Biography by Richard S. Ginell
Cal Tjader was undoubtedly the most famous non-Latino leader of Latin jazz bands, an extraordinary distinction. From the 1950s until his death, he was practically the point man between the worlds of Latin jazz and mainstream bop; his light, rhythmic, joyous vibraphone manner could comfortably embrace both styles. His numerous recordings for Fantasy and Verve and long-standing presence in the San Francisco Bay Area eventually had a profound influence upon Carlos Santana, and thus Latin rock. He also played drums and bongos, the latter most notably on the George Shearing Quintet's puckishly titled "Rap Your Troubles in Drums," and would occasionally sit in on piano as well.
Tjader studied music and education at San Francisco State College before hooking up with fellow Bay Area resident Dave Brubeck as the drummer in the Brubeck Trio from 1949 to 1951. He then worked with Alvino Rey, led his own group, and in 1953, joined George Shearing's then hugely popular quintet as a vibraphonist and percussionist. It was in Shearing's band that Tjader's love affair with Latin music began, ignited by Shearing's bassist Al McKibbon, nurtured by contact with Willie Bobo, Mongo Santamaria, and Armando Peraza, and galvanized by the '50s mambo craze. When he left Shearing the following year, Tjader promptly formed his own band that emphasized the Latin element yet also played mainstream jazz. Bobo and Santamaria eventually joined Tjader's band as sidemen, and Vince Guaraldi served for a while as pianist and contributor to the band's songbook ("Ginza," "Thinking of You, MJQ"). Tjader recorded a long series of mostly Latin jazz albums for Fantasy from the mid-'50s through the early '60s, switching in 1961 to Verve, where under Creed Taylor's aegis he expanded his stylistic palette and was teamed with artists like Lalo Schifrin, Anita O'Day, Kenny Burrell, and Donald Byrd. Along the way, Tjader managed to score a minor hit in 1965 with "Soul Sauce," a reworking of Dizzy Gillespie/Chano Pozo's "Guacha Guaro," which Tjader had previously cut for Fantasy. Tjader returned to Fantasy in the 1970s, then in 1979 moved over to the new Concord Picante label, where he remained until his death.
https://www.allmusic.com/artist/cal-tjader-mn0000643549/biography
Cal Tjader was undoubtedly the most famous non-Latino leader of Latin jazz bands, an extraordinary distinction. From the 1950s until his death, he was practically the point man between the worlds of Latin jazz and mainstream bop; his light, rhythmic, joyous vibraphone manner could comfortably embrace both styles. His numerous recordings for Fantasy and Verve and long-standing presence in the San Francisco Bay Area eventually had a profound influence upon Carlos Santana, and thus Latin rock. He also played drums and bongos, the latter most notably on the George Shearing Quintet's puckishly titled "Rap Your Troubles in Drums," and would occasionally sit in on piano as well.
Tjader studied music and education at San Francisco State College before hooking up with fellow Bay Area resident Dave Brubeck as the drummer in the Brubeck Trio from 1949 to 1951. He then worked with Alvino Rey, led his own group, and in 1953, joined George Shearing's then hugely popular quintet as a vibraphonist and percussionist. It was in Shearing's band that Tjader's love affair with Latin music began, ignited by Shearing's bassist Al McKibbon, nurtured by contact with Willie Bobo, Mongo Santamaria, and Armando Peraza, and galvanized by the '50s mambo craze. When he left Shearing the following year, Tjader promptly formed his own band that emphasized the Latin element yet also played mainstream jazz. Bobo and Santamaria eventually joined Tjader's band as sidemen, and Vince Guaraldi served for a while as pianist and contributor to the band's songbook ("Ginza," "Thinking of You, MJQ"). Tjader recorded a long series of mostly Latin jazz albums for Fantasy from the mid-'50s through the early '60s, switching in 1961 to Verve, where under Creed Taylor's aegis he expanded his stylistic palette and was teamed with artists like Lalo Schifrin, Anita O'Day, Kenny Burrell, and Donald Byrd. Along the way, Tjader managed to score a minor hit in 1965 with "Soul Sauce," a reworking of Dizzy Gillespie/Chano Pozo's "Guacha Guaro," which Tjader had previously cut for Fantasy. Tjader returned to Fantasy in the 1970s, then in 1979 moved over to the new Concord Picante label, where he remained until his death.
