The Cal Tjader Quintet, Live at Club Macumba San Francisco 1956

(Cal Tjader on vibes, Vince Guaraldi on piano, Eugene Wright on bass and Al Torre on drums. Sunset School Auditorium, Carmel, CA, 1957. Photograph by Peter Breinig, Vern Fisher's Monterey Herald collection.)

Club Macumba taped some of Tjader’s sets in September and/or October 1956. More than 50 years later, Trapeze Music and Entertainment Ltd., based in England, unearthed these tracks––not originally intended for an album––and issued a two-CD set on their Acrobat label in December 2012. Live at Club Macumba San Francisco 1956 both gives one a seat in this close-quartered, convivial environment and an opportunity to hear the fairly new configuration test their ideas, and at the same time, embrace the cohesive Tjader sound. 

The following is a preview from the second edition of my Cal Tjader biography:

The unit’s songbook was limited, so several tunes are played twice over the course of these separate shows. For instance, Tjader’s straight-ahead swinger “Bill B.,” which like Luis Kant’s “Mambo at the ‘M’,” is presented here before it was officially recorded, and “Philadelphia Mambo.” The first version of “Bill B.” contains an elongated preamble and inventive improvisations by the composition’s author that would be the highlight of any all-star jam session. When he reprises the tune, the introduction is excised, Vince Guaraldi is given more solo space and the running time, while still not compact, is shorter. As for “Philadelphia Mambo,” the initial arrangement doesn’t just feature Tjader’s vibes but a burst of creativity from the leader on timbales as well. During the second go-round, he switches the spotlight over to the congas of Kant.

Drummer Al Torre, under the tutelage of Tjader and Kant, keeps good time on timbales. And even though he doesn't remember it, does a little solo stretch on the remarkably sophisticated and entertaining “Mambo at the ‘M’.” Torre also plays bongos on both versions of the ballad "For Heaven's Sake." 

The rapport Tjader has with the audience and his sidemen, which is audible throughout theses sets, is a bonus in this wonderful listening experience.

Finally, the booklet notes by Paul Watts are very informative. Michael Weil, the man with whom I collaborated on Cal Tjader's discography, and I made significant and properly acknowledged contributions. Moreover, I let Paul use two photos from my collection; the one on the back cover of the booklet is not featured in either edition of my biography. All in all, I am grateful to him for being included in this valuable musical package.