Unlike Vince Guaraldi's Grace Cathedral concert, vibraphonist Cal Tjader's was not a religious event. In fact, this quintet outing (which includes Lonnie Hewitt on electric piano and the young Poncho Sanchez on congas) is a fairly typical concert for the era, despite the location. As it turned out, Tjader was a replacement for Guaraldi, who had originally been scheduled but had recently passed away. The vibist's Latin jazz group performs the leader's "I Showed Them," Milt Jackson's swinging "Bluesology," a medley from Black Orpheus, and "Body and Soul."
Vibraphonist Cal Tjader is in typically fine form on this live set from 1968. His quintet at the time featured Armand Perazza on congas and pianist Joe Kloess and his repertoire ranged from Afro-Cuban jazz to occasional straightahead tunes. Six of the eight selections on this date are originals by band members or Gary McFarland. Although Tjader had been playing this style of music for 15 years by this time, he still was quite creative and enthusiastic, and is heard throughout in excellent form.
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.
London's and TD's soundscapes are so unique like a score to a movie. The British influence in TD's music within their 40 years' development is bigger and more intensive than most people may have recognised. For those who couldn't join the concert or like to relive it again: here's the full cut of their beat show at the Forum in Kentishtown on Nov. 1st 2008. A kaleidoscope beginning with the new title Trauma and ending with the breathtaking live interpretation of the TD classic Cloudburst Flight.
Total bomb from the Big Three - Cal, Charlie, Tito. A really hard-hitting set from Cal Tjader and one that's done with a good dose of 60s Latin Soul as well! The album was recorded in the early 70s, but it's really got a late 60s New York flavor thanks to arrangers Charlie Palmieri and Tito Puente who cook up a groove that's sockingly soulful, and much more outta site than some of Tjader's other work from the time!
Cal Tjader's Brazilian explorations continue and actually deepen with this release, as he joins forces with a host of progressive young Brazilian musicians, all overseen by producer Airto Moreira. By now, Tjader had figured out how to fit into the blend, doing so by losing himself in the complex mix of Afro-Brazilian rhythms, American funk and 1970s-era electronics, integrating his own identity for the sake of the ensemble. Indeed, Tjader actually appears on marimba on tracks like Joao Donato's "Amazonas" and his collaboration with Hermeto Pascoal, "Mindoro," his playing taking on a more brittle edge as a result.
The new rules Keith Jarrett has made for himself in solo performance are firmly in play on the two-disc Carnegie Hall Concert, recorded in the Isaac Stern Auditorium in September of 2005. Those who found his earlier solo recordings – from Vienna and Köln to La Scala – to be compelling might be a bit disconcerted at first, because of the completely different approach Jarrett has taken to improvising. His concert is divided into shorter segments, or parts, and often changes direction numerous times in the course of a single piece. Indeed, the impression is given almost of composed songs where harmony, melody, and rhythm are pulled to the breaking point and reassembled along new lines.
"…But overall, these performances are more cool jazz than soul-jazz. Soul Bird: Whiffenpoof (which Verve reissued on CD in 2002) isn't among Tjader's essential albums, but it's an enjoyable demonstration of the vibist's ability to be a bit more commercial than usual and still maintain his bop-based integrity." ~allmusicguide