Dave Brubeck Octet - Dave Brubeck Octet

Styles: Piano Jazz
Year: 1984
Time: 46:51
File: MP3 @ 320K/s
Size: 108,9 MB
Art: Front

(3:00) 1. The Way You Look Tonight
(2:36) 2. Love Walked In
(2:41) 3. What Is This Thing Called Love?
(2:51) 4. September In The Rain
(2:14) 5. Prelude
(2:43) 6. Fugue On Bop Themes
(2:22) 7. Let's Fall In Love
(2:40) 8. Ipca
(6:51) 9. How High The Moon
(4:33) 10. Serenade Suite
(1:29) 11. Playland-At-The-Beach
(1:04) 12. Prisoner's Song
(2:14) 13. Schizophrenic Scherzo
(1:30) 14. Rondo
(2:15) 15. I Hear A Rhapsody
(3:00) 16. You Go To My Head
(2:09) 17. Laura
(0:31) 18. Closing Theme

The listener has to forgive a few things about this undeniably brilliant collection of Dave Brubeck's first big ensemble. First: the liner notes' pretentions. Brubeck announces there that between 1946, when some of these tunes were recorded, and 1956, when the tapes were first "reissued" on LP, "very few released recordings" have "more musical importance" than the octet. Second: the nearly seven minutes of "How High the Moon" narrated to show how jazz was formed, as the band plays in short demonstrative segments.

Third: the audio vérité sound, which even Brubeck thought questionable in 1956. Hearing this dynamic set, though, makes forgiveness easy. The arrangements show a wild abundance of color and orchestral finesse (many of the group's members were, like Brubeck, students of Darius Milhaud).

You get quick-clip swingers like "The Way You Looked Tonight" and the string of chamber-esque horn studies that includes "Schizophrenic Scherzo" and more. You also get to hear early Paul Desmond and William O. Smith bouncing ideas off each other and drummer Cal Tjader. And it's all a delight, especially with the magnanimity of "forgiving" Brubeck. By Andrew Bartlett
https://www.amazon.com/Dave-Brubeck-Octet/dp/B000000Y60

Personnel: Dave Brubeck – piano; Paul Desmond – alto saxophone; Jack Weeks – bass; Cal Tjader – drums; William O. Smith – clarinet & baritone saxophone; Bob Collins – trombone; Dick Collins – trumpet; David Van Kriedt – tenor saxophone

Dave Brubeck Octet

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Cal Tjader - Catch The Groove (Live at The Penthouse 1963-1967)

Styles: Vibraphone Jazz
Year: 2023
File: MP3@320K/s
Time: 146:53
Size: 340,4 MB
Art: Front

(6:15) 1. Take The A Train
(7:02) 2. In Your Own Sweet Way
(5:20) 3. It Never Entered My Mind
(5:35) 4. Morning Of The Carnival (Manha De Carnaval)
(2:41) 5. Insight
(5:13) 6. Sunset Boulevard
(3:59) 7. Here's That Rainy Day
(4:46) 8. Davito
(3:28) 9. Pantano
(5:13) 10. Leyte
(4:14) 11. Half And Half
(7:33) 12. On Green Dolphin Street
(4:27) 13. Love For Sale
(5:38) 14. Reza
(5:09) 15. Maramoor Mambo
(4:45) 16. The Shadow Of Your Smile
(7:09) 17. Bag1s Groove
(5:38) 18. Morning
(4:15) 19. Mambo Inn
(8:37) 20. On Green Dolphin Street
(5:41) 21. I Can't Get Started
(4:58) 22. Soul Burst
(3:49) 23. Cuban Fantasy
(5:18) 24. O Morro Não Tem Vez
(9:32) 25. Fuji
(5:51) 26. Lush Life
(4:36) 27. Along Comes Mary

It would be unusual to hear vibraphonist Cal Tjader mentioned alongside the all-time greats on his instrument. He is not remembered for being a fearless improviser like Bobby Hutcherson, or as deeply soulful as Milt Jackson, or as hard-swinging a presence as Lionel Hampton. Moreover, one will search in vain in his biography for the hard-fought personal struggles that have typically been the bread and butter of jazz legend: no tortured tales of substance abuse, or bouts with poverty or unappreciative audiences. By all accounts, he led a happy and satisfied life on the West Coast, far removed from the bustle (and prominence) of New York; he never toured Europe. But he did make a pivotal contribution to jazz through his work in Latin music an idiom that he helped to establish firmly within the jazz world. And that contribution is well-documented in Catch the Groove, a three-LP (or two-CD) collection of live recordings Tjader made at the Penthouse in Seattle during the mid-60s.

Listening to these performances, which include a range of dates and sidemen, one is struck by just how effortless Tjader's improvisations could sound perhaps another reason he has not won as much acclaim as some of his contemporaries. And although there is an abundance of Latin jazz on this release, as one would expect, some of the biggest surprises are found in the non-Latin material: hearing Tjader dig into "Take the 'A' Train" at the outset of the February 1963 concert is a delight, with enough harmonic invention and dynamic swing to belie the misconception that he was a one-dimensional Latin popularizer. Elsewhere it is Tjader's lyrical facility with a ballad that impresses, as on "Here's that Rainy Day," where his note perfect solo's luminescence has a deceptively simple purity.

But although there are more than enough jazz standards here to demonstrate Tjader's breadth, the Latin pieces are more reflective of his core impulses and indeed, are why the title of the release is so appropriate. Helped by percussionists Bill Fitch and Armando Peraza, the groups assembled here are most at home when they are finding a Latin groove and the work of pianists Clare Fischer, Lonnie Hewitt and Al Zulaica are also essential in that regard. Hewitt's bluesy licks are fundamental to the sinuous momentum of "Pantano," and his punchy block chords help propel the feisty "Maramoor Mambo" at the close of the 1965 set. Zulaica's own churning rhythms enliven "Mambo Inn" on the 1966 recording. Even a Latinized take on the Association's 1966 pop hit "Along Comes Mary" fares well in Tjader's hands. These musicians have impeccable instincts for a range of Latin styles, and they do justice to all of them.

