Edy Martínez is a Colombian
pianist, percussionist, composer, arranger and musical director who has
been living and creating music in New York for over 50 years. You, as a
reader or listener, could say that his name does not sound familiar, and
you could be right because this artist has not appeared on the majority
of the covers of the works he has participated in. Edy Martínez is a
humble musician who loves to help other artists create their own magic.
Behind the greatest of legends there will always be brilliant people
working together around the love for music, and Mr. Martínez is one of
those passionate people. His passion for composition and arrangement art
goes farther than being the leading protagonist or being noticed on an
album cover or in the credit list.
His talent has been translated as a pianist, arranger and director on
more than 100 albums of jazz, salsa, and Latin jazz. Many of his
arrangements have been nominated for Grammy Awards. As a musical
director he has accompanied musical icons like Ray Barreto, Gato
Barbieri, Tito Puente, Mongo Santamaría and Dizzy Gillespie. As a
pianist he has played with almost all the legends and icons of the salsa
and Latin jazz world including Rubén Blades, Jerry Gonzalez, Celia
Cruz, Alfredito de la Fé, Paquito de Rivera and many others. His story
from the beginning has been exciting and full of amazing challenges and
magical experiences. Here we go.
A Little Child in Search of His Own Path
Eduardo Martínez Bastidas, better known as Edy Martínez, was born in
1942, in San Juan de Pasto, Colombia. He grew up in a family deeply
rooted in music, and was exposed to all kinds of music right from the
very beginning. His father was a trombonist and musical director, and
his mother, a disciplined pianist.
When he was just a little baby the family had to leave Pasto and
decided to settle in Bogota. His father had won a competition to be a
trombonist as part of the National Band.
The first instrument Edy had was an accordion; with it his mother
gave him the first basic ideas about chords and harmony. He started
formally playing an instrument when he was eight years old. In his
father´s orchestra little Edy played the conga. By that time Manuel
Martínez Pollit, Edy´s father, was already a respectable musician and
musical director in the capital. At the age of ten Edy was accepted into
the National Conservatory of Colombia where he started studying with a
Russian piano teacher. From the beginning he thought that the teacher
was too severe and strict for him. One year later young Edy expressed
his feelings about the teacher and begged his parents to find another
way for him to keep learning music. He promised his parents to do
whatever it took to learn music as long as he could have a different
teacher. So, Edy’s mother became in charge of his musical learning and
his father sat beside him to check his practice of the piano.
A Curious Little One Becoming a Musician
Four years later, after listening, appreciating and studying the
basics of music, he became the pianist and drummer of Américo Belloto’s
orchestra. Mr. Belloto, an Argentinian violinist, was the director of
the famous orchestra Don Américo y sus Caribes, who played tropical
music and boleros. During this time Edy also had the chance to play with
Pepe Reyes´ band and with the Cuban singer Alex Tovar.
The young Edy was now ready to be part of a record and in 1954 this
came to fruition. He played the piano on the album of the Colombian
singer Yolima Pérez. He started showing his honest love for music and by
the next year was playing the drums with the Chilean pianist Mario
Ahumada. The rumors about Edy’s talent were spreading fast and some
months later the adolescent appeared as the drummer in a television show
with Mexican songwriter Consuelo Velásquez.
The End of the 50´s
Before Edy Martínez, other Colombian musicians had already been
playing with international Latin stars. Colombian musicians like
Hernando Becerra, an experienced artist who, by the 50´s, had already
played with Tito Puente and Machito. For musical reasons Mr. Martínez
Pollit and Mr. Becerra had already formed a strong friendship.
One day, while walking by a downtown street in Bogota, his father
bumped into Mr. Becerra. After a warm hug Mr. Becerra invited him to
play together at the “Festival de Blancos y Negros” (Black and White
Festival) in Pasto. It was during this festival that Mr. Becerra heard
young Edy playing the drums. After the concert he, excited, approached
the young drummer to ask him about his musical skills. By this time Edy
was already reflecting the natural effects of the musical environment
that he had grown up in. As a child he had serious exposure to three
kinds of music; classical, jazz and Latin music. That pure contact had
given him a musical richness that no one in those days could easily
obtain.Furthermore his father´s initiative to build a small studio
where he could listen, study and play, was the perfect refuge to travel
to other worlds and explore new sounds. For Martínez the best teachers
were not only in the conservatory, but in that little studio. There were
constant meetings with teachers like Tito Puente, Count Basie, Machito
and Miles Davis. Martínez started to understand the logic of the two
musical worlds which formed in his mind; jazz and Afro Latin music.