https://www.allmusic.com/artist/cal-tjader-mn0000643549/biography
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Biografía de Richard S. Ginell
Cal Tjader fue sin duda el líder no latino más famoso de las bandas de jazz latino, una distinción extraordinaria. Desde los años 50 hasta su muerte, fue prácticamente el hombre de referencia entre los mundos del jazz latino y el bop de corriente principal; su manera ligera, rítmica y alegre de vibráfono podía abarcar cómodamente ambos estilos. Sus numerosas grabaciones para Fantasy y Verve y su larga presencia en el área de la bahía de San Francisco tuvieron finalmente una profunda influencia en Carlos Santana, y por lo tanto en el rock latino. También tocaba la batería y los bongos, este último más notablemente en el quinteto de George Shearing titulado "Rap Your Troubles in Drums", y ocasionalmente se sentaba en el piano también.
Tjader estudió música y educación en el San Francisco State College antes de unirse a Dave Brubeck, residente en el área de la bahía, como baterista del Brubeck Trio de 1949 a 1951. Luego trabajó con Alvino Rey, dirigió su propio grupo, y en 1953, se unió al entonces popular quinteto de George Shearing como vibrafonista y percusionista. Fue en la banda de Shearing donde comenzó el amor de Tjader por la música latina, encendido por el bajista de Shearing Al McKibbon, alimentado por el contacto con Willie Bobo, Mongo Santamaría, y Armando Peraza, y galvanizado por la locura del mambo de los 50. Cuando dejó Shearing al año siguiente, Tjader rápidamente formó su propia banda que enfatizó el elemento latino pero también tocó jazz convencional. Bobo y Santamaría eventualmente se unieron a la banda de Tjader como sidemen, y Vince Guaraldi sirvió por un tiempo como pianista y colaborador del libro de canciones de la banda ("Ginza", "Thinking of You, MJQ"). Tjader grabó una larga serie de álbumes de jazz, en su mayoría latinos, para Fantasy desde mediados de los años 50 hasta principios de los 60, y en 1961 cambió a Verve, donde bajo la tutela de Creed Taylor amplió su paleta estilística y se asoció con artistas como Lalo Schifrin, Anita O'Day, Kenny Burrell y Donald Byrd. En el camino, Tjader logró anotar un éxito menor en 1965 con "Soul Sauce", una reelaboración de "Guacha Guaro" de Dizzy Gillespie/Chano Pozo, que Tjader había cortado previamente para Fantasía. Tjader regresó a Fantasía en los años 70, luego en 1979 se trasladó a la nueva discográfica Concord Picante, donde permaneció hasta su muerte.
https://www.allmusic.com/artist/cal-tjader-mn0000643549/biography
Cal Tjader fue sin duda el líder no latino más famoso de las bandas de jazz latino, una distinción extraordinaria. Desde los años 50 hasta su muerte, fue prácticamente el hombre de referencia entre los mundos del jazz latino y el bop de corriente principal; su manera ligera, rítmica y alegre de vibráfono podía abarcar cómodamente ambos estilos. Sus numerosas grabaciones para Fantasy y Verve y su larga presencia en el área de la bahía de San Francisco tuvieron finalmente una profunda influencia en Carlos Santana, y por lo tanto en el rock latino. También tocaba la batería y los bongos, este último más notablemente en el quinteto de George Shearing titulado "Rap Your Troubles in Drums", y ocasionalmente se sentaba en el piano también.