In general, the recording quality is very good, with a nice balance between the instruments and not too much tape hiss. One can question producer Zev Feldman's decision to compress the material from these six concerts onto six LP sides, however. This led to fading out a couple of the tracks, namely "Insight" on the first set (after a mere two and a half minutes) and "Half and Half" on the second, with the latter unfortunately in full flight during the fade-out. But the folks at Jazz Detective can perhaps be forgiven these relatively minor transgressions, especially given the label's typically fine packaging and informative liner notes, including some illuminating reflections from modern-day vibe legends Gary Burton and Joe Locke on Tjader's undersung legacy. Kudos to Feldman and company for bringing this music to a wider audience. By Troy Dostert https://www.allaboutjazz.com/cal-tjader-catch-a-groove-live-at-the-penthouse-1963-1967-jazz-detective

Catch The Groove (Live at The Penthouse 1963-1967)

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Cal Tjader, Willie Bobo, Mongo Santamaria - Latino!

Styles: Latin Jazz, World Fusion
Year: 1994
File: MP3@320K/s
Time: 73:31
Size: 171,8 MB
Art: Front

(4:49)  1. Manila
(3:30)  2. Key Largo
(6:43)  3. Tumbao
(3:04)  4. Bludan
(3:24)  5. Chispita
(3:42)  6. September Song
(3:32)  7. Cal's Pals
(3:26)  8. Para Ti
(4:37)  9. Mamblues
(6:32) 10. Afro Blue
(6:29) 11. Cuban Fantasy
(5:56) 12. Rezo
(4:20) 13. Mambo Terrifico
(8:34) 14. A Night In Tunisia
(4:45) 15. The Continental

Vibraphonist Cal Tjader is heard leading five different groups throughout this set, but the identities of the flutists, bassists, and pianists are less important than knowing that Tjader, Willie Bobo (on drums and timbales), and the great conga player Mongo Santamaria are on every selection. The music really cooks, with torrid percussion, inspired ensembles, and occasional solos from the sidemen (which sometimes include pianists Lonnie Hewitt or Vince Guaraldi, bassist Al McKibbon, and flutist Paul Horn). Highlights include Latinized versions of "Key Largo" and "September Song," "Night in Tunisia," "The Continental," and a definitive version of Santamaria's "Afro Blue." This is Latin jazz at its finest. ~ Scott Yanow https://www.allmusic.com/album/latino-con-cal-tjader-mw0000626426

Personnel:  Vibraphone – Cal Tjader; Backing Band – The Eddie Cano Big Band; Bass – Al McKibbon, Eddie Coleman , Victor Venegas; Congas – Mongo Santamaria; Drums, Timbales – Willie Bobo; Featuring – Al McKibbon, Eddie Cano, José "Chombo" Silva , Lonnie Hewitt, Mongo Santamaria, Paul Horn, Vince Guaraldi, Willie Bobo; Flute – José Lozano, Paul Horn, Rolando Lozano; Flute, Alto Saxophone – Modesto Briseno ; Piano – Eddie Cano, Lonnie Hewitt, Vince Guaraldi Remastered By – Phil De Lancie; Tenor Saxophone – José "Chombo" Silva; Trumpet – Tony Terran 

Latino!

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Eddie Palmieri & Cal Tjader - Bamboleate

Styles: Latin Jazz, Salsa, World Fusion
Year: 1967
File: MP3@320K/s
Time: 33:21
Size: 76,7 MB
Art: Front

(3:25)  1. Bamboleate
(2:30)  2. We've Loved Before
(5:39)  3. Resemblance
(5:23)  4. Mi Montuno
(3:53)  5. Samba do Sueno
(3:48)  6. Guajira Candela
(5:38)  7. Pancho's Seis por Ocho
(3:02)  8. Come and Get It

The second album pairing Palmieri and Tjader, Bamboleate moves beyond El Sonido Nuevo into the respective territories of each artist. "Bamboleate" is the Latin cooker ones expects from Palmieri but didn't find on the more subdued El Sonido Nuevo. "Semejanza" is an equally affecting jazz lilt led by Tjader. Framed by a melody that could have come straight off the Vince Guaraldi Trio's Charlie Brown Christmas album, it has an equally indelible, locomotive rhythm. Tjader's samba, "Samba de Los Suenho," is a welcome departure from the relative rigidity of El Sonido Nuevo. Also vital are the vocal tracks (Palmieri's), but the blatant channel-switching in "Guajira Candela" is an abuse of stereo separation. "Pancho's Seis por Ocho" is typical of the deep, midtempo Afro rhythm of Bamboleate and El Sonido Nuevo. 

Trombonist Mark Weinstein contributes the closing "Ven y Recibelo (Come an' Get It)," a mod/soul cooker on par with the best of Verve all-stars Tjader, Ogerman, Winding, and Schifrin. Finally, the album was reissued in 1977 as Tico LPS-88806 and distributed by Fania. The reissue at least features illustrations of Tjader and Palmieri by Jose Vargas. 