Edy, as a drummer, with Don Américo y sus Caribes, 1959. Photo Courtesy of Edy Martínez.
Edy, Ready to Leave his Country
The two friends, Becerra and Martínez Pollit, had said bye after that
tour in Pasto. Mr. Becerra continued touring in the United States as an
international musician and Edy continued in Bogota with his father. In
1959 he received a telegram from Hernando Becerra who was in Aruba at
the time. The message was an invitation to temporarily be part of his
orchestra because the band’s drummer had suddenly left. This budding
artist accepted the invitation. After that tour in Aruba, Hernando
offered him an opportunity to go to the United States to play with his
band as a permanent drummer. For the Colombian director Edy was the
perfect musician for the part; Mr. Becerra had always had to hire two
drummers for his group because he had two repertoires: one about Afro
Latin music and the other about jazz. No drummers, so far, had been able
to play both repertoires, but Edy was the first.The talented Martínez
accepted the offer and started what would be the trip that ignited his
career as an international musician.
Welcome to the First World!
In 1960 Edy Martínez played with Becerra´s orchestra for three months
in Miami. The young drummer could not believe he was playing in the
country of jazz. Unexpectedly, Mr. Becerra changed his plans and decided
to go back to Colombia. On the contrary Edy was at an exciting age and
wanted to experience and explore what he had studied, jazz and Latin
music, and he was in the perfect place to do so; the United States.
Though alone, the young musician decided to stay. At that point he felt
that he did not want to be a drummer but instead wanted to be a
full-fledged pianist. In Miami he started looking for a job as a
pianist, he wanted to show everybody his talent. During his search he
went to a new club where Cuban musicians used to play. There, Edy went
straight up to the director and introduced himself and asked him if he
could play for a while. That director accepted and listened to the
Colombian pianist.
Coincidence or not, this band’s pianist became very sick so the
director asked this young pianist to play with them. This was the first
job that he got by himself without having any friend to get help from.
This was about conviction and passion for music.
After some weeks working in that club, a show started performing in
the city where the host was the singer Rubén Gonzales. Mr. Gonzales was
already aware of Edy’s work in the club and invited him to tour with
other Cuban musicians. Initially the tour was planned for fourteen weeks
in New Orleans, the birthplace of jazz, but the tour actually extended
for two years. He was now experiencing a unique period in New Orleans,
he was sharing his knowledge and above all learning from all kinds of
jazz musicians in the Boom Boom Room Club, a Latin club on Borbon
Street, a particular jazz street where the best of the best played for
fun, love and money. There was still more to explore in the exciting
city of Louisiana, Edy needed to go to a special place where musicians
got together to play. In this place Mr. Martínez met Tatara Vasquez.
This time the young musician from Pasto knew that the prestigious artist
was looking for a pianist so he did not hesitate to show his interest.
That night Mr. Vasquez did not pay too much attention to him.
Surprisingly, he was called for an audition which consisted of playing
Tito Rodríguez, Machito and Tito Puente’s songs, works that he knew very
well. Edy started with a brilliant performance of Puente’s song “Mango
del Monte” (Mango of the Mount) which was enough to get him the job as a
pianist for Tatara Vasquez and the Ritmo Swing Orchestra.
Mr. Martínez started to express his improvisation skills in the
middle of a difficult and hard fought field where there were really
virtuous Puerto Rican and Cuban musicians. In 1963 Edy returned to Miami
and worked with Pupi Campo and Chico Oréfiche. Being involved in this
intense musical moment he had all the elements he needed to make a big
decision; to go to New York City to settle.
A Big Apple for Edy
In New York, in 1965, Mr. Martínez played with a musician named Louis
Barcelo, Joe Quijano’s flautist. In the middle of one of Barcelo’s
shows in the Bronx neighborhood, Edy played passionately without any
knowledge that moments later he would meet a man named Ray Barreto. Mr.
