Podcasts about Tjader

How does someone take a solid Broadway musical number and turn it into a Jazz tune? Well, on this episode of Same Difference we hear some interesting results, when "I've Grown Accustomed To Her Face" goes under the microscope. Join AJ and Johnny as they listen to and discuss versions by Rex Harrison, Tony Bennett and Count Basie, Chris Botti and Dean Martin, Chet Baker, Stan Getz and Cal Tjader, and new-to-us artist Scott Chapman.

Welcome to Growthmates — the place to connect with inspiring leaders to help you grow yourself and your product. Here you can learn how companies like Dropbox, Adobe, Amplitude, Canva, and many more are building excellent products and growth culture. Subscribe to get all episodes right to your inbox on katesyuma.substack.com.Listen now and subscribe on your favorite platforms — Apple, Spotify, or watch on YouTube (new!).This time I had a chat with 2 fantastic leaders from SurveyMonkey — Brad, currently Director of Product, and Erica, who was a VP of Design and Research and recently started a new role at Intuit. Both Erica and Brad spent more than 7 years in the company, and we explored the evolution of Growth at SurveyMonkey over these years, and discussed significant chapters in the company's growth journey, including their legendary transition to a product-led growth model.My favorite part of the conversation was when Brad and Erica shared their expectations of ideal partnerships with each other, and how to build and maintain that partnership at a huge scale over the years.If you find this show valuable, please share it with one of your colleagues or friends — it gives huge support to continue creating it. To receive all episodes right in your inbox — subscribe to katesyuma.substack.com This episode is supported by Appcues — the platform that helps you design, deploy, and test captivating onboarding experiences.Appcues created the Product Adoption Academy to help you level up your product adoption for free. Check out the template that I created to help companies uncover meaningful improvements. Find an example of Dropbox Onboarding inside and apply it to review any growth flows: appcues.com/growthmatesKey highlights from this episode:* Optimization of Key Touchpoints: SurveyMonkey's significant growth was driven by the optimization of survey end pages and the homepage, which were critical in enhancing user engagement and conversion rates.* Product-Led Growth Transition: The company successfully transitioned to a product-led growth model, focusing on refining trial experiences, optimizing pricing structures, and improving conversion flows to better meet user needs and drive growth. Brad shared the evolution of Growth at SurveyMonkey since the time he joined and learned from . * Integral Role of Design and Research: Design and research functions were crucial in providing insights that drove the company's strategic decisions, fueling innovation and idea generation essential for growth.* Collaboration Between Product and Design Teams: Erica and Brad openly shared expectations towards each other on the episode — listen to this part! * Cultural Emphasis on Collaboration: we discussed the importance of incorporating collaborative practices like design rituals, which include peer critiques and shared design systems, to maintain alignment and visibility across teams.Listen now and subscribe on your favorite platforms — Apple, Spotify, or watch on YouTube (new!).Follow Growthmates updates on:* Substack Newsletter (for instant inbox delivery): https://katesyuma.substack.com/podcast* LinkedIn: https://www.linkedin.com/company/growthmates-podcast/* Instagram: https://www.instagram.com/growthmates_/Where to find Kate Syuma, Growth Advisor (ex-Miro):* LinkedIn: https://www.linkedin.com/in/ekaterina-syuma/* Newsletter: katesyuma.substack.com* X (Twitter): https://twitter.com/kate_syumaWhere to find our guests:* Bradley Belford, Director of Product at SurveyMonkey: https://www.linkedin.com/in/bradley-belford/* Erica Weiss Tjader, ex-SurveyMonkey VP of Research and Design: https://www.linkedin.com/in/ericatjader/What we've covered in this episode:[02:14] Welcoming Erica & Brad[06:02] SurveyMonkey Growth Chapters and Pivotal Moments[08:11] Transition to Product-Led Growth[10:15] Every Team as a Growth Team[17:19] Role of Design and Research in Strategic Moments[28:59] Product and Design Collaboration at Scale[37:10] Aligning User and Business Outcomes[43:41] Fostering Relationships Between Product and Design Functions[47:36] Balancing Deadlines and Iteration in Growth Initiatives[50:18] The Importance of Collaboration and Design Rituals[51:28] Resources and Key TakeawaysResources Referenced:* "Inspired: How To Create Tech Products Customers Love" by Marty Cagan: https://www.amazon.com/Inspired-Create-Tech-Products-Customers/dp/1119387507 * "Continuous Discovery Habits" by Teresa Torres: https://www.amazon.com/Continuous-Discovery-Habits-Discover-Products/dp/1736633309* "Empowered: Ordinary People, Extraordinary Products" by Marty Cagan: https://www.amazon.com/Empowered-Ordinary-Extraordinary-Products-Silicon/dp/111969129X* UX Collective Community: — a platform for product designers and UX practitioners to share insights, articles, and resources (I also published 2 articles on their Medium).If you enjoyed this episode, don't forget to share it with your colleagues and like-minded friends. For sponsorship and other inquiries reach out to ekaterinasyuma@gmail.com.Subscribe to get more episodes right in your inbox: katesyuma.substack.comThanks for reading Kate's Syuma Newsletter & Growthmates! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit katesyuma.substack.com