~ Tony Wilds https://www.allmusic.com/album/bambol%C3%A9ate-mw0000273328

Personnel:  Eddie Palmieri - piano, writer; Cal Tjader - vibraphone, writer;  Barry Rogers - trombone;  Mark Weinstein - trombone, writer; George Castro - flute; Bobby Rodríguez - bass;  Kako - timbales;  Manny Oquendo - percussion; Tommy López - conga;   Ismael Quintana - chorus; Willie Torres - chorus

Bamboleate

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Cal Tjader - Concerts In The Sun

Styles: Vibraphone Jazz
Year: 1960
File: MP3@320K/s
Time: 53:52
Size: 127,1 MB
Art: Front

(5:11)  1. Love For Sale
(4:39)  2. Goodbye
(6:00)  3. Raccoon Straits
(7:14)  4. Walkin With Wally
(5:09)  5. My Romance
(5:28)  6. Sigmund Sten Groove
(4:26)  7. Cubano Chant
(5:03)  8. Afro Blue
(5:43)  9. Tumbao
(4:54) 10. Day In, Day Out

Concerts in the Sun languished in the vaults for 42 years, but it's now finally available on CD. The recording finds Cal Tjader in a state of transition between the West Coast cool jazz he helmed with Dave Brubeck and a full-blown commitment to integrating Afro-Cuban rhythms into jazz. Culled from two concerts, one in Honolulu and the other in San Francisco, the first half features well-mannered standards and a distinct lack of perspiration; unfortunately, the five song routine seems overly rehearsed and detached. Only in the second half, which features the dense polyrhythms of Willie Bobo and Mongo Santamaria, does the band really swing into gear. (Jazz historians will note the appearance of “Afro Blue,” a few years before Coltrane’s famous version.) However, despite the enthusiasm of the band, at this point Tjader wasn’t yet able to fully fuse the foreign rhythms and jazz concept into a convincing whole, so they come off like a bunch of guys who showed up at a black tie dinner wearing sombreros. The problem with much of Tjader’s music is that Tjader himself is frequently the least interesting thing about it; and only later, with classics like Black Orchid, was he able to create a distinctive and enjoyable Latin jazz hybrid. Of course Tjader fans will want to pick this up, but the mildly curious should explore the excellent Monterey concerts first. ~ David Rickert https://www.allaboutjazz.com/concerts-in-the-sun-cal-tjader-fantasy-jazz-review-by-david-rickert.php

Personnel: Cal Tjader-vibes; Lonnie Hewitt-piano; Victor Venegas, Eddie Coleman-bass; Willie Bobo-drums; Mongo Santamaria-congas, bongos.

Concerts In The Sun

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Cal Tjader - Sentimental Moods

Styles: Vibraphone Jazz
Year: 1958
File: MP3@320K/s
Time: 72:53
Size: 170,5 MB
Art: Front

(2:36)  1. I Should Care
(2:39)  2. Spring Is Here
(2:59)  3. Time Was
(3:17)  4. Star Eyes
(3:16)  5. Stella By Starlight
(4:29)  6. Alone Together
(2:20)  7. Ode To A Beat Generation
(2:39)  8. Skylark
(3:10)  9. Martha
(4:01) 10. Quizas, Quizas, Quizas
(3:25) 11. Running Out
(2:28) 12. Racoon Strait
(3:41) 13. The Last Luff
(4:40) 14. Sigmund Stern Groove
(1:38) 15. Coit Tower
(6:03) 16. Triple T Blues
(4:23) 17. Union Square
(3:47) 18. Skyline Waltz
(3:43) 19. Viva Cepeda
(7:30) 20. The Grant Avenue Suite

Fantasy Records is to be commended for re-releasing so many of their classic Cal Tjader albums in the budget-priced two-for-one CD format, even if Sentimental Moods features one of their odder pairings. The first ten selections are culled from the dreamy mood music album Latin for Lovers (aka Latin for Lovers With Strings), and the final ten are from San Francisco Moods, a lean and mean West Coast jazz ode to his hometown. While these two sessions don't really go together, they do show you the breadth of what Tjader was recording for Fantasy at the time. While the Latin for Lovers selections aren't really Latin jazz (or even "Latin" or "jazz," for that matter), it is superior mood music with fine string arrangements written by Jack Weeks. If all lounge music was this good, the term couldn't be used as an insult. The soloists don't really stretch out at all, but Tjader, pianist Vince Guaraldi, and flutist Paul Horn each make their presence felt on regal, melodic passages. Willie Bobo and Mongo Santamaria are on the session, but unlike their sizzling one-track cameo on the next session's "Viva Cepeda," they are only around to keep strict time. So while the first half of the disc is upscale easy listening, those culled from San Francisco Moods show how underrated Tjader was at mainstream small-group jazz. Tjader starts out the session on piano, but on most tracks his vibraphone skills are given a real chance to shine. Tjader was always a giving group leader and guitarist Eddie Duran and the rest of the quartet are featured prominently. San Francisco Moods is an exhilarating session, one that veers from gritty, hard-swinging romps to uptown "chamber jazz" and back again without a hitch. Cal Tjader had such great success with Latin jazz that listeners and critics have tended to forget that he really was a major part of the cool West Coast jazz scene and that he recorded all kinds of music throughout his career. This CD reissue is a must-have for Cal Tjader fans and one that reminds people how far-reaching the vibraphonist's mainstream musical talent really was. ~ Nick Dedina https://www.allmusic.com/album/sentimental-moods-mw0000646495

Personnel includes: Cal Tjader (vibraphone); Paul Horn, Vince Guaraldi, Al McKibbon, Mongo Santamaria, Willie Bobo, Boris Blinder, Harry Moulin, Frances Wiener, Eugene Winkler, Eddie Duran, John Mosher, Jack Weeks, John Markham. Johnny Horn, Paul Horn (flute); Vince Guaraldi (piano); Mongo Santamaria, Cal Tjader (piano, vibraphone); Eddie Duran (guitar); Franz Wiener, Frances Wiener, Boris Blinder, Harry Moulin, Eugene Winkler John Markham (drums).