Barreto, had been waiting close by for a meeting with his own band
members to play on another stage, when he happened to catch Edy’s
performance. After the concert Mr. Barreto came up to Martínez,
introduced himself and asked for his phone number. Some days later the
percussionist called Edy to ask him if he wanted to work as a pianist
and arranger because in two weeks the pianist of La Charanga Moderna,
Barreto’s band, would be leaving the group. The Colombian pianist had no
doubts about answering positively, so Mr. Barreto gave him the two
weeks to study the musical arrangements for his album. The reality was
that he did not have any knowledge about arranging music at that time
but he decided to take a risk and told Barreto that he could collaborate
with part of the arrangements. From that day on, Edy went to Lincoln
Center Library everyday to study musical arranging theories. He was
prepared to do anything to demonstrate his love and passion for music.
After long study sessions, he showed Mr. Barreto his work and very soon
the Colombian pianist was recording his first album in North America,
called “Señor 007”, in which he played the piano and arranged six songs.
Mr. Martínez with Ray Barreto’s Orchestra, Maracaibo, Venezuela, 1966. Photo Courtesy of Edy Martínez.
That same year, Edy participated in another of Barreto’s projects,
the album “El Ray Criollo”, where he was the pianist, arranger of many
songs, and composer of the song “Rareza en Guajira” (Rarity in Guajira).
In 1967 Barreto produced a new album, “Latino con soul” (Latin with
Soul) where Mr. Martínez played the piano and wrote some arrangements.
The 70’s Coming, a Good Feeling
With the experience he had acquired from working on Barreto’s albums,
the musical doors in New York City opened for Mr. Martínez. In 1970 he
was the pianist for the icon of Afrolatin music, Mongo Santamaría.
Together they recorded the work “Feeling”. He continued to gain more and
more experience and a good reputation. The next year Martínez would be
part of an expressive live album with Santamaría’s band called “Mongo at
Montreaux” recorded at the prestigious Montreaux Jazz Festival, in
Switzerland. The same day, after this tremendous concert, the well-known
Argentinian saxophonist Gato Barbieri went to Edy’s dressing room to
meet him and congratulate him on his piano performance. Behind the
stage, in a very short time, the two musicians were laughing and having
fun, realizing that Barbieri’s uncle was the saxophonist who
participated in the same band where Edy had played as a teenager in the
Grill Paris Club, in Bogota. That first meeting was the beginning of an
inseparable friendship and musical union. But it wasn’t until 1974 when
they officially started working together.
In 1972 he participated in another album for Mr. Santamaría; “Up From
the Roots”. A year later Edy reunited with Barreto again and worked
together to create a jazz album, an unusual work from Barreto and one of
the most brilliant albums Barreto would create, “The Other Road”. This
album was produced by Fania Records and garnered a Grammy music award.
In this work Edy composed the main title demonstrating his capacity to
create melodic music lines. By this time he was making big strides and
sharing recording studios with exceptional musicians like Artie Webb and
Billy Cobhan. This same year, at the top of his career, Barreto with
his help launched “Indestructible”.
As his experience increased more challenging projects continued to
emerge. In 1974 Edy participated in four albums. He played the piano for
Justo Betancourt (“Justo Betancourt”), Menique (Soy Hijo de Changó),
and Monguito Rivera (“Es Una Nota”). During this year Edy recorded his
first album with Gato Barbieri called “Viva Emiliano Zapata”.
1975 was a fantastic time for Mr. Martínez in terms of production and
creation. He continued working with Mr. Barbieri playing the piano on
the album “Chapter Four”. After this work a series of salsa albums came
dancing into Edy´s life. He collaborated as an arranger in another two
albums for Barreto (“Barreto” and “Barreto Live”), and for the first
time shared his talent with the innovative pianist Larry Harlow, the
Wonderful Jewish, in the albums “El Jardín del Amor” (The Garden of
Love”) and “Salsa”. The creativity process this year could not have
finished better than having the opportunity to participate in two
musical pieces that later would be mandatory acquisitions for any music
lover: the first one, as a co-producer of “Un retrato de Tito
Rodríguez”, a compilation of one of the most remarkable gems that latin
music has ever had in history. The second, as an arranger of the piano
line for the song “Resemblance” in the album “Unfinished Masterpiece” by
the piano master Eddie Palmieri.
