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from the website of a German Rock'n'Roll collector - http://freenet-homepage.de/phranc/ - I will contact him about the movie. I am also familiar with "The Big Beat," yet another movie Tjader was in that is not available. Al Torre has told me about the group's appearance. Thanks for the response- Duncan

Current critical consensus is that this is a not exactly a classic. However, it is a time capsule of the late sixties scene and it has an appearance by the Cal Tjader Quintet. Unfortunately, it is not on DVD or VHS for that matter. The stars are Mary Ann Mobley and John Saxon. If anyone has taped it off television, I'll pay you for a copy and you'll get an acknowledgement. I need it as research material for my biography of Cal Tjader.

Many Tjader fans may now be aware that Cal has been left out of the 50th Anniversary festivities at Monterey. Given the fact that Cal was there from the beginning in 1958 and that his April 20, 1959 "Jazz Festival Preview" concert saved his friend Jimmy Lyons from going under and put the festival on the map, this is a glaring omission. I sent a letter to Tim Jackson, General Manager of the festival. His prompt and cordial reply came in less than a week. Mr. Jackson's reason for leaving Cal out was that there wouldn't be enough time to properly acknowledge his overall contribution. He went on to say that a Tjader tribute will be held within a few years. I understand the time factor but he could still mention Cal and tell the audience about the upcoming tribute. Surely there is enough time for that. Cal's daughter Liz will write a letter on that topic. We have thoroughly discussed it. The lack of respect that Cal Tjader has received from jazz critics and historians over the years amazes me but the Monterey snub is really hard to understand. No one artist has contributed more to Monterey as far as I know. Maybe Jackson will change his mind after the second letter.

Larry, That is interesting about what Prez said in the interview. My dad William knew Lester Young. He started going to Lester's gigs when he was a young man in St. Louis. Over the years, he got to know him fairly well and saw him at the Blackhawk in San Francisco a number of times. Dad says Lester spoke very little and often wouldn't announce the tunes he was playing. The other musicians just had to be quick and knowledegable. He recalls that Prez said he was influenced by Trumbauer but can't remember for sure if Freeman was mentioned. I would agree with you that Lester probably did like Bix as well. But the liner notes to the Aladdin Prez collection confirm that Prez must have acknowledged Freeman. But Prez was an eccentric and a drunk and therefore was quite unpredictable. He acknowledged Freeman early and then dropped him later. Who knows why ?

My thoughts exactly. Paul Gonsalves kind of reminds me of Bud Freeman's playing--kind of a supple, loose style. I wonder if Pres listened much to Bud? Not implying an equivalence between them or anything, but Pres had some of that looseness too. BTW, I couldn't find the Balliett quote I was thinking of, but I did come across another phrase where Balliett called Freeman "jouncy and monotonous". Not bouncy, but jouncy. As a matter of fact, Lester "Prez" Young counted Bud Freeman among his early influences. He also liked Frankie Trumbauer. Check out the liner notes to "Lester Young-The Complete Aladdin Sessions'" an excellent two CD set on Blue Note. This is one of many facts that Ken Burns left out of his film "Jazz." According to him and Wynton Marsalis, white musicians were influenced by black musicians and not the other way around. The truth is that cross pollination has been happening since the inception of jazz. Stan Getz was influenced by Lester and Joe Henderson was in turn influenced by Getz. Herbie Hancock was influenced by Bill Evans. The list goes on. Another eighteen hours could be filled with the master musicians, mostly of European descent, that Burns ignored.

In 1957, Fantasy put together the stereo tracks from the 1954 Tjader sessions, including the previously unissued "Squeeze Me", for the album "Latin for Dancers." Was the album released in 1957 or later ? Someone posted that it was 1960 a while ago but I don't remember who. This info is for the Cal Tjader biography, to be published by McFarland in 2008, and the correct info will net a Tjader fan an acknowledgement.

Michael, Thanks for the info on Along Comes Cal. The liners are somewhat misleading. I was aware that you knew of the exact personnel for the Verve LPs. You are a serious Tjader collector but not everyone who posts on this site is. That information was for those who may not be as familiar with all the details of Cal's career as you are. It was important that they understood just how much Cal's band participated on the LPs. Your statement was quite general and didn't mention that the working band did record on Cal's regular LPs (with guest(s) musicians). They didn't just work together on speciality albums like Time For Two as you stated. Just more specific information for those are interested. No big thing.