Sentimental Moods

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Rosemary Clooney - With Love

Styles: Vocal Jazz
Year: 1981
File: MP3@320K/s
Time: 40:31
Size: 93,0 MB
Art: Front

(5:13)  1. Just The Way You Are
(5:05)  2. The Way We Were
(4:57)  3. Alone At Last
(4:55)  4. Come In From The Rain
(3:51)  5. Hello Young Lovers
(4:48)  6. Meditation
(3:21)  7. Just In Time
(5:12)  8. Tenderly
(3:06)  9. Will You Still Be Mine

Rosemary Clooney sings both old and new songs on this 1980 Concord album. With the emphasis on ballads (including "Just the Way You are," "The Way We Were," "Hello Young Lovers" and "Tenderly"), there is less variety on this set than usual although a swinging rendition of "Will You Still Be Mine" is a fine closer. Clooney is heard in prime voice as usual and there are some fine concise solos by tenor saxophonist Scott Hamilton, cornetist Warren Vache, guitarist Cal Collins, pianist Nat Pierce and guest vibraphonist Cal Tjader. ~ Scott Yanow https://www.allmusic.com/album/with-love-mw0000191616

Personnel:   Vocals – Rosemary Clooney; Tenor Saxophone – Scott Hamilton;  Vibraphone [Vibes] – Cal Tjader;  Bass – Bob Maize;  Drums – Jake Hanna;  Flugelhorn, Cornet – Warren Vaché;  Guitar – Cal Collins;  Piano – Nat Pierce. 

With Love

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Cal Tjader - Tjader Plays Tjazz

Bitrate: MP3@320K/s
Time: 34:29
Size: 79.0 MB
Styles: Vibraphone jazz
Year: 1955/2006
Art: Front

[4:01] 1. Moten Swing
[2:32] 2. I've Never Been In Love Before
[5:05] 3. There Will Never Be Another You
[3:03] 4. How About You
[3:17] 5. Jeepers Creepers
[3:57] 6. A Minor Goof
[2:47] 7. My One And Only Love
[3:17] 8. Imagination
[2:57] 9. I'll Know
[3:29] 10. Brew's Blues

Bass – Al McKibbon; Drums – Bobby White, Cal Tjader; Guitar – Eddie Duran; Piano – Sonny Clark; Tenor Saxophone – Brew Moore; Trombone – Bob Collins; Vibraphone – Cal Tjader.

In a change of pace, for this recording vibraphonist Cal Tjader recorded cool-toned bop without a Latin rhythm section. Half of the ten songs (mostly jazz standards) feature Tjader switching to drums (his original instrument) in a quartet also including the obscure trombonist Bob Collins, guitarist Eddie Duran and bassist Al McKibbon. Tjader is back on vibes for the quintet selections with tenor saxophonist Brew Moore, pianist Sonny Clark, bassist Eugene Wright and drummer Bobby White. He sounds right at home in both formats and the swinging quintet numbers in particular are a good reason to search for this valuable album. ~Scott Yanow

Tjader Plays Tjazz mc
Tjader Plays Tjazz zippy

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Stan Getz, Cal Tjader Sextet - Stan Getz With Cal Tjader Sextet

Bitrate: MP3@320K/s
Time: 42:30
Size: 97.3 MB
Styles: Saxophone jazz, Vibraphone jazz
Year: 1958/2011
Art: Front

[10:58] 1. Ginza Samba
[ 3:57] 2. I've Grown Accustomed To Her Face
[ 5:42] 3. For All We Know
[ 8:18] 4. Crow's Nest
[ 3:46] 5. Liz-Anne
[ 4:32] 6. Big Bear
[ 5:15] 7. My Buddy

Stan Getz: tenor saxophone; Cal Tjader: vibraphone; Vince Guaraldi: piano; Eddie Duran: guitar; Scott LaFaro: bass; Billy Higgins: drums.

The presence of Latin and Afro-Cuban enthusiast, vibraphonist Cal Tjader, has created a widespread misconception that Sextet was the album which sparked tenor saxophonist Stan Getz's fascination with Brazilian music and, ultimately, bossa nova. The notion has, over the years, been reinforced by the inclusion of pianist Vince Guaraldi's "Ginza Samba," whose theme statements were played over a samba beat, and which, as plain "Ginza," was the third track on side one of the album's original LP release. During the Stateside bossa nova craze of the early-to-mid-1960s, "Samba" was added opportunistically to the tune's title, and was sequenced as track one, side one on a rerelease of Sextet. It remains in prime position on this 24-bit remastered edition.

The Getz/bossa-gestation idea is, however, fanciful. Aside from the theme statements of "Ginza Samba," Sextet is set in the sumptuously lyrical but altogether "hotter," and firmly US-centric style with which Getz, under the guidance of his manager, Norman Granz, had become a major star by the late 1950s. Getz's Damascene moment came a few years later, via guitarist Charlie Byrd. On a tour of Brazil in 1961, Byrd fell in love with bossa nova; once returned to the US, he sought out Getz, played him the LPs he had brought back from Brazil, and suggested they get together and record their own album in the style. Getz needed no persuading, instantly recognizing that he and bossa nova were made for each other. The result was Getz and Byrd's Jazz Samba (Verve, 1962), plus, in due course, its hit single "Desafinado" (and, over the years, Byrd's acrimonious, and finally successful, pursuit of Getz for a bigger slice of the royalties pie).

A case could, more credibly, be made for Sextet as an album which later reignited Getz's interest in recording with a vibraphonist, following Hamp And Getz (Clef), made with Lionel Hampton in 1955. In 1964, at the height of the bossa boom, Gary Burton joined Getz's band, with which he toured and, in 1964, recorded the album Nobody Else But Me (only released, on Verve, 30 years later). Video footage of Getz and Tjader together does not exist, but Sextet's vibraphone connection provides an excuse to enjoy some wonderfully cheesy US TV footage of the Getz/Burton group (see the second YouTube clip below).

Getz and Tjader had known each other since the early 1950s. Tjader, as a member of pianist George Shearing's group, had been on the February 12, 1954 tour bus journey from Portland to Seattle, at the conclusion of which Getz was arrested for trying to score some heroin by attempting to rob a drug store. The two had long planned to record together, but the opportunity did not arise until their separate touring schedules coincidentally had them both in San Francisco on February 8, 1958, when they recorded Sextet for the Fantasy label. Granz, normally highly protective of his artists, allowed Getz to make the date because, the year before, Fantasy had loaned alto saxophonist Paul Desmond to Granz's Clef label for a quartet record with baritone saxophonist Gerry Mulligan.