durée : 00:59:10 - Banzzaï du jeudi 22 février 2024 - par : Nathalie Piolé -

durée : 00:59:34 - Cal Tjader - par : Alex Dutilh - Zev Feldman a débusqué des concerts inédits de Cal Tjader enregistrés dans les années 1960 au Penthouse Jazz Club de Seattle. Sortie chez Jazz Detective.

durée : 00:59:34 - Cal Tjader - par : Alex Dutilh - Zev Feldman a débusqué des concerts inédits de Cal Tjader enregistrés dans les années 1960 au Penthouse Jazz Club de Seattle. Sortie chez Jazz Detective.

Hablamos sobre los boricuas que participan con los Santos del Potosí en la LNBP de México.

Hoy nos hemos decidido a compartir con vosotros uno de los últimos trabajos de uno de los más grandes vibrafonistas de la historia del jazz, Cal Tjader. El disco se llamó "Gózame Pero Ya" y fue grabado en el año 1980 a través de la venerable discográfica, Concorde Jazz Picante una compañía que fue creada con la única intención de editar la música de Tjader pero que con el tiempo se convirtió en una de las grandes promotoras del jazz latino en todo el mundo. TRACKS 1-Shoshana Levine 2-This Couldn't Be the Real Thing Mulligan, Torme 3-Bye Bye Blues Bennett, Gray, Hamm, Lown 4-Roger's Samba Glenn 5-Close Enough for Love (Theme from Agatha) Mandel, Williams 6-Will You Still Be Mine? Adair, Dennis 7-This Is Always Gordon, Warren CREDITS Cal Tjader Vibraphone, Vocals (Background) Poncho Sanchez Conga, Percussion Mark Levine Fender Rhodes, Piano, Piano (Electric) Rob Fisher Bass Roger Glenn Flute, Percussion Vince Lateano Drums, Percussion Mundell Lowe Guitar

Redes Sociales: Pase Extra: - Facebook: https://www.facebook.com/paseextra​- Instagram: https://www.instagram.com/paseextra/​ Tiktok: https://vm.tiktok.com/ZMe7xY9Qw/ JP: - Instagram: https://www.instagram.com/jean.paul49/​ Tjader Fernandez: - https://instagram.com/tjader4?igshid=YWJhMjlhZTc= --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/pase-extra/support

Mamá, Papá, quiero dejar la carrera y dedicarme a esto. Esta vez junto a: Minerva Pradillo, actriz y modelo: https://www.instagram.com/minerva_pradillo/?hl=es Javier Tjader, guionista, productor y director internacional: https://www.instagram.com/javitjader/?hl=es Si quieres conectarte con tu propósito y tomar acción, escríbeme: . IG: https://www.instagram.com/coachingconana/ . Tu Sesión Zero Gratuita: https://calendly.com/coachingconana/talento . Únete a nuestro Canal de Telegram: https://t.me/coachingconana --- Send in a voice message: https://anchor.fm/elpodcastdelactor/message

durée : 00:59:28 - Arcs en ciel - par : Nathalie Piolé - La playlist jazz de Nathalie Piolé. - réalisé par : Emmanuel Benito

