Home » Jazz Articles » Multiple Reviews » OJC Odds & Ends: From Cal Tjader to Mal Waldron

OJC Odds & Ends: From Cal Tjader to Mal Waldron

By C. Andrew Hovan
May 12, 2025
View read count

Once the vinyl renaissance confirmed that record labels could bring in a steady income just by tapping their holdings, they began combing their archives to fuel a steady stream of reissues. With a catalog of more than 1.2 million songs, Concord Records was uniquely positioned to capitalize on this resurgence. Its Craft Recordings subsidiary has emerged as a standout in the field, not only for curating meaningful and historically significant releases, but also for doing so with a consistent commitment to high quality and accessible pricing.

Blue Mitchell
Blue's Moods
Craft Recordings
1960/2024

Part of a quartet of reissues released at the close of 2024, Blue Mitchell's Blue's Moods has received numerous audiophile-grade editions over the years, including the highly regarded Analogue Productions 45 rpm pressing, mastered by Steve Hoffman and Kevin Gray. Also notable is the JVC XRCD release, which arguably offers the finest digital presentation of this material. Of the seven albums Blue Mitchell recorded for Riverside, Blue's Moods stands as the only full-length session to feature him as the sole horn in a quartet setting. Among jazz trumpeters, it's widely acknowledged that leading a combo without a second horn presents unique artistic challenges. As a result, truly significant trumpet quartet albums are rare, with Blue's Moods and Kenny Dorham's Quiet Kenny (Prestige, 1960) ranking among the finest in the jazz canon.

Joined by

Wynton Kelly

piano
1931 - 1971

" data-original-title="" title="">Wynton Kelly on piano,

Sam Jones

bass, acoustic
1924 - 1981

" data-original-title="" title="">Sam Jones on bass, and

Roy Brooks

drums
b.1938

" data-original-title="" title="">Roy Brooks on drums, Mitchell navigates a program of eight pieces, composed primarily of Tin Pan Alley standards. He demonstrates his command of bebop on a brisk take of

Charlie Parker

saxophone, alto
1920 - 1955

" data-original-title="" title="">Charlie Parker's "Scrapple from the Apple," propelled by Brooks' nimble and responsive drumming. If the true test of a jazz trumpeter lies in ballad performance, Mitchell passes with distinction on a poignant reading of "When I Fall in Love." He also delivers what may be the definitive version of pianist Ronnell Bright's "Sweet Pumpkin." That Blue's Moods belongs in any serious jazz collection goes without saying and this latest reissue may well offer the best-sounding version to date.

Thelonious Monk
Monk's Music
Craft Recordings
1957/2024

A landmark release in

Thelonious Monk

piano
1917 - 1982

" data-original-title="" title="">Thelonious Monk's discography for several reasons—not least of which is the memorable cover image of the pianist seated in a child's red wagon—Monk's Music was recorded in 1957. It marked a technological first for producer Orrin Keepnews and Riverside Records, who opted to issue the album in both mono and stereo formats. However, their approach involved running two separate tape machines with different microphone setups, resulting in substantial differences in sound quality and even in the performances themselves. It's been documented that distinct takes were used for each format. Fortunately, Craft Recordings chose to source the mono masters for this sparkling new reissue, preserving the superior cohesion and sonic character of the original mono release.

The album features five Monk originals and one lesser-known standard, all brought to life by an exceptional ensemble. Most notably, the session pairs tenor saxophonists

Coleman Hawkins

saxophone, tenor
1904 - 1969

" data-original-title="" title="">Coleman Hawkins and

John Coltrane

saxophone
1926 - 1967

" data-original-title="" title="">John Coltrane—two giants representing the past and future of jazz. Hawkins's warm, breathy tone on "Ruby, My Dear" contrasts beautifully with Coltrane's exploratory energy on "Well, You Needn't." One isn't better than the other; they simply illuminate different corners of Monk's music. The expanded horn section, including trumpeter

Ray Copeland

trumpet
b.1926

" data-original-title="" title="">Ray Copeland and alto saxophonist

Gigi Gryce

saxophone
1927 - 1983

" data-original-title="" title="">Gigi Gryce, brings added color and dimension to the arrangements, while

Art Blakey

drums
1919 - 1990

" data-original-title="" title="">Art Blakey's responsive drumming provides both fire and finesse throughout.