Getz and Tjader each brought two colleagues to the session. Tjader brought pianist Guaraldi and guitarist Eddie Duran. Getz brought two precociously talented 21 year olds, bassist Scott LaFaro and drummer Billy Higgins. Both were on the cusp on stardom; LaFaro with pianist Bill Evans' trio, Higgins as a member of alto saxophonist Ornette Coleman's iconoclastic "free" group.

With a lineup like that, you would expect Sextet to make for prime listening, and, indeed, it does. Most OJC reissues include additional material in the shape of unreleased tracks or alternate takes. Sextet does not, because the session went so swimmingly (it was completed in around three hours) that legend holds that second takes were not necessary. Intriguingly, however, critic Ralph Gleason, who was in the studio for the last hour or so, wrote that "no tune, except two, had more than one take and even then it was a tossup as to which to use."

If second takes of such quality were recorded and were still extant in 2011, OJC's remaster would, presumably, include them. The likelihood is that the tapes containing them have been long lost. But no matter. Over the course of its 43 minutes' playing time, Sextet—though not the prologue to Getz's bossa nova—proffers ample delights. ~Chris May

Stan Getz With Cal Tjader Sextet mc
Stan Getz With Cal Tjader Sextet zippy

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Cal Tjader Quartet - Jazz At The Blackhawk

Styles: Vibraphone Jazz 
Year: 1957
File: MP3@320K/s
Time: 44:04
Size: 103,0 MB
Art: Front

(6:56)  1. Bill B.
(4:06)  2. Land's End
(6:15)  3. I'll Remember April
(4:42)  4. Blues In The Night
(3:43)  5. Thinking Of You, MJQ
(3:39)  6. I've Never Been In Love Before
(5:15)  7. Two For Blues Suite
(4:55)  8. When The Sun Comes Out
(4:29)  9. Lover, Come Back To Me

Latin jazz collectors note: the title emphatically is Jazz at the Blackhawk, and even the most determined listener will not find an iota of Cal Tjader's explorations of Latin rhythms here. In its place, we get a sturdy set of bop-flavored workouts by Tjader's expert quartet, recorded live in San Francisco's famous long-defunct nightspot. Tjader himself often sounds like Milt Jackson as he handles the mallets fluidly through a set of standards, a pair of originals by himself and his wife, and appropriately enough a witty Baroque-like tune by his pianist Vince Guaraldi called "Thinking of You, MJQ." Eugene "The Senator" Wright (bass) and Al Torre (piano) make up the bop rhythm section, and as long as you know what you're getting, a good time can be had. ~ Richard S.Ginell http://www.allmusic.com/album/jazz-at-the-blackhawk-mw0000203638

Personnel: Cal Tjader (vibraphone); Vince Guaraldi (piano); Gene Wright (bass); Al Torre (drums).

Jazz At The Blackhawk

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Anita O'Day - Jazz Round Midnight

Styles: Jazz, Vocal
Year: 1997
File: MP3@224K/s
Time: 55:27
Size: 92,5 MB
Art: Front

(3:40)  1. Angel Eyes
(4:03)  2. A nightingale sang in Berkeley Square
(3:38)  3. We'll be together again
(3:49)  4. I cover the waterfront
(2:56)  5. If the moon turns green
(3:10)  6. Early autumn
(3:06)  7. I'm not lonely
(3:02)  8. A lover is blue
(3:22)  9. Tenderly
(2:29) 10. I'm not supposed to be blue blues
(4:15) 11. You came a long way from St'Louis
(3:36) 12. Trac'lin light
(3:57) 13. Man with a horn
(3:55) 14. I can't get started
(2:57) 15. You don't know what love is
(3:24) 16. Crazy, he calls me

In keeping with the Jazz 'Round Midnight theme, this Anita O'Day sampler errs on the mellow side of things with 16 after-hours gems from the lady of bop vocal rhythm. For fans more interested in sampling all of O'Day's talents, though, there's such well-balanced Verve collection as Jazz Masters and Compact Jazz to check out. But, if your optimal inroad to jazz vocals is a smooth one, this disc with ballad highlights like "Man With a Horn," "I'm Not Lonely," and "Early Autumn" will make for ideal listening. And while O'Day is not the first word in jazz ballads (think June Christy or Ella Fitzgerald), her beguiling delivery along with the disc's wealth of top-notch charts and amazing cast of sidemen makes up for any lack of rarefied mood moments. Packed with gems from the singer's '50s and early-'60s prime, Jazz 'Round Midnight: Anita O'Day will make the familiarizing process as easy as sipping a glass of French red. ~ Stephen Cook http://www.allmusic.com/album/jazz-round-midnight-anita-oday-mw0000024656