Ever heard of Jug? Gene Ammons along with Sonny Stitt? Maybe Willis Jackson or Red Holloway. These cats were mercenaries on the band stand counting off Cherokee at some ridiculous tempo that would separate the common artist from the professional. Take a trip down to Jim and Andy's and you just might see my guest with Al McKibbon or Cal Tjader playing Afro Cuban melodies with Ray Barretto, or Stomping at the Savoy with mainstay Kenny Burrell. Jazz is really black blues and for a long time a jazzers education was on the streets up the corner and round block from Chess Studios where cats like Ramsey Lewis and Ahmad Jamal paved the way for younger minority improvisers to develop an identity. My guest is as accomplished a player as those listed above. He whistles while he works playing chromatic hypnotic chords to tunes like Afro Blue, mas Ritmo Caliente and Along Came Betty. He came of age in the old school back in the game when albums were being written about the Tender Gender, melodic invention with no words just sounds- mainly acoustic with drummers like Joe Dukes, Idris Muhammad, Elvin Jones, Dick Birk, the aforementioned Tjader, Joe Morello and Art Blakey. These cats were messengers of music with an understanding of their significance to pass the music along to those who were younger, educate them on the history the technique the looseness and unique sound that would ultimately pave the way for their own careers. His collaborations are noteworthy because he got his shot with the masters. Rasa an Roland Kirk, another free king in Charles Mingus, Roy Haynes and Frank Foster. God Bless The Child Richard Wyands welcome to the JFS

I noticed that the great Cal Tjader passed away around 40 years ago today (May 5th), and while I typically don't like doing death anniversaries, it did feel like a good time to revisit some of his records. The feeling of his music can't be understated - it just feels GOOD. Especially right now as spring moves toward summer, it seems perfect to break these albums out. This episode is also a bit of a sequel to an earlier Tjader mix on episode 24 of PFTS - I made sure to play a different selection of tracks, so go back and check that one too if you haven't already! Hope you enjoy.

durée : 00:59:13 - Construire ses rêves - par : Nathalie Piolé - La playlist jazz de Nathalie Piolé. - réalisé par : Fabien Fleurat

Brandford Marsalis - Lazy MamaMa Rainey - Ma Rainey's Black BottomThe Hey-Hey Club Band - Moten SwingLouis Prima - Sing Sing SingFreddie Redd - WigglinShirley Scott - Soul ShoutinMark Murphy - Why Don't You Do Right?Sonny Stitt - Soul ShackCal Tjader - Evil WaysMongo Santamaria - Watermelon Man

https://www.esferajazz.com El vibráfono es un instrumento musical de percusión que está formado por una serie de láminas metálicas colocadas de forma gradual y que vibran al ser golpeadas con baquetas, una técnica similar a la que utliza el piano. El vibráfono fue inventado hacia 1920 siguiendo el patrón del xilófono uno de los pocos instrumentos musicales que no ha sufrido ninguna modificación desde sus orígenes. Es además el único instrumento que nació para ser tocado en una orquesta de jazz y que ha sido posteriormente incorporado a las orquestas de música clásica. A pesar de ello es un instrumento a menudo ignorado y esa es la razón que nos ha llevado a los gatos a dedicarle un programa en este tejado soleado. El vibráfono comenzó a usarse como instrumento de acompañamiento, hasta la llegada de Lionel Hampton y Red Norvo. El primero grabó el primer solo de vibráfono en un tema que se llamó Memories of you mientras que Norvo destacó por su musicalidad interpretando swing y ragtime cosa que sin duda influyó en la consagración del Vibráfono como instrumento solista. Con la evolución del jazz, igualmente evoluciona el vibráfono que poco a poco fue tomando un carácter cada vez más solista. En los 50s aparece Milt Jackson, otro vibrafonista fundamental y a mediados de los años 60 gracias a la aportación de Gary Burton, el instrumento tomará un impulso que lo convertirá en un sonido muy identificable para los amantes del jazz de todo el mundo. Burton es el primero en tocar con cuatro baquetas, ya que hasta el momento el vibráfono había sido tocado, al igual que el xilófono, con sólo dos. Más tarde llegaría gente como Bobby Hutcherson, Tito Puente, Roy Ayers, cal Tjader, Bill Molenhoff, Mike Mainieri, David Friedman o Dave Samuels entre muchos otros grandes. Hoy nos vamos a ocupar del vibráfono.