Tjader estudió música y educación en el San Francisco State College antes de unirse a Dave Brubeck, residente en el área de la bahía, como baterista del Brubeck Trio de 1949 a 1951. Luego trabajó con Alvino Rey, dirigió su propio grupo, y en 1953, se unió al entonces popular quinteto de George Shearing como vibrafonista y percusionista. Fue en la banda de Shearing donde comenzó el amor de Tjader por la música latina, encendido por el bajista de Shearing Al McKibbon, alimentado por el contacto con Willie Bobo, Mongo Santamaría, y Armando Peraza, y galvanizado por la locura del mambo de los 50. Cuando dejó Shearing al año siguiente, Tjader rápidamente formó su propia banda que enfatizó el elemento latino pero también tocó jazz convencional. Bobo y Santamaría eventualmente se unieron a la banda de Tjader como sidemen, y Vince Guaraldi sirvió por un tiempo como pianista y colaborador del libro de canciones de la banda ("Ginza", "Thinking of You, MJQ"). Tjader grabó una larga serie de álbumes de jazz, en su mayoría latinos, para Fantasy desde mediados de los años 50 hasta principios de los 60, y en 1961 cambió a Verve, donde bajo la tutela de Creed Taylor amplió su paleta estilística y se asoció con artistas como Lalo Schifrin, Anita O'Day, Kenny Burrell y Donald Byrd. En el camino, Tjader logró anotar un éxito menor en 1965 con "Soul Sauce", una reelaboración de "Guacha Guaro" de Dizzy Gillespie/Chano Pozo, que Tjader había cortado previamente para Fantasía. Tjader regresó a Fantasía en los años 70, luego en 1979 se trasladó a la nueva discográfica Concord Picante, donde permaneció hasta su muerte.
https://www.allmusic.com/artist/cal-tjader-mn0000643549/biography
Tracklist:
A1 - Gary's Theme - 7:00
A2 - Don't Let Me Be Lonely Tonight - 3:38
A3 - Charisma (She's Got) - 4:03
A4 - Never Can Say Goodbye - 3:01
B1 - Bolero - 6:03
B2 - Cloudburst - 3:01
B3 - Curtain Call - 3:04
B4 - Where Is The Love - 3:05
B5 - I Want You Back - 3:44
Credits
Baritone Saxophone, Flute – Frank Wess (tracks: A2, A4, B5)
Bass – Chuck Rainey (tracks: A1, A3, B1, B2, B4), George Duvivier (tracks: A2, A4, B5), John Heard (tracks: B3)
Congas – King Errison (tracks: A3, B2), Michael Smithe (tracks: A1, B1, B4), Ralph MacDonald (tracks: A2, A4, B5)
Drums – Dick Berk (tracks: A1, B1, B3, B4), Jimmy Johnson (2) (tracks: A2, A4, B5), Paul Humphrey (tracks: A3, B2)
Electric Piano – Mike Wolff (tracks: A1, A3, B1, B2, B4)
Electric Piano, Organ – Merl Saunders (tracks: A3, B2)
Guitar – Joe Beck (tracks: A2, A4, B5), Larry Carlton (tracks: A1, A3, B1, B2, B4)
Guitar [Solo] – Randy Oda (tracks: B1)
Keyboards – Ed Bogas (tracks: A2, A4, B3, B5)
Percussion – Bobbye Hall Porter (tracks: A1, A3, B1, B2, B4)
Shaker – Mayuto Correa (tracks: B3)
Tenor Saxophone – Herman Riley (tracks: A1, A3, B1, B2, B4), Seldon Powell (tracks: A2, A4, B5)
Tenor Saxophone, Flute – Jerome Richardson (tracks: A1, A3, B1, B2, B4)
Trombone – Don Cooke (tracks: A1, B1, B4)
Trumpet – Billy Brooks (tracks: A1, A3, B1, B2, B4), Jon Faddis (tracks: A2, A4, B5), Melvin Moore (2) (tracks: A1, A3, B1, B2, B4), Victor Paz (tracks: A2, A4, B5)
Vibraphone, Timbales, Percussion – Cal Tjader
Notes
A2, A4, B5: Recorded Feb. 7, 1973, at Van Gelder Studios, Englewood Cliffs, N.J.