Cal pianists alternated between piano and Fender Rhodes both in concert and in the studio during that time period. I prefer acoustic piano as well. However, Fender Rhodes sounds great on many of the tunes Cal chose to do. The arrangements are wonderful. I don't think they sounded muddy but that's just a difference of opinion. Cal never ditched the Fender Rhodes completely. If you want to hear a Concord release without Fender Rhodes, listen to The Shining Sea and Good Vibes. They are available on the CDs Both Sides of the Coin and Cool Fire respectively.

That is partly due to the fact that they used studio musicians rather than Cal's working bands for most of the Verve albums. Or they used a part of his band among the studio guys for special recording projects. Among the Verve LPs, only those marked * are with his working band of the time. Verve V6-8419* Cal Tjader - In A Latin Bag Verve V6-8459* Cal Tjader - Saturday Night, Sunday Night At The Blackhawk Verve V6-8470 Cal Tjader Plays The Contemporary Music of Mexico and Brazil Verve V6-8472 Anita O'Day & Cal Tjader - Time For Two Verve V6-8507 Cal Tjader - Several Shades Of Jade Verve V6-8531* Cal Tjader - Soña Libré Verve V6-8575 Cal Tjader - Breeze From The East Verve V6-8585 Cal Tjader - Warm Wave Verve V6-8614 Cal Tjader - Soul Sauce Verve V6-8626 Cal Tjader - Soul Bird: Whiffenpoof Verve V6-8637 Cal Tjader - Soul Burst Verve V6-8651 Cal Tjader & Eddie Palmieri - el sonido nuevo Verve V6-8671 Cal Tjader - Along Comes Cal Verve V6-8730 Cal Tjader - Hip Vibrations Verve V6-8769 Cal Tjader - The Prophet It's worth pointing out that not all the albums combining Cal's working band with studio personnel were speciality projects. For instance, the majority of the tracks on Soul Sauce feature Cal's working band of the time ( Lonnie Hewitt on piano, John Terry Hilliard on bass, Johnny Rae on drums and Armando Peraza on percussion). Alberto Valdes joins the band on percussion and Willie Bobo on jawbone and vocals for the title track only. The remaining cuts feature guest musicians plus Peraza. For Soul Bird, seven tracks feature only Cal's band (same as on Soul Sauce) and the five other cuts feature studio musicians joined by Cal's conguero Armando Peraza. Both sessions were recorded at different times. Note on Soul Bird: the LP's personnel listings are not entirely correct. The CD corrects the inexcusable errors. Lastly, Along Comes Cal features two live tracks with Cal's band (Al Zulaica on piano, Stan Gilbert on bass, Carl Burnett on drums and Armando Peraza on congas). The remaining tracks feature guest artists plus Armando Peraza, again recorded at a different time. The specialty projects were Time For Two , which featured Cal's working band of the time: Johnny Rae, Freddie Schreiber and Lonnie Hewitt. Although Hewitt was no longer a Tjader sideman at that point (he had just quit Cal's band in late 1961), he did come back to record some cuts with Cal just for this LP. Changuito (not officially listed but he was there) did some gigs with Cal at the time but I have yet to definitely determine whether he was a regular band member but the evidence so far says that he was. Only pianist Bob Corwin came for studio work on some tracks. Another specialty project was Contemporary Music of Mexico and Brazil, which featured a woodwind section and other additional guest musicians. Cal's working band was also featured: Clare Fischer, Hewitt's replacement, did the arrangements and was on piano, Freddie Schreiber on bass, Johnny Rae on drums and timbales and Changuito on congas. In addition, Paul Horn was on flute in the woodwind section. It's true that Horn was never a regular member of Cal's working band. However, Horn did work a number of Cal's big concert gigs such as the Hollywood Bowl (exact date still to be determined) and the Monterey Jazz Festivals in October 1958 and October 1959. Horn was also featured in the classic "preview concert" held indoors at the Sunset School Auditorium in Carmel on April 20, 1959. Cal saved Jimmy Lyons bacon with that concert (The 1958 Monterey Festival concert had many great artists but suffered from poor ticket distribution). All serious Tjader fans have Concert by the Sea Vols. 1 & 2 and or the Monterey Concerts CD. Horn also did many studio recordings with Cal. He was definitely part of Cal's family of musicians from 1958-62. Lastly, Johnny Rae was the only band member to participate in Several Shades of Jade. Ditto for Lonnie Hewitt on Breeze From The East.