Prior to full interconnection and the complete digitization of music mastering we had in this country pockets of eccentric engineers who more often then not wore more than one hat. Rudy Van Gelder held down the fort in Englewood Cliffs while performing optometry in the daytime. Michael Cuscuna found his way to Woodstock engineering Bonnie Raitt all the while hosting free form radio programs and writing linear notes. Same for Marty Feldman and Eddie Harris Major cities in this country had venerable studios that cooked with music from across all musical spectrums. Chess Records in Chicago, Stax Records in Memphis, Muscle Shoals in Alabama, Sigma Sound in Philly, MoTown in Detroit and The Record Plant in LA. Another major record creator was Fantasy records. My guest today was a major engineer during the gravy years of the studio after Max and Saul Weiss sold the shop to Saul Zaentz. But as with other engineers my guest wads jack of all trades. He was the rhythm and blues drummer for the label when they were still in Oakland playing with Ray Shanklin and Tower of Power singer Lenny Williams. When he became the lead engineer at Fantasy he sought out and trained younger cats on how to create a warm room sound, when Fatansy expanded he was responsible for outfitting the studios and then hunkering down with a Heavy Axe and David Axelrod, Butterfly Dreaming with Flora Purim, Tambu with Cal Tjader and Charlie Byrd and the NTU Troop with Gary Bartz. He was immersed with all types of musicians. Cats like Sonny Rollins who might come out to cut an album before heading to Japan to Country Joe and other Bay Area mainstays who helped liven up sessions just by being within the complex. Put in a live audience for Joe Williams or Cannonball or work with Ed Bogas on arrangements for the Vibes of Truth. This was coupled with a very open radio dial which played a lot of local area favorites like the aforementioned Tjader, Jerry Garcia and Merl Saunders and Bola Sete. It should be noted that without Born on the Biyou none of this might have ever happened. You listen to the warmth that these records give off. The homey close knit quality and the musicians understanding of how special a place it was and you begin to see how regional music developed. Orrin Keepnews relocation to Berkeley and the acquisition of the Prestige catalog only furthered the eclecticism of the musicians. All of a sudden McCoy Tyner found a home there so did Larry and Fonce Mizell as well as Wayne Henderson and Woody Herman. It was a family of Zen Tricksters who cared about the music and the musicians. Things were cut using analog tape so there was no way to put lipstick on a pig if Pleasure or The Vibes of Truth flubbed some lyrics. You couldn't fix crappy instrumental takes. The artists had to know their shit and so did the producers and the arrangers and the engineers. Everybody's craft was respected and because of the amount of effort put forth by the team often a good product came from that. --- Support this podcast: https://anchor.fm/jake-feinberg/support

My guest today is an example of someone who was born in the right place at the right time. He was raised in San Francisco and during his formative years when arguably the greatest music cultivation was occurring. The core group of Brubeck, Desmond and Tjader and Guaraldi spawned a new era in melodic jazz, never removing the street element but conjoining swing elements with Latin rhythms, bossa rhythms and African percussion. At the same time Santana's Latin rock escapade was burgeoning as well as a bunch of Mavericks who were acclimating themselves to this fertile hotbed of cross music fertilization. My guest got sticks in his hand and became part of it all. Bola Sete, Noel Jewkes, Jon Hendricks, Dr. Denny Zeitlin, the airplane, GD, the aforementioned mentioned Guaraldi, Benny Velarde and countless other gigs @ Jimbo's Bop City, the Both And, the Workshop --- Support this podcast: https://anchor.fm/jake-feinberg/support