By now he had made his distinctive mark as a versatile musician. He
could infuse intensity in Afro Latin styles but also in the most
progressive of jazz pieces as he demonstrated in 1976, in the album “New
Worlds” by the legendary drummer Joe Chambers. Here Edy contributed
with his wonderful Fender Rhodes playing some heavy grooves as well as
lighter and melodic compositions. Three more albums with Gato Barbieri
completed his busy agenda: “Caliente”, “Ruby Ruby” and “Passion Fire”.
In 1977 the rhythms of salsa music were calling him again
insistently; they would never leave him and wanted to be very close to
him. Edy invited these rhythms in, as he always had. This year he
participated in five salsa albums with great artists including Pete
Conde Rodríguez (“A Touch of Class”), Luo Peres (“De todo un poco”),
Raúl Marrero (“Romántico y Salsero”), Ray Barreto (“Eye of the
Beholder”), and Larry Harlow (“La raza latina”).
More Latin Music
Another album with his inseparable music partner, Gato Barbieri, was
produced; in 1978 the Colombian musician was the pianist and arranger of
“Trópico”. Given that Edy had played with Barcelo and Barreto in the
early 70’s, many growing and prominent salsa musicians started
recognizing him in the Latin music scene. This was enough to be called
years later by Fania, to participate in an album with Vitín Aviles,
nicknamed “El Cantante del Amor” (“The Singer of Love”).
His commitment to unique interpretation afforded him the chance to
have a meeting with Tito Puente, the famous timbalero, to collaborate as
an arranger in a magnificent album which paid tribute to the
unforgettable Benny More, “Homenaje a Benny More”. This tribute was
awarded a Grammy music award.
Edy was in the right place, at the right time and with the right
people. Immersed in the multicultural city of New York, Martínez, in a
natural way, felt he wanted to look for new sounds, musical fusions and
experiments, alternative ideas which would allow him to enter into yet
undiscovered territory. This is how he came to work as a pianist with
the talented Puerto Rican trumpeter, arranger and composer Luis Perico
Ortiz, settled in the Big Apple.
Ortiz’s band was composed of artists
that later turned into legends in the salsa music scene. For his album
“My Own Image” Ortiz had qualified musicians like Eddie Montalvo, Rubén
Blades and Edy, who played the piano and the synthesizer. This
experience, along with his musical works with Gato Barbieri, was another
clue of what Martínez was searching for, new sounds and of course the
true silhouette of Latin jazz music. In this first work on Ortiz’s
album, mentioned above, one can see that the musical concept was rather
advanced for that period, for example, in the song “Viva Martínez” you
find a symbiosis of gipsy, montuno, jazz and groove where Edy plays a
magical, funky and bluesy synthesizer solo.
Edy Martínez and Gato Barbieri, playing in New York. Photo Courtesy of Edy Martínez.
Just Like Magic
Edy lived in three places: his apartment, the studio, and on the
stage. In 1979 he participated in a total of seven albums: Two for
Barreto (“Ricanstruccion” and “Gracias”), and one for Barbieri
(“Euphoria”), Típica 73 (“Record in Cuba”), Federico Crespo (“De NY para
el Caribe”) and Pete Conde Rodríguez (“Soy la ley”).
With Pete Conde Rodríguez, Edy was off to Holland to play for a week.
Every night while in Holland an unknown man would sit very close to
him, in the first row of the auditorium. The man always watched Edy’s
performances, very interested. On the fourth night, he could not
continue without asking the man who he was and why he had attended every
concert and sat so close to him. The man introduced himself and told
Edy that he was very interested in knowing more about what he was
playing. That mysterious man was Jan Laurens Hartong, a Dutch pianist,
who wanted to learn about Latin music. The Colombian artist shared all
his knowledge about montunos, tumbaos and guajeos. A few days later
Martínez left Holland.
Years later he would travel to Holland and meet Mr. Hartong again to
see how he had created what had become known in the Latin scene as Nueva
Manteca, considered by critics to be the most important Latin jazz band
in Europe.