A1, B1, B4: Recorded Sept. 10, 1973, at Glenn Glen Studios, Hollywood, Ca.
A3, B2: Recorded Sept. 11, 1973, at Glenn Glen Studios, Hollywood, Ca.
B3: Recorded Sept. 20, 1973, at Fantasy Studios, Berkeley, Ca.
Engineer – Eddie Harris (tracks: B3), John Neal (tracks: A1, A3, B1, B2, B4), Rudy Van Gelder (tracks: A2, A4, B5)
Label: Fantasy – F-9446
Released: 1973
Genre: Jazz
Style: Soul-Jazz, Jazz-Funk, Latin Jazz
A1 - Gary's Theme - 7:00
A2 - Don't Let Me Be Lonely Tonight - 3:38
A3 - Charisma (She's Got) - 4:03
A4 - Never Can Say Goodbye - 3:01
B1 - Bolero - 6:03
B2 - Cloudburst - 3:01
B3 - Curtain Call - 3:04
B4 - Where Is The Love - 3:05
B5 - I Want You Back - 3:44
Credits
Baritone Saxophone, Flute – Frank Wess (tracks: A2, A4, B5)
Bass – Chuck Rainey (tracks: A1, A3, B1, B2, B4), George Duvivier (tracks: A2, A4, B5), John Heard (tracks: B3)
Congas – King Errison (tracks: A3, B2), Michael Smithe (tracks: A1, B1, B4), Ralph MacDonald (tracks: A2, A4, B5)
Drums – Dick Berk (tracks: A1, B1, B3, B4), Jimmy Johnson (2) (tracks: A2, A4, B5), Paul Humphrey (tracks: A3, B2)
Electric Piano – Mike Wolff (tracks: A1, A3, B1, B2, B4)
Electric Piano, Organ – Merl Saunders (tracks: A3, B2)
Guitar – Joe Beck (tracks: A2, A4, B5), Larry Carlton (tracks: A1, A3, B1, B2, B4)
Guitar [Solo] – Randy Oda (tracks: B1)
Keyboards – Ed Bogas (tracks: A2, A4, B3, B5)
Percussion – Bobbye Hall Porter (tracks: A1, A3, B1, B2, B4)
Shaker – Mayuto Correa (tracks: B3)
Tenor Saxophone – Herman Riley (tracks: A1, A3, B1, B2, B4), Seldon Powell (tracks: A2, A4, B5)
Tenor Saxophone, Flute – Jerome Richardson (tracks: A1, A3, B1, B2, B4)
Trombone – Don Cooke (tracks: A1, B1, B4)
Trumpet – Billy Brooks (tracks: A1, A3, B1, B2, B4), Jon Faddis (tracks: A2, A4, B5), Melvin Moore (2) (tracks: A1, A3, B1, B2, B4), Victor Paz (tracks: A2, A4, B5)
Vibraphone, Timbales, Percussion – Cal Tjader
Notes
A2, A4, B5: Recorded Feb. 7, 1973, at Van Gelder Studios, Englewood Cliffs, N.J.
A1, B1, B4: Recorded Sept. 10, 1973, at Glenn Glen Studios, Hollywood, Ca.
A3, B2: Recorded Sept. 11, 1973, at Glenn Glen Studios, Hollywood, Ca.
B3: Recorded Sept. 20, 1973, at Fantasy Studios, Berkeley, Ca.
Engineer – Eddie Harris (tracks: B3), John Neal (tracks: A1, A3, B1, B2, B4), Rudy Van Gelder (tracks: A2, A4, B5)
Label: Fantasy – F-9446
Released: 1973
Genre: Jazz
Style: Soul-Jazz, Jazz-Funk, Latin Jazz
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