In March of '04 Concord released a two-CD set called The Best of the Concord Years. I hadn't heard any of his Concord work till I got that set. Tjader recorded six albums for Concord. Asuming that the tracks selected really are the best of those six LPs, I would say that his work for Concord was not as good as that of his first Fantasy stint, Verve and Skye. I've only heard one album from his second Fantasy stint, Tambu, which I like; but I can't make a generalization based on one album. The vast majority of Cal's seventies work was for Fantasy. Concord mainly represents the early eighties. La Onda Va Bien was the only Concord LP recorded in the seventies (July, 1979). If you want to know Cal's work in the seventies, check out his second go round with Fantasy. Although not as great as his fifties period, there are many excellent albums to choose from. The early '70's LPs "Tjader", "Last Bolero in Berkeley", "Puttin' It All Together" and "Last Night When We Were Young" are not yet available on CD. Tambu is a very fine LP and I would also strongly recommend The Grace Cathedral Concert, Amazonas and Here and There to start with but you really can't go wrong with Tjader. He was simply a force of nature. Only Breeze From The East (1963), an album he was pushed into, is what you would call a mediocre album but even that one has a few good cuts. In my humble opinion, The Best of the Concord Years is not merely good but an outstanding sampling of his Concord work. Although his health was in decline, Tjader's artistry continued to grow and his Concord albums reflect this. Again, to my ears, all his Concord LPs were superb. The tragic fact is that Cal was more in demand at the end of his career than he had been since the Soul Sauce years.

Poncho Sanchez was there when Cal died. He has told me that some people were confused about the exact date of Cal's death for some reason. We both speculated that it was the time difference in the Philippines. According to Poncho, it was Wed May 5, 1982. Because Cal was a second father to him, it is etched firmly in his mind. Also, as a Chicano, Cinco De Mayo is very important to Poncho. Cal's death on that day is a special coincedence for him. Poncho was with Cal for seven and a half years, from December 31, 1974 to the end. That is the longest tenure of any Tjader sideman. Lonnie Hewitt also was with Cal for over seven years but it was non concurrent. Two mid period stints: Early 1959-late 1961, mid 1962- mid 1966 and December 31, 1974- June 1976. Peraza had two seperate sixties stints totaling seven years. Concurrently speaking, Rob Fisher is second with six plus years: Early 1976 to end. Al Zulaica also had six plus years 1966-1972. Nobody else has more than five. The average tenure for Tjader sidemen was one to two years. It didn't necessarily have to do with bad behavior (although that did occasionally happen) but Cal was always creating new sounds and changing his sidemen periodically was part of that.

This is for those those who would like to know about Cal's military service. He enlisted in the Navy as a corman (medic) in the summer of 1943 before his 18th birthday on July 16th. I still have to pinpoint the exact date but I believe it was only two or three weeks before his birthday. His mother had to sign for him since he was technically still a minor. He served in the Philippines fighting the Japanese until the Pacific war was nearly over. I have a letter Cal sent to home dated July 6, 1945 from the Oakland, Calif. Naval base but I know he was stationed in Guam for awhile as well. When I get exact dates for his initial enlistment and Guam stay, I will let everyone know. -Duncan Reid I spoke with Cal's brother Rick about the military service. As for his enlistment date, it was sometime after Cal graduated from highschool. Late June or early July of 1943 is as close as I am able to pinpoint the date. Later on, Cal was sent to Guam as the Pacific war was ending in the summer of 1945. He was then transferred back to Oakland early in 1946. He spent two weeks in Oakland before being sent home to San Mateo. The reason Cal's July 1945 letter says Oakland is that was where letters were sent for overseas Northern California personnel. So Cal listed that as his return postal address.

The biggest laugh was when thy would announce the winners, and would have one of their artists do a two page spread of the Playboy All Star Band. Typically, it would go something like this: Trumpets - Miles Davis, Al Hirt, Dizzy Gillespie, Herb Alpert Trombones - J. J. Johnson, Kai Winding, Bob Brookmeyer Saxes - Cannonball Adderley, Paul Desmond (alto), John Coltrane, Stan Getz (tenor, Gerry Mulligan (bari) Rhythm Section - Dave Brubeck (piano), Charlie Byrd (guitar), Charles Mingus (bass), Buddy Rich (drums), Lionel Hampton (vibes) Vocalists - Frank Sinatra (male), Barbra Streisand (female), Beatles (group) I find it hard to believe that the Beatles or Streisand would be in a jazz poll. I have some Playboy back issues. I don't remember them including pop or rock stars every year. I'll have to check. Was Cal Tjader ever listed for vibes? And did he ever win? Another thing to check since Cal didn't get all the respect that he so richly deserved.

