This 1962 set by
Cal Tjader, recorded at the beginning of the bossa nova craze in the United States (released in the same year and on the same label as the smash
Jazz Samba by
Stan Getz and
Charlie Byrd), has one of the most boring titles imaginable, and it doesn't begin to describe the laid-back yet magical innovations in the grooves. Produced by
Creed Taylor, the date was arranged and orchestrated by the great pianist
Clare Fischer (who also wrote the liner notes).
Tjader set out to offer a very modern portrait of the music pouring out of Mexico City by showcasing selected
Mario Ruíz Armengol compositions, and out of Brazil by spotlighting numbers by singers such as
Elisete Cardoso and
João Gilberto.
Tjader's vibes are placed in juxtaposition with
Fischer's piano and percussion by
Changuito,
Milt Holland, and
Johnny Rae, with a woodwind section that included both
Don Shelton and
Paul Horn, and even some wordless exotica vocals by
Ardeen DeCamp. In addition, Brazilian guitar star
Laurindo Almeida helps out on about half the set and contributed "Chôro e Batuque," while
Fischer offers "Elisete," named for the singer. The feel here is gentle with infectious rhythms and beautifully wrought woodwinds (check "Se é Tarde, Me Perdoa"), gorgeous piano, and spacious vibes. The arrangements by
Fischer certainly represent the era, but they endure into the 21st century because of the shining example of interplay between the percussion and melodies (note the breezy "Silenciosa").
Tjader had been playing samba on records for a number of years by this point, and worked with
Getz in 1957, but this was the first place he allowed his own complex yet delightfully subtle melodic (rather than just rhythmic) sensibilities to shine on the vibes. The most remarkable thing about this set is how effortlessly the two traditions blend.