In those days, the King of Timbal, Tito Puente, had decided to
temporarily halt concerts with his orchestra. So the American-Jewish
Martin Cohen, owner of the prestigious Latin Percussion LP Company,
proposed an idea to Mr. Puente, to form a band and start what would be
one of the most extraordinary bands of all times. After scoring the
participation of the conga-playing symbol, Carlos “Patato” Valdes, other
musicians were called: Sal Cuevas as a bass player (replacing Andy
González), the trumpeter René López, the drummer Steve Berríos, the
percussionist Johnny “Dandy” Rodríguez, and the singers Nancy O´Neill
and Jeanette Rodríguez. Cohen and Puente almost had the full band but
one instrument was missing.
Very early in the morning, before the group started recording this
project, Edy received a call from Tito Puente telling him that they were
waiting for him to record an album that very same day. The first
question Martínez asked was about the material he had to play, but
Tito’s answer was that they did not have any material, all they had was a
huge desire to play, to create, to “jam”. With Edy as the final missing
link, the Latin Percussion Jazz Ensemble was finally formed and its
album “Just Like Magic” was composed and recorded with great doses of
pure improvisation, feeling and talent. For this album Mr. Martínez
wrote the songs “The Opener”, “Martínez Blues” and “Afro Mood”.
Cohen’s idea was a hit. With this project the sextet toured Asia and
Europe, but because of contracts and others tours the original members
of the band could not always play, so other musicians joined the band
like the virtuous violinist Alfredito de la Fé, the guitar player Toots
Thielemans, and the pianist Jorge Dalto, keeping up the level that
characterized the project.
The Conexión Latina of the 80’s
The following years were full of more albums and unforgettable
concerts. Edy was the arranger of “Libre Increíble” for Many Oquendo and
“Into the 80’s” for Típica 73. He never stopped playing with Barbieri,
and two more albums were produced with the Argentinean saxophonist,
“Para los amigos” and “Apasionado” in 1983.
Among scores, arrangements, rehearsals and shows, Edy made his
headquarters wherever anything in terms of music could happen. There was
one such place called El Corso, where Latin stars like Machito, Johnny
Pacheco and Orquesta Broadway played. In El Corso Edy was part of the
in-house band conducted by the vibraphonist Louie Ramírez. It was also
here that Mr. Martínez met the elite of salsa and Latin jazz including
Arsenio Rodríguez.
Edy got a contract to play in some concerts in San Juan, Puerto Rico.
While there he met up with Wito Rodríguez, the singer of Conexión
Latina, who wanted him to be involved in that project lead by trombone
player Rudi Fuesers. One week later Edy was on his way to Munich,
Germany to work as a pianist and arranger. From the beginning the
orchestra was formed of artists from different Latin American countries
which ultimately gave the band a unique sound. In 1984 their debut
album, “Calorcito”, was a wonderful display of energy and swing. An
example of Mr. Martínez’s contribution in terms of playing can be noted
in the song “Latin Groove” a delight with the powerful and soul stirring
sound of the piano.
While in Germany, Edy received a call from Ray Mantilla to play in
Paris. He fell in love with the French capital and after his concerts
with Mr. Mantilla, he lived in Paris for three years. Two trombones, two
trumpets and a full percussion set were enough to have his band playing
with American musicians who were also serving in the military service.
These musicians had asked for military permission so that they could
perform with the band. Edy never wanted to leave Paris, but destiny made
him do it.
Edy’s piano playing talent had surpassed borders and countries. In
1989 Edy was invited to be part of “Pianos Latinos” a huge concert where
some of the most prestigious pianists would play together. This show
brought together Michel Camilo, Ricky González, and Amuni Nacer, under
the direction of Eddie Palmieri.
Edy Martínez rehearsing with Eddie Palmieri. New York, 1989. Photo Courtesy of Edy Martínez.
A Privilege to Go Back Home
In the decade of the 90’s Edy worked as a pianist and arranger with
Corina Bartra, Raulín, Many Oquendo, Cecilia Zaid and Ray Mantilla. He
met Tito Puente again to work together, but this time as a composer and
arranger in his album “Royal T”. “Encuentro” was the song that he wrote
for Puente, a classical bolero.