Mike Weil

That may be caused by the pics I inserted - in case you have a newer version of WORD like mine it may cause problems with the formatting. I will e-mail you version without the pics, that should solve the problem. Actually, I have a Mac with the latest operating system (10.4.6) but that may or may not change what you need to do. Thanks for addressing the issue.

Mike, I've noticed some symbols on your disco. Sometimes they partially obscure the writing. On "Time For Two", you note that Wilfredo Vincente is not credited on the LP or CD, which is true. You also list Changuito as well. He is not credited on the LP or CD either. Did they both play congas or did one play bongos? Also, you listed all the Shearing 12 inch LPs together with the tunes underneath. Which tunes go with what LP? On a related issue, I discovered yet another Fantasy error. The original version of "Cubano Chant" was the product of two seperate recording sessions. The first took place on November 11, 1955 while Tjader and company were finishing up a road trip in New York City. Fantasy lists Manny Duran on piano and Armando Peraza on conga and bongos. That is wrong. Richard Wyands was on piano, Luis Miranda on congas and Peraza on bongos. Cal was on timbales, Jerome Richardson on flute and Al Mckibbon on bass. That part is correct. You'll notice that the first version of the tune fades out after a little over two minutes. What follows is the second version, which Fantasy did not document. The second version, which probably took place after Cal returned from the fall of '55 road trip later in November, features Cal on vibes, Manny and Carlos Duran on piano and bass respectively, Luis Miranda on congas and Benny Velarde on timbales as per usual for that time.The second session was recorded in San Francisco. I confirmed all this with Benny Velarde and Luis Miranda. Earlier today I confirmed with Al Torre that he did not play on "Tumbao", "I've Waited So Long" and "Mambo at the "M". In fact, Al only played on two straight ahead albums, "Jazz at the Blackhawk" and "Cal Tjader". For some reason, he was never featured on the Latin flavored recordings, just in live performances. However, his band mates, Vince Guaraldi, Eugene Wright and Luis Kant were all featured on the Latin jazz tunes on various occasions. Also, Al said the group was on a western "Jazz a la Carte" tour put on by Irving Granz (brother of Norman) in September of 1957 and Cal would not have had time to record that month. Instead, "Tumbao", "I've Waited So Long" and "Mambo at the "M" must have been recorded in November '57 after they returned from a cross country road trip. Although "Tumbao" does not have a drummer on it, there is in fact a timbales player. In this case Benny Velarde, a former band member at that time, was a featured guest. You can clearly hear the timbale stick making time on the side of the drum as is tradtional with timbaleros. I also heard the cymbal towards the end of the tune. Someone plays the cencerro during Kant's conga solo as well. At the beginning of "Tumbao", the bongos are heard at the same time as the timbales, Cal's vibes and the congas. But who is playing bongos when the timbales, bongos and congas are heard together? Benny can't play bongos and timbales at the same time. He usually would switch off from one to the other on previous records. I would say Kant but he is playing congas and Cal is playing the vibes. I don't think they did overdubs in 1957. I called Luis Kant and couldn't reach him so I called his friend Luis Miranda. Luis Kant died one month ago of cancer. He didn't tell anybody that he had it according to Miranda. I know he didn't tell me. Luis Kant was a good guy and he will be missed. I told Benny Velarde because he was also a friend. Benny remembered "Tumbao", "Mambo at the "M"..ect but he doesn't recall any specifics. Naturally, he recalls things that happened while he was in the band with more detail than the occasional gig or studio date with Cal afterwards. Maybe you have an idea about "Tumbao". A note on Luis Miranda. Luis Miranda joined Cal in the fall of 1955 not 1956 as it says on the discography. He was with Cal for one year. As I mentioned earlier, he was on the original version of "Cubano Chant", "Lamento de Hodi" and "Buhuto (Nanigo 6/8)".

Unfortunately, Joao Donato and Jack Weeks are dead. As far as Richard Wyands, I don't know if he is still around or not. I assume that he lives on the east coast and I am in California. However, I have interviewed people on the east coast by phone. Maybe Hank Jones or Michael Wolff might know if he is still alive. I did also interview jazz producer Ozzie Cadena and Cal's last booking agent Jim Cassell. Anita O'Day's manager wouldn't return my calls. Herb Wong told me that at 86 she still drinks too much and is quite difficult to deal with.