Un producto de la Liga Atlética Interuniversitaria, llega al Baloncesto Superior Nacional a establecerse, lo cual le abre las puertas al baloncesto internacional y a tener oportunidades de vestir y llevar el nombre de Puerto Rico en su pecho. Tjader, es un vivo ejemplo de que en Puerto Rico, se respira buen basquetbol y que el que se lo propone, lo logra. Te invitamos a escuchar las experiencias de Tjader en este segundo episodio, quien vive su sueño de ser jugador profesional. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/catchandshootpr/support

Hablamos de su exitoso paso por la LAI, incluyendo ganar invictos una temporada, la mejor rivalidad en la LAI, su carrera nacional e internacional en el 3x3, ¿Quién es el mejor jugador 3x3 en Puerto Rico?, el MVP de Gary Browne, la dinastía de armadores en Bucaplaa, su movida a los Cariduros, Juego de Estrellas del 2019 y despedida de Carlos Arroyo, ver a sus excompañeros Santeros ganar el campeonato en el 2019, su arranque en el 2020 con los Atléticos y mucho más. De todo un poco mi gente. (Foto vía Atléticos de San Germán) --- Support this podcast: https://anchor.fm/elramuopina/support

En esta primera entrega que recoge un trabajo dedicado y fascinante de investigación sobre la prolífica carrera del vibrafonista Cal Tjader nos concentramos en algunos de sus mejores trabajos en el sello Fantasy Records, como: 10.- (1953) Vibra-Tharpe09.- (1958) Tropicville08.- (1960) Cal's Pals07.- (1959) Cubano Chant06.- (1955) Mamblues05.- (1960) SS Groove04.- (1971) Morning03.- (1974) My Cherie Amour02.- (1955) Guarachi Guaro01.- (1962) Afro BlueExpresión Latina#PasiónPorLaMúsicaSi te gustó el post, SUSCRÌBETE, DALE LIKE y COMPARTELO.Toda la música relacionada con esta publicación es propiedad exclusiva de sus respectivos autores y/o productores.Encuéntranos En Blogger: http://ferarca.blogspot.comEn Box.Net: https://app.box.com/v/ferarcaEn SoundCloud: https://soundcloud.com/ferarcaEn Hearthis: https://hearthis.at/ferarca/#tracksEn Hearthis: https://hearthis.at/djferarca/#tracksEn Hearthis: https://hearthis.at/dj-ferarca-jazz/#tracksEn Youtube: https://goo.gl/BwLk7bEn Vimeo: https://vimeo.com/user6438403En MixCloud: https://www.mixcloud.com/ferarca/En Spreaker: https://www.spreaker.com/user/ferarcaEn Spotify:https://goo.gl/vcKyWwEn TuneIn Radio: http://tun.in/pjf1KCompartimos música, compartimos felicidad!Expresión LatinaLima, Perú2019 @DJferarca- Fernando Cataño Florián -

JAZZIZ was recently on the scene in Concord, California, to take in the 50th annual Concord Jazz Festival, a showcase for some of the phenomenal artists signed to the Concord Jazz label. Rising stars like vocalist Jazzmeia Horn and Esperanza Spalding were a joy to behold, but equally entertaining were the many Concord Jazz veterans, such as keyboardist Chick Corea and Dave Koz. But when it comes to Concord artists, no one has been involved with the label longer than the legendary percussionist and vocalist Poncho Sanchez, a true pioneer of Latin jazz. Born in Texas in 1951, Poncho’s career took off in the mid-1970s when he was asked to join the world-famous Latin jazz ensemble led by vibraphonist Cal Tjader. Poncho performed with him until Tjader’s untimely death in 1982. A year later, Poncho began a relationship with Concord Records that has lasted to this day, one that has resulted in more than two dozen recordings, a Grammy Award and several Grammy nominations. On his latest project, Trane’s Delight, Poncho celebrates the life and music of the iconic saxophonist John Coltrane. Due out September 20 via the Concord Picante subsidiary, Trane’s Delight is a love letter from one musical pioneer to another, as the Latin Jazz legend pays homage to one of his earliest and most indelible influences. The album arrives just in time for the late tenor titan’s 93rd birthday on September 23. Sanchez’s performance at the Concord Fest featured material from the new album, much of which was arranged with Sanchez’s musical director, trombonist Francisco Torres. In a wide-ranging conversation, we discussed the monumental influence that Coltrane had on his life, as well as the innate Latin aspects of Coltrane’s playing. If you’d like to check out all of the amazing Concord releases coming out right now, visit their website at concord.com. --- Support this podcast: https://anchor.fm/brian-zimmerman/support