There is a Colombian saying that says “La tierra hala” (you are
homesick) and that was what Edy felt all over again. In 1993, Martínez
went to Colombia to start his own band and create a Latin jazz musical
album. In those days even thinking about a Latin jazz project was crazy
but he found people who wanted to sponsor his initiative so he decided
to do it. This project took almost two years to complete. “Privilegio”
was the decided name of his album, Edy played the role of composer,
arranger, pianist and producer. He had gathered a dynamic group of
musicians including Tico Arnedo, Orlando Barreda, Luis Díaz, Edilberto
Liévano, Joaquín Cuervo, Diego Valdés, Ernesto Simpson, Samuel Torres,
Jorge Naranjo, and José Vásquez. Mr. Martínez had been the architect of
many musicians for more than 30 years and now it was time for him to be
the guy who appeared on the cover of the album. The only just thing was
to have the maestro Edy as the absolute protagonist of his own talent.
The result of this long musical preparation was an exquisite work full
of descarga, lyric and powerful lines where each instrument played a
profound role giving the listener a pure, harmonic and unique Latin
sound. Some of these musical arrangements include, “Iron Jungle” and
“Tower of Inspiration”.
Even living in Colombia, there was a constant flow of people who
sought his talent as an arranger. In 1995 the American alto saxophonist,
David Sanborn, asked Edy to be part of his arrangement on his album
“Pearls”. Edy traveled a lot and worked with Johnny Mandell (Sanborn’s
arranger), one of the legends of arrangements in the United States, who
had worked for the likes of Frank Sinatra, Tony Bennet, Count Bassie,
and Nat King Cole.
By the end of the 90’s Mr. Martínez recounted all that he had
accomplished during his time in Colombia and the landscape of it all,
was amazing. He had gotten married; his two sons were born, produced his
own album and taught in prestigious universities. His intentions were
to stay in Colombia but his passion and curiosity for music everywhere
were stirring and once again he left his homeland. In 1998 Lucas Van
Merwijk called Edy from Holland to express the emotions that both albums
“Privilegio” and “Pearls” had made him feel. He packed his bags and
went to Holland where he prepared ten arrangements and played them on
the album “More and More”, a project headed by Mr. Merwijk and the Cubop
City Big Band.
Edy and the Cubop City Band, Holland, 2000. Photo Courtesy of Edy Martínez.
A Midnight Jazz Affair
At the insistence of his former stage partners in New York, Edy later
returned to the Big Apple to work on new ideas and musical projects.
Ray Mantilla and Gato Barbieri were some of those who were waiting for
him. It was in this multicultural city, the place that had given him the
possibility to create his second great Latin jazz production; the album
“Midnight Jazz Affair” came to life in 2008. This work could be
considered his best production as a result of years and years of
experience in the Latin jazz and salsa scene. He filled the compositions
with an array of colors that shined, spread with contrast, and clearly
illustrated his profound musical perspective. This album was
characterized by a variety of stylistic elements that broadened the
landscape and a careful integration of styles that stirred the senses of
any Latin jazz listener. Deep and rich harmonic progressions were the
perfect ingredients used in this album. The piece “Suite for Piano” is a
good example, a powerful song with a subtle layer that invokes motion
and emotion. “Guaneña” is a song that clearly reflects an integration of
styles. This piece was based on a traditional Colombian song, but with
Edy’s hands involved it was transformed into a splendid composition full
of flavour and melodic voices. Perhaps his best song on this album is
“Celebration” a composition that starts with an expressive piano intro
followed by touching wind instrument lines that lead up to an explosion
of descarga.
Edy Martínez on his album “Midnight Jazz Affair”
In New York Edy is an obligatory reference for dozens of musicians.
In 2011 he was called to form an orchestra to play in the Harlem Week
Celebrations. He was part of the Harlem Afro-Cuban All Stars with
legends like Dave Valentin and Jerry Gonzalez.