To answer your first question, yes, I interviewed Dave Brubeck. To the second question, yes, they are brothers. They all grew up in San Francisco. Carlos died in 1998 and of course, Manny last year. Eddie is eighty years old and will have a birthday soon. Eddie is a very small man as was Manny. Carlos was a little taller. They are or were of Mexican descent, primarily Indian. Dark skinned, possibly Mayan or Aztec. Other people I interviewed: Bayardo "Benny" Velarde, John Heard, Pete Escovedo, Hank Jones, Howard Rumsey ( jazz bassist and former manager of The Lighthouse in Hermosa Beach, CA and Concerts by the Sea in Redondo Beach, CA), Mary Stallings, Dean Reilly, Bob Murphy (Merv's former producer, he grew up with Cal) and a short phone interview with Lalo Schifrin. I also interviewed Rob, Liz (daughter) and Rick (brother) and jazz critics/ former disc jockeys Herb Wong and Phil Elwood. They were friends of Cal. I was amazed that 98% of them were very friendly and down to earth. Peraza is retired and a recluse. Even Liz couldn't get him to call back. Can't figure it because Cal did so much for his career. Palmieri initially responded by email and then didn't return my calls. Allen Smith, who was almost a life long friend of Cal, didn't return my calls. About 40% were in person interviews and 60% by phone. I guess the other stuff will have to wait until my next post. -Duncan

Well, I didn't forget this but limited my listing to Fantasy sessions with the classic MJQ lineup. I will correct Torre's name in my disco. Hey, it's great you do this - I certainly want to read this, no matter if it will be published or not. I volunteer to proofread as well - this will keep the historical(discographical accuracy on the highest level. Fantastic that you are interviewing all these people - did you have a chance to talk to Mongo before he died? I keep my fingers crossed for you - I must read this!

There were two different versions of Afro Blue: one recorded live at Monterey and one recorded in the studio (the other three tracks from that 1959 sessions were released on Tjader Goes Latin). I played them back to back, the version on Latino is the studio version. But you are right that all the other tracks on that LP were taken from previously released material. I will e-mail my discography - it is in three parts, so you will get three mails. Hi Mike, That's interesting about "Afro Blue" on "Latino!". You know, I initially thought it was a studio version but after I kept listening to it, I figured it must be from "Monterey Concerts". It is nearly identical. I am continually amazed at how Cal's live recordings are nearly as flawless as his studio work. He knew what he wanted and his band members were always on the same page when it came to making records. Lastly, Fantasy didn't put down the studio "Afro Blue" recording date even though it hadn't been put out yet because they were hiding all the other recording dates for the previously issued material on "Latino!". -Duncan

There was a Tjader quartet/quintet LP with Eddie Duran and Frank Strazzeri recorded in 1974, Last Night When We Were Young, Fantasy F-9482. In the 1950's, Duran was on San Francisco Moods, Tjader Plays Tjazz, and the LP with Stan Getz. I don't know about any other sessions - if he didn't mix it up with the 1970's session, it must have stayed unissued, which is kind of hard to believe. No other "jazz" Tjader Quartet (vibes-piano-bass-drums) LPs known to me besides: - Cal Tjader Quartet -: Cal Tjader (vibes) Gerald Wiggins (piano) Eugene Wright (bass) Bill Douglass (drums) Los Angeles, California, May 1956 - Fantasy 3-227, Fantasy 3-307, Fantasy 8083 (the latter issue was new to me - thanks JimR!) - Jazz At The Blackhawk -: Cal Tjader (vibes) Vince Guaraldi (piano) Eugene Wright (bass) Al Torres (drums) The Blackhawk, San Francisco, California, January 20, 1957 - Fantasy 3-241, Fantasy 8096 - Cal Tjader -: Cal Tjader (vibraphone) Vince Guaraldi (piano) Gene Wright (bass) Al Torres (drums) San Francisco, California, April 10 & 15, 1957 - Fantasy 3-253 Hi Mike, Thanks for sending the discography emails. I looked at Eddie's interview again and he didn't say the "strings" album was recorded in the 50's. He didn't specify a time. My goof. It must be "Last Night When We Were Young". I haven't heard that record and as you know it isn't on CD. I am assuming it had strings on it. You could confirm that for me. You forgot to mention that Eddie played with Cal on the "Introducing Gus Mancuso" LP in 1956. It's on the CD "Gus Mancuso & Special Friends". I know it's technically not a Tjader title but Cal discovered Mancuso, got him a record deal with Fantasy and brought in his top notch musician buddies for the "Introducing Gus Mancuso" sessions. Also, Fantasy has routinely mispelled drummer Al Torre's name as Torres. They've gotten it wrong nearly everytime. The only exception is the CD of "Jazz at the Blackhawk". Like some other musicians I've interviewed for the book, I have kept in touch with Al Torre. He's a great guy and he says people constantly mispell his name. He is an Italian-American. -Duncan

