West Side Story is an album featuring American vibraphonist Cal Tjader, consisting ofmusical numbers from Leonard Bernstein's West Side Story in jazz arrangements, by Tjader's pianist and musical directorClare Fischer, without vocals. It was recorded in October 1960 and released on the Fantasy label in January 1961 as Fantasy 3310 / 8054. On July 30, 2002, Fantasy would reissue it – along with the 1962 LP Cal Tjader Plays Harold Arlen – on CD as Cal Tjader Plays Harold Arlen and West Side Story. Notwithstanding their respective billing, West Side Story devotes relatively little space to Tjader's – or any – improvisation, and thus remains notable, more as an early showcase for Fischer's arranging and orchestral prowess, and as the first recorded document of the pair's longstanding association.
Reception
In January 1961, having approached this West Side Story adaptation with few expectations, High Fidelitys reviewer was pleasantly surprised:
Just when it seemed that the idea of doing jazz versions of Broadway scores had been proven pointless, along come Tjader and arranger Clare Fischer with a brilliantly apt treatment of "West Side Story."
Billboard concurred, citing Fischer's work in particular:
A highly polished and feelingful musical interpretation of "West Side Story" is the latest LP by Cal Tjader. The music has been specially arranged by Clare Fischer and his work is particularly in tune with the original.
Reviewing the album's first single, "Maria," Billboard was even more effusive, especially regarding the writing: "An intriguing arrangement... with strings and vibes featured. Delightful harmonies are introduced here." Billboard's B-side assessment was likewise framed primarily in terms of Fischer's involvement: "... this time, much more in a driving framework. Another good arrangement." The Washington Posts Tony Gieske also focused on Fischer's contribution, and in somewhat greater detail:
"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.