The lines written in this report aim to draw an overall portrait of
Edy Martínez’s musical life. The discipline that he developed even from a
young age, seems to only strengthen over time, one of his most notable
qualities. What is absolutely remarkable about him is his passion for
music. His more than 50 years of career playing, arranging, composing,
directing, and producing, most of the time staying behind the music and
the acclaimed artists, is a testament to Edy as one of the best examples
of humbleness, dedication, talent, and love for music. For many
reasons, this article could have omitted other albums and a few other
artists with whom he worked, but beyond this what I will not omit is the
uncanny connection between the attitude Mr. Martínez had when he first
settled in Miami 50 years ago and the same genuine attitude he had when I
met him last year, in Jazz al Parque 2011. I met a musician still full
of wishes to learn everything that he could from other musicians, trying
to share all that he could with the piano – it seemed to be a message
to all of us, that music is a love in action. At present, while you read
this report it is possible that in his apartment, in New Jersey, NY,
Edy is studying some form of classical, jazz or Latin music, perhaps
dreaming about coming back to his beautiful country, Colombia, where it
all began.
Acknowledgement
Special gratitude to the maestro Edy Martínez for his great patience,
to Vilma Rincón for her help providing all the information and
graphical material available.
Source: Oscar Montagout
http://latinjazznet.com/2012/05/27/features/edy-martinez-the-music-architect-behind-the-piano/
Edy Martínez´s Discography
Abbreviations: Pianist (P), Arranger (A), Composer (C), Producer (PR).
Year
|
Album/Artist
|
Label
|
Martínez´s Participation
|
| 1954 |
Yolima Pérez |
Vergara Record |
P |
| 1955 |
Música internacional |
SV |
P |
| 1964 |
Señor 007/Ray Barreto |
United Artists |
P, A |
| 1965 |
El Ray Criollo/Ray Barreto |
United Artists |
P, A, C |
| 1967 |
Latino con Soul |
United Artists |
P, A |
| 1970 |
Feeling/Mongo Santamaría |
Atlantic |
P |
| 1971 |
Ray Rivera/Ray Rivera Orchestra |
MGM |
P, A, C |
| 1971 |
Mongo at Montreaux/Mongo Santamaría |
Atlantic Records |
P |
| 1972 |
Up From the Roots/Mongo Santamaría |
Atlantic Records |
P, A |
| 1973 |
The Other Road/Ray Barreto |
Fania Records |
P, A, C |
| 1973 |
Indestructible/Ray Barreto |
Fania Records |
P, A |
| 1974 |
Justo Betancourt/ Justo Betancourt |
Fania Records |
P |
| 1973 |
Soy hijo de Chango/Menique |
Cotique |
A |
| 1974 |
En una nota/Monguito Santamaría |
Inca |
P, A, C |
| 1974 |
Viva Emiliano Zapata/Gato Barbieri |
ABC |
P |
| 1975 |
Chapter Four/Gato Barbieri |
ABC |
P |
| 1975 |
Un retrato/Tito Rodríguez |
TR Records |
PR |
| 1975 |
Barreto/Ray Barreto |
Fania Records |
A |
| 1975 |
Barreto Live/Ray Barreto |
Atlantic Records |
A |
| 1975 |
El jardin del amor/Larry Harlow |
Fania Records |
A |
| 1975 |
Salsa/Larry Harlow |
Fania Records |
A |
| 1975 |
Montara/Bobby Hutcherson |
Blue Note |
C |
| 1975 |
Unfinished Masterpiece/Eddie Palmieri |
Musical Product. |
A |
| 1976 |
New World/ Joe Chambers |
Finite Records |
P |
| 1976 |
Cuban Roots |
Mark Weinstein |
P |
| 1976 |
Introducing/La Sonora Borinquen |