Cal Tjader
Cal Tjader's Latin Kick
Craft Recordings
1956/2024

Between 1954 and 1962, vibraphonist

Cal Tjader

vibraphone
1925 - 1982

" data-original-title="" title="">Cal Tjader recorded more than twenty albums for the West Coast—based Fantasy Records. While he would truly perfect his blend of jazz and Latin influences during a prolific run with Verve in the late '60s, the roots of that fusion are already evident on the 1956 release Cal Tjader's Latin Kick. Fresh off his stints with

Dave Brubeck

piano
1920 - 2012

" data-original-title="" title="">Dave Brubeck and

George Shearing

piano
1919 - 2011

" data-original-title="" title="">George Shearing, Tjader delivers an early triumph, an engaging set of standards reimagined through a Latin lens.

The album opens with a gently swaying take on "Invitation," notable for its remarkably crisp and detailed sound, especially given the era in which it was recorded. Forgoing a traditional drum set, Tjader instead enlists Luis Miranda on congas and Bayard Velarde on timbales, giving the rhythm section a distinctly authentic feel. The session really comes alive with a spirited, salsa-infused romp through "I Love Paris," an unexpected yet effective choice for such a treatment. Tenor saxophonist

Brew Moore

saxophone, tenor
1924 - 1973

" data-original-title="" title="">Brew Moore serves as an ideal counterpart on several tracks, including "Will You Still Be Mine?," "Blues from Havana," and "Bye Bye Blues." While a few pieces may flirt with the borders of mood music, the overall result is a stylish and satisfying early statement in Tjader's Latin jazz journey.

Mal Waldron
The Quest
Craft Recordings
1961/2024

Between 1956 and 1959,

Mal Waldron

piano
1925 - 2002

" data-original-title="" title="">Mal Waldron recorded five albums for New Jazz, a testament to the label's confidence in the pianist's singular voice as both composer and improviser. As compelling as those sessions are, the pinnacle of Waldron's work with Prestige came in 1961 with The Quest. The album opens with "Stratus Seeking," anchored by

Joe Benjamin

bass
b.1919

" data-original-title="" title="">Joe Benjamin's ominous bass line and a theme voiced in tense minor thirds by the horns, with

Ron Carter

bass
b.1937

" data-original-title="" title="">Ron Carter's cello joining the unison line on its second pass. Eric Dolphy bursts forth with a typically mercurial alto solo, followed by

Booker Ervin

saxophone, tenor
1930 - 1970

" data-original-title="" title="">Booker Ervin, whose Texas-rooted tenor snakes through the harmony like a charmer entranced. And that's just the first of six striking pieces.

Elsewhere, Dolphy's plaintive clarinet on "Warm Canto" and

Charlie Persip

drums
1929 - 2020

" data-original-title="" title="">Charlie Persip's crisp, commanding drum solo on "We Diddit" stand out among many highlights. Rarely equaled and never truly surpassed, The Quest remains one of the most inventive and rewarding albums of its era.

Tracks and Personnel

Blue's Moods

Tracks: I'll Close My Eyes; Avars; Scrapple from the Apple; Kinda Vague; Sir John; When I Fall in Love; Sweet Pumpkin; I Wish I Knew.

Personnel: Blue Mitchell: trumpet; Wynton Kelly: piano; Sam Jones: bass; Roy Brooks: drums.

Monk's Music

Tracks: Abide with Me; Well, You Needn't; Ruby, My Dear; Off Minor; Epistrophy; Crepuscule With Nellie.

Personnel: Thelonious Monk: piano; Ray Copeland: trumpet; Gigi Gryce: alto saxophone; Coleman Hawkins: tenor saxophone; John Coltrane: tenor saxophone; Wilbur Ware: double bass; Art Blakey: drums.

Cal Tjader's Latin Kick

Tracks: Invitation; Lover Come Back To Me; September Song; Will You Still Be Mine; I Love Paris; Tropicana; Moonlight In Vermont; Bye, Bye Blues; Manuel's Mambo; All The Things You Are; Blues From Havana.

Personnel: Cal Tjader: vibraphone; Brew Moore: tenor sax; Luis Miranda: congas; Bayardo Velarde: timbales; Manuel Duran: piano; Carlos Duran: bass.

The Quest

Tracks: Status Seeking; Duquility; Thirteen; We Diddit; Warm Canto; Warp and Woof; Fire Waltz.

Personnel: Mal Waldron: piano; Eric Dolphy: alto saxophone, clarinet; Booker Ervin: tenor saxophone; Ron Carter: cello; Joe Benjamin: double bass; Charlie Persip: drums.

PREVIOUS / NEXT

John Patitucci: The Soul, Spirit, an...
< Previous

Meet Andy Bey
Next >

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.