Personnel: Anita O'Day (vocals); Herb Ellis, Howard Roberts , Al Hendrickson, Al Viola, Tal Farlow, Barney Kessel, Barry Galbraith (guitar); Corky Hale (harp); Lou Raderman, Dan Lube (violin); Virginia Majewski (viola); Walter Levinsky (clarinet, alto saxophone); Bud Shank (woodwinds, alto saxophone); Jimmy Giuffre (woodwinds, baritone saxophone); Alex Harding (woodwinds); Joe Maini (alto saxophone, tenor saxophone); Herb Geller, Lennie Niehaus, Phil Woods (alto saxophone); Georgie Auld, Jerome Richardson, Richie Kamuca, Zoot Sims, Bill Perkins, Bob Cooper (tenor saxophone); Chuck Gentry, Jack DuLong (baritone saxophone); Stu Williamson (trumpet, trombone); Conrad Gozzo , Conte Candoli, Phil Gilbert, Bill Catalano, John Anderson , Herb Pomeroy, Jack Sheldon, Jules Chaiken, Al Porcino, Pete Candoli, Ray Linn, Ray Triscari, Sam Noto, Lee Katzman (trumpet); Milt Bernhart, Richard Taylor "Dick" Nash , Lou McCreary, Frank Rosolino, George Roberts , Kent Larsen, Willie Dennis , Kenny Shroyer, Bob Enevoldsen, Archie LeCoque, Jim Amlotte, Lloyd Ulyate (trombone); Paul Smith (piano, celesta); Bud Lavin, Robert Corwin , Hank Jones , Jimmy Rowles, Lonnie Hewitt, Marty Paich, Oscar Peterson, Russ Freeman (piano); Larry Bunker (vibraphone, drums); Bob Brookmeyer, Cal Tjader (vibraphone); Johnny Rae, Mel Lewis, Alvin Stoller, John Poole (drums).

Jazz Round Midnight

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Cal Tjader - Soul Sauce

Styles: Vibraphone Jazz
Year: 1964
File: MP3@320K/s
Time: 58:30
Size: 134,7 MB
Art: Front

(2:27)  1. Soul Sauce (Guachi Guaro)
(4:30)  2. Afro-Blue
(3:38)  3. Pantano
(3:16)  4. Somewhere in the Night
(4:03)  5. Maramoor Mambo
(5:30)  6. Tanya
(5:21)  7. Leyte
(4:03)  8. Spring Is Here
(4:52)  9. João
(2:32) 10. Soul Sauce (Rough Mix)
(5:42) 11. Monkey Beams
(8:42) 12. Ming
(3:48) 13. Mamblues

Soul Sauce is one of the highlights from Tjader's catalog with its appealing mixture of mambo, samba, bolero, and boogaloo styles. Tjader's core band  long-time piano player Lonnie Hewitt, drummer Johnny Rae and percussionist's Willie Bobo and Armanda PerazaÑ starts things off with a cooled down version of Dizzy Gillespie and Chano Pozo's latin jazz classic "Guachi Guaro (Soul Sauce)". With the help of guitarist Kenny Burrell, trumpeter Donald Byrd, and tenor saxophonist Jimmy Heath they offer up a lively version of Mongo Santamaria's "Afro Blue." Sticking to his music's "Mambo Without a Migraine" reputation, though, Tjader's musicians keep things fairly calm, especially on Latinized ballads such as Billy May's "Somewhere In the Night" and on midtempo swingers like "Tanya." On Soul Sauce Tjader had perfected a middle ground between the brisk, collegiate mambo of his early Fantasy records and the mood-heavy sound of Asian themed albums like Breeze From the East. In the process, he dodged the "Latin lounge" label with an album full of smart arrangements, subtly provocative vibe solos, and intricate percussion backing. ~ Stephen Cook http://www.allmusic.com/album/soul-sauce-mw0000319658

Personnel: Cal Tjader (vibraphone); Willie Bobo (vocals, percussion); June Magruder (vocals); Kenny Burrell (guitar); Jimmy Heath (tenor saxophone); Donald Byrd (trumpet); Lonnie Hewitt (piano); Bob Bushnell (electric bass, bongos); Grady Tate, Johnny Rae (drums); Alfredito Valdez, Jr., Alberto Valdés, Armando Peraza (percussion).

Soul Sauce

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Anita O'Day & Cal Tjader - Thanks For The Memories

Bitrate: MP3@320K/s
Time: 31:51
Size: 72.9 MB
Styles: Vocal jazz
Year: 2010
Art: Front

[2:45] 1. Thanks For The Memories
[2:59] 2. It Shouldn't Happen To A Dream
[2:46] 3. Just In Time
[2:22] 4. Under A Blanket Of Blue
[2:52] 5. That's Your Red Wagon
[3:02] 6. Peel Me A Grape
[2:27] 7. An Occasional Man
[2:20] 8. The Party's Over
[2:23] 9. I Believe In You
[1:55] 10. Mr. Sandman
[3:23] 11. Spring Will Be A Little Late
[2:32] 12. I'm Not Supposed To Be Blue

Anita O'Day (born Anita Belle Colton; October 18, 1919 – November 23, 2006) was an American jazz singer widely admired for her sense of rhythm and dynamics, and her early big band appearances that shattered the traditional image of the "girl singer". Refusing to pander to any female stereotype, O'Day presented herself as a "hip" jazz musician, wearing a band jacket and skirt as opposed to an evening gown. She changed her surname from Colton to O'Day, pig Latin for "dough," slang for money.

O'Day, along with Mel Tormé, is often grouped with the West Coast cool school of jazz. Like Tormé, O'Day had some training in jazz drums (courtesy of her first husband Don Carter); her longest musical collaboration was with jazz drummer John Poole. While maintaining a central core of hard swing, O'Day's skills in improvisation of rhythm and melody put her squarely among the pioneers of bebop.

She cited Martha Raye as the primary influence on her vocal style, also expressing admiration for Mildred Bailey, Ella Fitzgerald, and Billie Holiday. She always maintained that the accidental excision of her uvula during a childhood tonsillectomy left her incapable of vibrato, and unable to maintain long phrases. That botched operation, she claimed, forced her to develop a more percussive style based on short notes and rhythmic drive. However, when she was in good voice she could stretch long notes with strong crescendos and a telescoping vibrato, e.g. her live version of "Sweet Georgia Brown" at the 1958 Newport Jazz Festival, captured in Bert Stern's film Jazz on a Summer's Day.