TR Records |
PR |
| 1976 |
Caliente/ Gato Barbieri |
A&M Records |
P, A |
| 1976 |
Ruby Ruby/ Gato Barbieri |
A&M Records |
P, A |
| 1976 |
Passion & Fire/Gato Barbieri |
A&M Records |
P |
| 1977 |
La raza latina/Larry Harlow |
Fania Records |
A |
| 1977 |
Eye of the Beholder/Ray Barreto |
Atlantic Records |
P |
| 1977 |
A Touch of class/Pet Conde Rodríguez |
Fania Records |
P |
| 1977 |
De todo un poco/Luo Peres |
Tico |
P |
| 1977 |
Romántico y salsero/Raul Marrero |
Sony Discos |
P, A |
| 1978 |
Con mucha salsa/Vitin Aviles and Fania |
Alegre Records |
A |
| 1978 |
Homenaje a Benny More/Tito Puente |
Tico Records |
A |
| 1978 |
Tropico/ Gato Barbieri |
A&M Records |
P, A |
| 1978 |
My Own Image/Luis Perico Ortiz |
Turnstyle |
P, A, C |
| 1979 |
Euphoria/Gato Barbieri |
A&M Records |
P |
| 1979 |
Ricanstruction/Ray Barreto |
Fania Records |
A |
| 1979 |
Soy la ley/Pet Conde Rodríguez |
Fania Records |
P |
| 1979 |
Gracias/Ray Barreto |
Fania Records |
A |
| 1979 |
Típica 73 Record in Cuba/Típica 73 |
Fania Records |
A |
| 1979 |
NY para el Caribe/Federico Crespo |
Divemer |
P,A,C,PR |
| 1979 |
Just Like Magic/Tito Puente |
LP Ventures Inc. |
P |
| 1981 |
Para los amigos/Gato Barbieri |
Dr. Jazz |
P |
| 1981 |
Libre increible/Many Oquendo |
Salsuol |
A |
| 1981 |
Típica 73…Into the 80´s/Típica |
Fania Records |
A |
| 1982 |
Tiros bailables |
CBS |
P, A |
| 1983 |
Apasionado/Gato Barbieri |
Polydor |
P |
| 1984 |
Calorcito/Conexión Latina |
Enja |
P, A |
| 1986 |
Hard Hands/Ray Mantilla |
Red Records |
P, A |
| 1986 |
Mambo/La Manigua |
Melodie |
P |
| 1986 |
Un poco loco |
Enja |
A |
| 1986 |
Zaperoco II/Zaperoco |
Montuno |
P, A |
| 1988 |
Soundtrack: Married to the Mob |
FILM |
A |
| 1988 |
L´Opera Triangulaire |
Messidor |
A |
| 1989 |
Dark Powers/Ray Mantilla |
Red Records |
P, A |
| 1991 |
Travel Log/Corina Bartra |
Blue spiral |
P |
| 1992 |
Que se cuiden los soneros/Raulín |
DMS |
P |
| 1993 |
Royal T/Tito Puente |
Condord |
A, C |
| 1993 |
Mejor que nunca/Many Oquendo |
Milestone |
A |
| 1993 |
Es bolero/Cecilia Zaid |
Sisar |
P, A |
| 1993 |
Manhattan by Numbers/G. Barbieri |
FILM |
C |
| 1994 |
Synergy/Ray Mantilla |
Red Records |
P, A, C |
| 1994 |
Ritual de la salsa |
Discos Fuentes |
P, A |
| 1994 |
Tiempo de carnival |
Atriz Music |
P |
| 1995 |
Privilegio/Edy Martínez Orchestra |
Nuevo Milenio |
P,A,C,PR |
| 1995 |
Pearls/David Sanborn |
Electra |
A |
| 1996 |
Madera/Mauricio Smith |
Wenmar Records |
P |
| 1998 |
More and More/Lucas Van Merwijk |
Tam Tam |
P, A, C |
| 1998 |
Apuesto a todo/Gustavo Rodríguez |
FM Records |
P |
| 1998 |
Su majestad el piano/Edy Martínez |
FM Records |
P,A,PR |
| 1998 |
Live in the Hague/Cubop City Big Band |
Tam Tam |
P, A |
| 2000 |
Edy Martínez Big Band |
Nariño Dept. |
C,A,PR |
| 2000 |
Rítmico y pianístico/Gerardo Rosales |
A Records |
P, A |
| 2001 |
La salsa es mi vida |
Javaanse Jonges |
A |
| 2002 |
Arsenio/Cubop City Big Band |
Tam Tam |
A |
| 2005 |
New York Salsa/Orquesta Universal |
One Soul |
P |
| 2006 |
Good Vibrations |
Savant |
P |
| 2008 |
Midnight Jazz Affair /Edy Martínez |
Jogal Music |
P,A,PR |
| 2010 |
Acción de Gracias/Carlos Zagarra |
Disc Maker |
P |
| 2012 | Chico Alvarez – El Montunero: Country Roots/Urban Masters | Mafimba Records | P,A,C |
