Cal Tjader Latino Fantasy Records (FLP-8079) For Cal, the whole thing started simply with his deep affection for his Latin rhythms which grew to a point where the drummer-turned-vibraphonist added Afro-Cuban percussion to his jazz group. With each new album released, Cals audience expanded in number and latitude, when it cams time to check his standing, Señor Tjader found himself in the magic circle of top-selling artists - both jazz and Latin! To achieve this without compromising ones musical ideals and values is rather extraordinary. One of the most curious developments in the history of popular music in the United States has been the long-lasting appeal of Latin jazz. Unlike passing dance crazes, from the turkey trot to the twist, the basic mambo - including its cousins, the cha cha cha, the pachanga, the charanga, ect,- has endured and become more popular with each passing year. Since the mid-forties, Latin American music has evolved from an exotic imported product into distinctive segment of the total national music picture in the United States, it has taken root here and become as much a part of our lives as have jazz, rhythm and blues, and hillbilly music. There have been several reasons for this; one was the large influx of Spanish speaking Americans into the country in 1945, another was, of course, the intrinsic rhythmic appeal of the music itself; the interest of jazz musicians like Dizzy Gillespie, Stan Kenton, and George Shearing was also potent factor; of importance, too, has been the arrival here of many fine Latin musicians, most or them deeply interested in jazz, who have elected to settle and work in this country. All these things have kept the Latin musical spirit alive and healthy. Cal Tjaders Latin / Jazz band is one that can both break it up at a large jazz festival (as it did at the Monterey Jazz Festival) and fill an intimate night club for twelve straight weeks with delightful tourists, smiling critics, and a variegated assemblage of local fans. There are reasons for this, of course. For one, Cal lets you hear the medlody; even in an original tune, respect for melodic structure and balance is required of each Tjader sideman. Authentic Latin percussion work is another salient factor in Cals success. Unlike many jazz groups that play Latin music, the Tjader unit features drummers whose command of Latin rhythms is first nature to them. Cal has always selected his men with great care, measuring each candidate for skill in both jazz and Latin techniques as well as checking on his ability to relate musically to the rest of the band and, of course, finding out if he possesses an innate sense of good taste. When you hear a rousing Latin number by Tjader, youre experiencing authentic Afro-Cuban rhythms, undiminished in explosive force from the time they left the West Indies. For ballads, the percussionists step to the rear so that the melody may be heard but not so far as to lose the exciting Cuban pulse. For his Afro-Cuban conga drummer, Cal was fortunate to obtain the services of Mongo Santamaria whom many musicians consider the best conga and bongo practitioner in the United States. Raised in Havana (his grandfather came from Africa), Mongo has the authority and definitiveness on conga drums to be a leader as he is now with his own group and on several Fantasy LPs. He understands, as some Latin drummers do not, the problems of adapting his playing to jazz. In addition he is capable of extended and almost lyrical flights as a soloist, in which he is stimulated and inspired by the reactions of Willie Bobo on timbales. The team of Mongo Santamaria and Willie Bobo is seemingly inexhaustible in its ability to improvise variations and in the ability to extend the electricity of successful improvisations. This record offers four different Tjader bands representing some of the best Cuban talent available in this country in addition to several notable jazzman other then Cal himself. Cal Tjader, Mongo Santamaria, and Willie Bobo appear on all the tracks on this LP and are aided by the following musicians; Lonnie Hewitt is the pianist on all the tracks except A Night In Tunisia, where Vince Guaraldi plays piano; Al McKibbon plays bass on Afro a Blue and A Night in Tunisia, Eddie Coleman is the bassist on Rezo and Cuban Fantasy, and Victor Venegas is the bassist on Mambo Terrifico and The Continental, Jose Chombo Silva is the saxophonist on A Night in Tunisia, Paul Horn is the flutist on Afro Blue and Rolando Lozano is the flutist on Mambo Terrifico and The Continental. These are happy, swinging Latin sessions, brimming with the outgoing spirit of fun and mutual admiration that is characteristic of all Tjader bands. Theres always an aura of conviviality surrounding Cal and his men, which comes from the obvious enjoyment they share in their music. Enjoy! Side A 1. Afro Blue 2. Cuban Fantasy 3. Rezo Side B 1. Mambo Terrifico 2. A Night In Tunisia 3. The Continental Personnel: Cal Tjader: Leader, Vibes, Percussion Paul Horn: Flute Lonnie Hewitt: Acoustic Grand Piano Al McKibbon: Acoustic Bass Eddie Coleman: Acoustic Bass Rolando Lozano: Wooden Flute Victor Venegas; Ampeg Baby Bass Jose Chombo Silva: Tenor Saxophone Vince Guaraldi; Acoustic Grand Piano Musical Arrangements by: Cal Tjader Vince Guaraldi Lonnie Hewitt Produced by: Cal Tjader Executive Producer: Brain Fisher Album Cover Art & Design: Steve Brooks Recording Engineers: Hal Brooke Peter Williams Recorded @: The Black Hawk, San Francisco & Los Angeles FANTASY RECORDS, 1962 A FANTASY RECORDS PRODUCTION
Posted on: Mon, 29 Sep 2014 03:14:39 +0000
Trending Topics
Recently Viewed Topics
© 2015