I vårt allra första avsnitt möter vi Leif Tjäder - 81 år som bor i Värmland, men han har bott på en väldig massa platser genom åren! Leif har rökt sen han var liten så han har tyvärr fått en hemsk KOL som gör livet hårt för honom. Vi skrattade mycket när vi fikade med Leif för han gillar verkligen att skoja till det.

Octava entrega del especial dedicado a Stan Getz con la grabación de finales de la década de los años 50 (Carl Tjader Stan Getz Sextet), y la de principios de la década de los 60 (Cool Velvet. Stan Getz with Strings). Tomajazz: © Pachi Tapiz, 2017 HDO es un podcast editado, presentado y producido por Pachi Tapiz. Toda la información en http://www.tomajazz.com/web/?p=31118. Especial Stan Getz en HDO en http://www.tomajazz.com/web/?cat=18971. Toda la información de HDO en http://www.tomajazz.com/web/?cat=13298. Más podcast de jazz en Tomajazz en http://www.tomajazz.com/web/?cat=12814

Cal Tjader es una de las figuras fundamentales del Jazz Latino. Siendo Americano, tenía una suerte de magia para fusionar el Jazz con la música latina. Algunos de sus trabajos memorables: Soul Sauce (1964), Latino (1962), Several Shades of Tjader (1963); Tributo: Tjader ized por Dave Samuels (1998)

As if we didn’t have enough series on the go at the moment, we’ve taken the foolhardy decision to kick off another one, this collection all about personal pronouns. That’s “he” and “she” to you and me. But before straying … Continue reading →

This week’s show sees the beginning of a new series we are calling The Rainbow Collection with each show in the collection taking one colour as its theme. We start our journey at the lower end of the visible spectrum … Continue reading →

S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices

S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices

S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices

S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices

S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices

S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices

We’ve had lots of tasty new arrivals at the Moonbase recently and this week’s show has a track from a new album by retro-futuristic prankster Felix Kubin, more from Clemence Freschard, two lovely pieces of reissued exotica, some music made … Continue reading →

This week’s show is a sizzling selection of tunes designed to set you up nicely for the day, being as it is themed around the most important of meals, namely: breakfast.We have sausage, bacon, tomato, scrambled eggs and a variety … Continue reading →

Some might think that following a show about madness with a show about bananas is a little in poor taste. However, the real inspiration behind this week’s show is DJ Bongoboy’s discovery of how much fun that can be had … Continue reading →

This week on Project Moonbase we’ve put together a show especially for your purses and wallets as we explore the world of filthy lucre. We also have a track from a boggling new two-disc compilation of Klaus Wunderlich’s organ medley … Continue reading →

This year has not been a great year for legends of the jazz, soundtrack and retro-futuristic worlds. The latest loss to planet Earth is Sir George Shearing who sadly left us on 14 February. We at the Moonbase are big … Continue reading →

Features music new and old, from Philadelphia Slick, Storyville, and much, much more. Hip Hop, Funk, Soul, Reggae, and other exciting genres!

In anticipation of Philadelphia Slick's new album "Oil," we present this oil-themed podcast featuring several tracks from the band's second effort, including the hit single: Gonna Get Over. Other songs: Oil, Turn It Up, Coffee Cold 2009, Origins by Storyville and much more.

special loung mix. For the track listing, hit me up at www.myspace.com/returnofthebboy