Hi Jim, Your info does help. I think I have figured this out. The two mono records on red and black vinyl (3310) in 1960 were simply reissues of the 1956 red vinyl mono LP (3227). The 1962 "Quartet" LP was a stereo reissue of the 1956 album. The CD is the 8083 stereo reissue. There was no other "Quartet" LP in 1956. That info I read elsewhere was wrong. Thanks for clearing this up. -Duncan

Hi Mike, You are right about "Just Squeeze Me". I checked the CD of "Cal Tjader Plays, Mary Stallings Sings" and the credit says (Ellington/ Gaines). Fantasy corrected the error once it was released on CD. I ought to have double checked that before posting. On "Latin For Dancers", Fantasy was just trying to cash in with another reissue whereas June Christy rerecorded every tune on "Something Cool" in stereo in 1960 with Pete Rugalo's orchestra because the 1955 original was all in mono. As great as the original was, it is nice to see how her voice matured by 1960. Back to Tjader, they tossed in "Squeeze Me", which was originally set aside for later, because for some reason "Guarachi Guaro" was recorded in mono. The post I was referring to for Shearing was on May 7, 2005. A note on the 1960 LP "Latino!". You will notice that every tune on that album was released before on various Tjader albums. At first, I thought they were different versions since Cal did that alot over the years but no. Every tune was taken from another previously issued record. For instance, "Afro Blue" is clearly taken from "Monterey Concerts", "Cuban Fantasy" from "Concert on the Campus", "A Night in Tunisia" from "A Night at the Blackhawk" and so on. I went over it thoroughly. Fantasy repackaged the material and tried to sell it as a new record when it was just a fifties greatest hits collection. They even went so far as to leave off the original recording dates so a fan couldn't trace it back. This may have fooled new fans but not seasoned ones. The CD "Latino!" also includes the "Demasiado Caliente" LP. Thanks for the Shearing info. I would like your discography. My email is duncanred@sbcglobal.net. Eddie Duran told me that he did a straight ahead LP with Cal in the 1950's that had strings on it. I wonder if that was ever released. Maybe it was a "Cal Tjader Quartet" LP? Also, could you list the tunes, recording dates and personnel for the Shearing LPs with Cal? That would be a big help. You will definitely get an acknowledgement in the book. Also, I read your Oct. 7, 2005 post. Is the Vido Musso Sextet the only 1952 release for Cal? On the Esposito singles, it is Buddy Motsinger not Munsinger. I know this because Buddy played on Cal's Harold Arlen LP. 4 Star must have goofed up. "I've Waited So Long" was from "Cal Tjader Goes Latin" Was "As I Love You" also recorded during that 1957 session? Any other obscure Tjader nuggets? I'd love to get this info as soon as you can manage because I am meeting with my agent next week to submit additional chapters to the prospective publisher. As for Cal's son, I have interviewed Rob Tjader and we talk occasionally. -Duncan

To all Tjader fans, I would like to know the album titles (not just song titles) of Cal's work with Shearing. This is important info since Shearing is still recovering from head trauma and I may not be able to interview him. Even if I do, which is possible at some point, he may not remember. It was over 50 years ago. Internet searches have netted me song titles on this forum but I need more than that. Anyone who comes up with this info will get an acknowledgement. To Mike Weil, your info on "Tjader Plays Mambo" was very helpful. However, you made a mistake on "Squeeze Me". It is in fact the same song as "Just Squeeze Me". The song was written by Fats Waller and a collaborator. The difference is that the first version was on "Latin For Dancers" and recorded in 1954 and the second version featured Mary Stallings and Cal's group at the time, which included Freddie Schreiber. The tune's title was slightly altered. As you know, that happens fairly frequently. "Cal Tjader Plays, Mary Stallings Sings" was a straight ahead jazz album and was recorded in 1961 not 1957. One other error was regarding Cal's work with Shearing. You said an L.A. session on April 15, 1953 that featured tunes such as "Love is Just Around the Corner" and "Easy to Love" had Peraza on congas and bongos. I have listened to one of those songs and the music is straight ahead jazz. In fact, Peraza did not join Shearing until March of 1954. McFarland Press likes my proposal and wants more writing. I have additional chapters to send them but I want to make sure that I have the Shearing info. Thanks, Duncan