Thanks For The Memories

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Cal Tjader - Latin Jazz With Cal Tjader

Bitrate: MP3@320K/s
Time: 78:24
Size: 179.5 MB
Styles: Latin jazz
Year: 2014
Art: Front

[1:34] 1. Coit Tower
[3:37] 2. The Last Luff
[4:35] 3. Lucero
[3:16] 4. Mood For Milt
[2:31] 5. Raccoon Straits
[3:21] 6. Running Out
[5:59] 7. Triplet Blues
[3:49] 8. Viva Cepeda
[3:45] 9. The Continental
[3:13] 10. Star Eyes
[7:28] 11. The Grant Avenue Suite
[2:17] 12. Ode To A Beat Generation
[4:20] 13. Union Square
[4:37] 14. Sigmund Stern Groove
[3:43] 15. Skyline Waltz
[3:06] 16. Martha
[4:47] 17. Mi Guaguanco
[4:08] 18. Cubano Chant
[4:58] 19. Tu Crees Que
[3:13] 20. Stella By Starlight

Callen Radcliffe Tjader, Jr. (/ˈtʃeɪ.dər/ CHAY-der; July 16, 1925 – May 5, 1982), known as Cal Tjader, was an American Latin jazz musician, known as the most successful non-Latino Latin musician. He also explored various other jazz idioms but never abandoned the music of Cuba, the Caribbean, and Latin America, performing it until his death.

Tjader primarily played the vibraphone. He was accomplished on the drums, bongos, congas, timpani, and the piano. He worked with numerous musicians from several cultures. He is often linked to the development of Latin rock and acid jazz. Although fusing jazz with Latin music is often categorized as "Latin jazz" (or, earlier, "Afro-Cuban jazz"), Tjader's output swung freely between both styles. He won a Grammy in 1980 for his album La Onda Va Bien, capping off a career that spanned over forty years.

Latin Jazz With Cal Tjader

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Various - Latin Nights (2-Disc Set)

Album: Latin Nights (Disc 1)
Bitrate: MP3@320K/s
Time: 67:54
Size: 155.4 MB
Styles: Latin jazz
Year: 2008

[6:59] 1. Juan Pablo Torres - When Day Breaks
[5:23] 2. Julio Barreto Cuban Quartet - Coming Home Baby
[4:40] 3. Cheo Feliciano - Anacona
[4:11] 4. Armando Peraza - Souled Out
[2:36] 5. Celia Cruz - Burundanga
[5:05] 6. Humberto Ramírez - Paradise
[3:33] 7. Armando Peraza - Wild Thing
[7:32] 8. Juan Pablo Torres - Moonlight Serenade 2
[6:12] 9. Michael Philip Mossman - Iron And Blood
[9:17] 10. Ray Barretto - Club Mix 50 Aniversario
[4:52] 11. Armando Peraza - Viva Peraza
[7:29] 12. Ray Barretto - Fuerza Gigante

Latin Nights (Disc 1)

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Album: Latin Nights (Disc 2)
Bitrate: MP3@320K/s
Time: 52:18
Size: 119.7 MB
Styles: Latin jazz
Year: 2008
Art: Front

[7:57] 1. Juan Manuel Ceruto - A Puerto Padre
[4:43] 2. Josep Soto - Tornasol
[2:59] 3. Gary McFarland - Flamingo
[2:23] 4. El Rey Del Mundo - Originale
[4:26] 5. Voces Del Milenio - Juguete
[3:05] 6. Cal Tjader - Morning Mist
[3:13] 7. Armando Peraza - Al Bajar El Sol
[5:09] 8. Humberto Ramírez - Con El Corazon
[4:57] 9. Cal Tjader - Nica's Dream
[6:31] 10. Humberto Ramírez - Tus Ojos
[3:14] 11. Gabor Szabo - The Look Of Love
[3:35] 12. Gary McFarland - O Morro

Latin Nights (Disc 2)

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Anita O'Day, Cal Tjader - Time For 2

Bitrate: MP3@320K/s
Time: 31:45
Size: 72.7 MB
Styles: Jazz vocals
Year: 1962/1999
Art: Front

[2:45] 1. Thanks For The Memory
[2:59] 2. It Shouldn't Happen To A Dream
[2:46] 3. Just In Time
[2:21] 4. Under A Blanket Of Blue
[2:48] 5. That's Your Red Wagon
[3:02] 6. Peel Me A Grape
[2:26] 7. An Occasional Man
[2:20] 8. The Party's Over
[2:23] 9. I Believe In You
[1:54] 10. Mr. Sandman
[3:23] 11. Spring Will Be A Little Late This Year
[2:32] 12. I'm Not Supposed To Be Blue Blues

In another experiment, producer Creed Taylor teams O'Day with the alternately Latin and bop-grounded quartet of vibraphonist Cal Tjader -- and he gets some amazing performances from this team. O'Day sounds as if she is delighted with Tjader's polished Afro-Cuban grooves, gliding easily over the rhythms, toying with the tunes, transforming even a tune so locked into its trite time as "Mr. Sandman" into a stimulating excursion. Indeed, O'Day's freewheeling phrasing becomes downright sexy on "That's Your Red Wagon" and Dave Frishberg's delicious parody of a spoiled honeybunch, "Peel Me a Grape." Also, thanks to Taylor's obsession with good engineering and tasteful applications of reverb, O'Day's voice sounds much fuller and more attractive in his productions than on her Norman Granz-produced albums. ~Richard S. Ginnell

Time For 2

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Cal Tjader - Life Is But A Dream: Latin Summer Grooves

Size: 181,6 MB
Time: 77:32
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Latin Jazz
Art: Front

01. It Ain't Necessarily So (2:02)
02. Yesterdays (3:20)
03. Mambo Sangria (2:43)
04. I've Grown Accustomed To Her Face (3:56)
05. Fried Bananas (2:34)
06. Mambo At The 'M' (4:38)
07. September (3:47)
08. Amazon (2:31)
09. Menina Bonita (Pretty Young Girl) (7:22)
10. Out Of Nowhere (3:00)
11. La Bamba (2:29)
12. The Lady Is A Tramp (2:51)
13. Close Your Eyes (3:09)
14. Viva Cepeda (3:40)
15. Solar Heat (2:38)
16. East Of The Sun (And West Of The Moon) (3:00)
17. Armando's Bossa (5:38)
18. For All We Know (5:41)
19. Para Ti (3:28)
20. Skyline Waltz (3:43)
21. Mambo Macumba (2:18)
22. For Heaven's Sake (2:54)

Cal Tjader (July 16, 1925–May 5, 1982) was an American Latin jazz musician. Unlike other American jazz musicians who experimented with the music from Cuba, the Caribbean, and Latin America, he never abandoned it, performing it until his death.

