Might sound a bit kooky, but surprisingly, it works quite well. Many of those albums are still in the Fantasy catalog. While with Shearing Cal made frequent trips to New York and began listening to the Latin New York bands of Tito Puente and Machito. With Brubeck, Tjader hit the big time and he liked it. I wouldn't exactly say there are any barn burners on this release, but it flows nicely from track to track. His recorded output was immense, and many are readily available as his popularity has remained unabated.
Tjader graduated in 1950 with a B. Black label with silver print. Later, the family settled down in San Mateo on the San Francisco Peninsula, and his father opened a dancing school. The various compositions hang together rather well. He grew up with them on the road, tap- dancing his way through early childhood. Gatefold cover with printed inner company sleeve.
. Cal Tjader died May 5, 1982. After high school and a stint in the Navy, Cal ended up at San Francisco State College, where he first met up with Dave Brubeck and Paul Desmond. Between 1954 and 1962, Tjader cut a series of over 20 albums for Fantasy. When Tjader left Shearing, he formed his own group again and began to record prolifically for Fantasy. The list of people who recorded with him during that time is truly impressive. He then signed on with Verve in 1963, and continued on a roll.
If I were to assign a star rating to this record, it would probably be three out of five. The years between 1949 and 1951 were spent with Brubeck. Willie Bobo played jawbone on that one, and Al McKibbon played congas. Cal Tjader crafted one the sleekest and most distinctive sounds in Latin jazz. Some are Eddie Palmieri, on whom he had a major influence Vince Guaraldi, Mongo Santamaria, Willie Bobo, Stan Getz, Al McKibbon, Armando Peraza, Latin percussionist Johnnie Rae, and saxophonist Paul Horn.
His cool, shimmering, jazz vibes, gliding fluidly atop fiery, hot Afro-Cuban rhythms, made for a sonic signature that helped introduce the genre into a mainstream audience. . . . .
. . . . . . .
. . . . . .
. . . . . . .
. . . . .