Several Harvard-affiliated jazz bands performed with renowned artist Eddie Palmieri in ‘The Afro-Cuban Connection’ Saturday at Sanders Theatre.

When Eddie Palmieri plays the piano, it’s a religious experience. Jazz, deriving from 1920s slang meaning “sex” or “orgasm,” is often exuberant, but Palmieri, with his whole body convulsing as he played the piano, pushed jazz to its orgiastic, ecstatic limits at last Saturday’s Afro-Cuban Jazz Connection in Sanders Theatre.

The concert recognized the nine-time Grammy Award winner’s contribution to jazz, especially for his role in the creation of the distinctive fusion of “Latin Jazz.” Palmieri appeared with Brian Lynch, his collaborator on “Simpatico” (which won the 2005 Grammy for Best Latin Jazz Album). The concert also featured performances by the Monday Jazz Band (directed by Tom Everett), the Sunday Jazz Band (directed by Mark Olson), and the Alumni Jazz Band (also directed by Everett).

The Alumni Jazz Band opened the evening with “Fables of Faubus.” While some parts were absolutely thrilling, hinting at the great tunes to follow, it was the most disappointing piece of the night. But despite losing impetus in the many mood changes, “Fables” remained a great display of musicianship.

Juan Tizol’s “Caravan,” performed by the Sunday Jazz Band, followed the opening piece. Growing out of just bass, drums and piano, “Caravan” snaked into a full-fledged number that was emblematic of early jazz, and yet still managed to capture an exotic Latin feel.

Although Lynch’s trumpet solo in “Lowdown” left the audience breathless, the jewel of the first half of the show was Thelonious Monk’s “Green Chimneys,” arranged by Michael L. Schachter ’09.

Beginning with some haunting piano chords, it blossomed into rhythmically propulsive, full-out foot-thumping music when saxophonists Jake G. Cohen ’09 (who is also The Crimson’s Music Editor), Noah L. Nathan ‘09, and trumpeter Scott M. McKinney ‘09 joined in.

While Palmieri did not step on the stage until after intermission, the concert was clearly all about him. José Masso, the announcer and producer of “¡Con Salsa!” a Latin music show on WBUR, opened the second half of the performance with a tribute to Palmieri. After the intermission, every piece Palmieri played was his own original composition, except for “Jazz Impromptu” which was composed by Lynch.

From the opening notes of solo piece “Lisa,” there was no way anyone could forget Palmieri’s presence. “Lisa” traveled many moods, from being smooth and easy to being ultimately choppy, tense, and throbbing with emotion.

The next piece “Iraida,” a duet, featuring Lynch and Palmieri, was the best piece of the night. Dedicated to Palmieri’s wife, “Iraida” started out plaintive and slow, with both musicians playing restrained, subdued parts, only to explode in the center into action, putting their virtuosic talent on display.

Lynch hit higher and higher notes on his trumpet as Palmieri improvised on the piano, effortlessly pushing the piece faster and faster. By its end, the crowd was in paroxysms of sheer delight.

“Jazz Impromptu,” a song almost entirely improvised—featuring Palmieri, Lynch, Cohen, Parker K. Barnes ’08 on bass, and Christopher M. Krogslund ’09 on drums—was beautiful. Palmieri, Lynch, and Cohen wowed the crowd with their musicianship, exchanging solos, and just having a wild, raucous time with the piece.

After the fiercely individual “Jazz Impromptu,” the Monday Jazz Band’s performance of “Elena Elena” had a completely different sound. It opened with a steady beat until Lynch broke the song open with a rapid-fire trumpet solo. Ending with the whole band playing together, the final notes continued to resonate even as the crowd clapped.

In “Waltz for My Grandson,” Palmieri left the piano to conduct the work. It was a little ditty moving slowly at first that peaked at its magnificent end. The whole work sped up, the beat solidified, and Palmieri jumped back on the piano for a rousing finish.

The last piece, featuring Maxwell I. Nwaru Jr. ’10 and his divine saxophone solo, a solo by Krogslund on the drums, and Barnes on the bass, began decidedly funky. Assuming a brassy tone, the energy was palpable. Lynch soloed and Palmieri was typically masterful on the piano. Though not the most compelling piece of the night—that distinction belongs to “Iraida”—it was a wonderfully emphatic way to end to an evening of beautiful jazz.

Palmieri is aptly called “The Sun of Latin Jazz,” and on Saturday night, members of the audience were just planets drawn into orbit by his irresistible magnetism and musicianship.