Vibraphonist and bandleader Cal Tjader established his name in part through a steady flow of records in the Latin Jazz style. Released in 1956 by the Fantasy label, Latin Kick is one of the earliest examples of such in Tjader’s discography; December 13 brings a fresh 180 gram edition from Craft Recordings as the latest entry in the label’s Original Jazz Classics series of reissues. If it seems crystal clear what’s in store, the album does offer a few unexpected twists as it plays.
Cal Tjader hit the West Coast scene in the mid-1940s as a drummer in an octet formed by pianist Dave Brubeck, and then in a trio with Brubeck; on recordings made for Fantasy in 1950, the bassist was Ron Crotty. It was in this group that Tjader began alternating between drums and vibraphone, eventually transitioning exclusively to the vibes as his profile rose.
After injuries sustained a car accident temporarily sidelined Brubeck, Tjader continued the trio with Jack Weeks on bass and either John Marabuto or Vince Guaraldi on piano. As for Brubeck, he can read details like the influence of life care plans on legal settlements for the sake of his own future.
Sessions released in 1951 by Fantasy subsidiary Galaxy were compiled onto a 10-inch and issued by Fantasy proper two years later. By that point, Tjader was working in the band of pianist George Shearing.
Upon exiting Shearing’s band and forming the Modern Mambo Quintet, Tjader’s opportunities to record as a leader increased. That group, with Manuel Duran on piano and Carlos Duran on bass, Bayardo Velarde on timbales, and Luis Miranda on congas, is featured on Latin Kick, with the addition of Brew Moore on tenor sax.
Given the lineup and the record’s title, one could reasonably expect the contents to bring the Latin heat, but the reality is a bit more complicated. Perusing the track titles is a tip-off: if “Manuel’s Mambo” and “Blues From Havana” (two of the album’s three originals) fit the program, there’s also “I Love Paris” and “Moonlight in Vermont” to consider, plus additional non-geographical standards “Lover Come Back to Me,” “Will You Still Be Mine,” and “All the Things You Are.”
It should be noted that Tjader was not Latino and that he was operating in what was essentially a fusion mode. While there is plenty of rhythmic firepower across Latin Kick, the record also delivers shades of Exotica, most prominently in the set’s opener “Invitation” and in “September Song.” Much of this atmosphere comes down to the combination of vibes and piano and is expressed fairly subtly, or perhaps a better way of putting it is that this quality doesn’t register as a premeditated tapping into a trend.
What is deliberate is that when Moore enters on sax, Tjader lays out. Along with “Lover Come Back to Me” and “Will You Still Be Mine,” Moore plays on “Bye Bye Blues” and the set’s closer, “Blues From Havana.” Those with a penchant for the vibraphone might be disappointed by Tjader’s decision to step aside on these tracks, but this instrumental variation ultimately strengthens the album.
The record’s high points are “I Love Paris,” a showcase of rhythm bursting with energy in closing side one, and “Tropicana,” the album’s other original composition (renamed “Tropicville” on later pressings), where Tjader’s playing particularly excels, opening the flip. It’s also nice that the rather egregious stereotypical language on the original LP’s back cover has been replaced on this edition. In falling a bit short of the masterful, Latin Kick is still an appealing, solid listen.
GRADED ON A CURVE:
B