Tjader (pronounced "chay-der") primarily played the vibraphone. He was also accomplished on the drums, bongos, congas, timpani, and the piano. He worked with numerous musicians from several cultures. He is often linked to the development of Latin rock and acid jazz. Although fusing jazz with Latin music is often categorized as "Latin jazz" (or, earlier, "Afro-Cuban jazz"), Tjader's output swung freely between both styles.

Life Is But A Dream

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Cal Tjader - Plugs In

Bitrate: MP3@320K/s
Time: 35:00
Size: 80.2 MB
Styles: Post bop, Vibraphone jazz
Year: 1969/2007
Art: Front

[4:08] 1. Alonzo
[3:59] 2. Lady Madonna
[5:03] 3. Nica's Dream
[4:15] 4. Spooky
[5:09] 5. St. Croix
[2:59] 6. Tra-La-La Song
[3:05] 7. Morning Mist
[6:19] 8. Get Out Of My Way

The mostly obscure material (other than "Nica's Dream") and the time period may make one think that is an overtly commercial release from vibraphonist Cal Tjader. Although he utilizes the electric piano of Al Zulaica and electric bassist Jim McCabe (in addition to Armando Peraza and John Rae on percussion), Cal Tjader's music on the Live at the Lighthouse sessions found on Plugs In is actually not all that different from his usual infectious brand of Latin jazz. The ensembles swing, there are plenty of heated rhythms, and the melodies are embraced with enthusiasm. The brief playing time (33 minutes) is a minus, and few surprises occur, but the music is enjoyable. ~Scott Yanow

Plugs In

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Cal Tjader - Sweeter Than Sweetness: Summer Passion

Bitrate: MP3@320K/s
Time: 74:50
Size: 171.3 MB
Styles: Latin jazz, Vibraphone jazz
Year: 2015
Art: Front

[5:26] 1. On Green Dolphin Street
[3:02] 2. Paunetto's Point
[2:48] 3. Misty
[2:56] 4. Speak Low
[6:53] 5. Summertime
[4:55] 6. Noonie's Groove
[4:08] 7. Triste
[2:42] 8. Mambo In Miami
[2:25] 9. Ben-Hur
[4:39] 10. Half And Half
[5:26] 11. Stompin' At The Savoy
[2:35] 12. Davito
[6:52] 13. Weep
[4:34] 14. This Can't Be Love
[2:31] 15. Ecstacy
[4:24] 16. Two Hundred Twenty Two Time
[3:52] 17. Fred's Ahead
[4:34] 18. Stablemates

Twofer: Tracks 1, 2, 3, 4, 7, 8, 9, 10, 12, 15 from "In A Latin Bag". Tracks 5, 6, 11,13,14, 16, 17, 18 from "Saturday Night/Sunday Night At The Blackhawk, San Francisco".

Cal Tjader (July 16, 1925–May 5, 1982) was an American Latin jazz musician. Unlike other American jazz musicians who experimented with the music from Cuba, the Caribbean, and Latin America, he never abandoned it, performing it until his death.

Tjader (pronounced “chay-der”) primarily played the vibraphone. He was also accomplished on the drums, bongos, congas, timpani, and the piano. He worked with numerous musicians from several cultures. He is often linked to the development of Latin rock and acid jazz. Although fusing jazz with Latin music is often categorized as “Latin jazz” (or, earlier, “Afro-Cuban jazz”), Tjader’s output swung freely between both styles.

Sweeter Than Sweetness: Summer Passion

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Cal Tjader - Black Orchid

Bitrate: MP3@320K/s
Time: 74:43
Size: 171.0 MB
Styles: Latin jazz, West Coast jazz
Year: 1993
Art: Front

[2:15] 1. Mi China
[3:10] 2. Close Your Eyes
[4:39] 3. Mambo At The M
[2:38] 4. Contigo
[2:27] 5. Bonita
[4:32] 6. The Lady Is A Tramp
[3:23] 7. Black Orchid
[3:43] 8. Happiness Is A Thing Called Joe
[2:07] 9. I've Waited So Long
[3:25] 10. Out Of Nowhere
[5:19] 11. Cuajira At The Blackhawk
[3:16] 12. I Want To Be Happy
[3:54] 13. The Nearness Of You
[3:48] 14. Pete Kelly's Blues
[3:51] 15. A Minor Goof
[3:20] 16. Undecided
[3:20] 17. Philadelphia Mambo
[4:10] 18. Flamingo
[3:59] 19. Stompin' At The Savoy
[3:18] 20. Laura
[4:00] 21. Lullaby Of Birdland

This CD has all of the music originally on the two LPs Cal Tjader Goes Latin and The Cal Tjader Quintet. Since each album had two sessions apiece, the CD does a fine job of giving one a sampling of the influential vibraphonist's popular Latin jazz groups of the era. Among the key sideman are flutist Paul Horn; Jose "Chombo" Silva on tenor; pianists Lonnie Hewitt, Vince Guaraldi, and Manuel Duran; and Mongo Santamaria and Willie Bobo on percussion. The music (a mixture of Latinized standards and newer originals) is quite appealing, showing why this infectious blending of bop with Latin rhythms has always been one of the most accessible styles of jazz. ~Scott Yanow

Black Orchid

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