Cal Tjader Plays Harold Arlen is an album by American vibraphonist Cal Tjader, five of its 11 tracks arranged by Tjader's longtime colleague Clare Fischer. Recorded in June 1960 [5] and released in February 1962 on the Fantasy label,

The Washington Post's Tony Gieske elaborates on Fischer's contribution:

Fischer's arrangements on one side of Cal Tjader Plays Harold Arlen are marked by unashamed eclecticism. He swipes string-section sounds (icy and twangy by turns) from the moderns, steals chords from Bartók's string quartets, throws in some Hollywood soundtrack stuff, conks on the bare piano strings, and fools around with counter-rhythms... - Wikipedia

https://www.youtube.com/watch?v=tJn3EZCZ3mU&list=RDtJn3EZCZ3mU&start_radio=1

#CalTjader #Vibraphone #Jazz #HaroldArlen #ClareFisher #Music

Chile Con Soul, recorded in 1965 and released on the Pacific Jazz label, is the ninth album by The Jazz Crusaders.

AllMusic rated the album with 4 stars; in their review, Lindsay Planer said: "Chile con Soul (1965) is one of the best examples of The Jazz Crusaders at one of the many musical pinnacles in their 30-plus year existence" - Wikipedia

https://www.youtube.com/watch?v=vfU00Vs-pQY&list=PLfJndz0utgOPgLIW5JPpkE1cHnOrndhlo&index=1

#JazzCrusaders #PacificJazz #Jazz #SoulJazz #Music #ClareFisher #HubertLaws

The Great Arrival is a 1966 instrumental album by Sérgio Mendes.

The Great Arrival Review by Richard S. Ginell

... this album tries to move a bit away from Brazil by spotlighting Mendes' jazz and pop piano against the elaborate charts of Clare Fischer, Bob Florence and Dick Hazard. There are contributions from the best-known Brazilians (Edu Lobo, Jobim of course) as well as up-to-the-minute pop tunes "Monday, Monday" and "Don't Go Breaking My Heart" and American songbook material like "Here's That Rainy Day" and "Girl Talk," all served up in airplay-sized packages mostly under three minutes in length. Inevitably, then, Mendes' piano doesn't get much room to breathe, but the charts are quite interesting; Florence's are the most big-band-oriented, Fischer's are the most harmonically challenging, and Hazard's lush offerings are the signposts of Mendes' future with Brasil '66.

https://www.youtube.com/watch?v=uHyhLwbjeQg&list=PLRQKT-Cu2_2T3E8PA8jetzmF9LHPeDcYP&index=1

#SergioMendes #ClareFisher #BossaNova #Music

Cal Tjader Plays the Contemporary Music of Mexico and Brazil is a 1962 studio album by Cal Tjader.

Cal Tjader Plays the Contemporary Music of Mexico and Brazil Review by Thom Jurek

...Tjader set out to offer a very modern portrait of the music pouring out of Mexico City by showcasing selected Mario Ruíz Armengol compositions, and out of Brazil by spotlighting numbers by singers such as Elisete Cardoso and João Gilberto. Tjader's vibes are placed in juxtaposition with Fischer's piano and percussion by Changuito, Milt Holland, and Johnny Rae, with a woodwind section that included both Don Shelton and Paul Horn, and even some wordless exotica vocals by Ardeen DeCamp. In addition, Brazilian guitar star Laurindo Almeida helps out on about half the set... The feel here is gentle with infectious rhythms and beautifully wrought woodwinds, gorgeous piano, and spacious vibes...

https://www.youtube.com/watch?v=LTj7o44xmm8&list=RDLTj7o44xmm8&start_radio=1

#CalTjader #BossaNova #Jazz #ClareFisher #Music #LaurindoAlmeida #CreedTaylor

Thesaurus is an album by American composer/arranger/pianist Clare Fischer, recorded and released in 1969 by Atlantic Records.

The New York Times review by Martin Williams was written shortly after the album's original release:

West Coast pianist Clare Fischer has done what I wish Monk would do: he has written his own big band arrangements; the results are admirable. Fischer can make his ensembles whisper, sing, shout, praise, explain, cajole, proclaim. He is not afraid to be simple when simplicity will work; he can write for a mere quintet within the ensemble when he wants to. The solos by tenor saxophonist Warne Marsh, particularly, and baritone saxophonist Bill Perkins are the best I've heard from these men, but, the leader excepted, some of the other improvisers confine themselves to other people's ideas. - Wikipedia

https://www.youtube.com/watch?v=1PaQaYsBUK0&list=OLAK5uy_nu0QgdgVA7X6rSGAuwoIPwuJujnP7pgAc

#ClareFisher #BigBand #DukeEllington #Jazz #Music #WarneMarsh

Brasamba! is an album by saxophonist Bud Shank, pianist Clare Fischer and guitarist Joe Pass released on the Pacific Jazz label.

Personnel

Bud Shank - alto saxophone, flute
Clare Fischer - piano
Joe Pass - guitar
Ralph Peña - bass
Larry Bunker - vibraphone, drums
Chuck Flores, Milt Holland - percussion

- Wikipedia

https://www.youtube.com/watch?v=O-Rp62vg03s&list=RDO-Rp62vg03s&start_radio=1

#budshank #clarefisher #joepass #larrybunker #bossanova #jazzflute #pacificjazz

West Side Story is an album featuring American vibraphonist Cal Tjader, consisting of musical numbers from Leonard Bernstein's West Side Story in jazz arrangements, by Tjader's pianist and musical director Clare Fischer, without vocals. It was recorded in October 1960 and released on the Fantasy label in January 1961..

The Washington Post's Tony Gieske wrote:

"And on a remarkable new album, arranger Clare Fischer does at least three things that I wish Ramin and Robert Russell Bennett would listen to. First, he makes a nice little combo of tuba, French horn, flute and trombone, adding fresh colors to a Bernstein score which is itself one of the few which seems to attend in the least to how the orchestra sounds. Second, he makes the fiddles cool it with that fruity vibrato, opening them up so they sound like a few violins instead of a bad imitation of a lot of violins. - Wikipedia

https://www.youtube.com/watch?v=-9JM3PKtcZo&list=PLV8QvievY3In9y-HH66a6MrW7pkO5KQwY&index=1

#caltjader #westsidestory #clarefisher #leonardbernstein #jazz #vibraphone