Problem: Callen Radcliffe "Cal" Tjader, Jr. ( CHAY-d@r; July 16, 1925 - May 5, 1982) was an American Latin jazz musician, known as the most successful non-Latino Latin musician. He explored other jazz idioms, even as he continued to perform the music of Cuba, the Caribbean, and Latin America for the rest of his life. Tjader played the vibraphone primarily. He was accomplished on the drums, bongos, congas, timpani, and the piano.

After recording for Fantasy for nearly a decade, Tjader signed with better-known Verve Records, founded by Norman Granz but owned then by MGM. With the luxury of larger budgets and seasoned recording producer Creed Taylor in the control booth, Tjader cut a varied string of albums. During the Verve years Tjader worked with Donald Byrd, Lalo Schifrin, Anita O'Day, Willie Bobo, Armando Peraza, a young Chick Corea, Clare Fischer, Jimmy Heath, Kenny Burrell, and others. Tjader recorded with big band orchestras for the first time, and even made an album based on Asian scales and rhythms.  His biggest success was the album Soul Sauce (1964). Its title track, a Dizzy Gillespie cover Tjader had been toying with for over a decade, was a radio hit (hitting the top 20 on New York's influential pop music station WMCA in May 1965), and landed the album on Billboard's Top 50 Albums of 1965. Titled "Guachi Guaro" (a nonsensical phrase in Spanish), Tjader transformed the Gillespie/Chano Pozo composition into something new. (The name "Soul Sauce" came from Taylor's suggestion for a catchier title and Bobo's observation that Tjader's version was spicier than the original.) The song's identifiable sound is a combination of the call-outs made by Bobo ("Salsa ahi na ma ... sabor, sabor!") and Tjader's crisp vibes work. The album sold over 100,000 copies and popularized the word salsa in describing Latin dance music.  The 1960s were Tjader's most prolific period. With the backing of a major record label, he could afford to stretch out and expand his repertoire. The most obvious deviation from his Latin jazz sound was Several Shades of Jade (1963) and the follow-up Breeze From the East (1963). Both albums attempted to combine jazz and Asian music, much as Tjader and others had done with Afro-Cuban. The result was dismissed by the critics, chided as little more than the dated exotica that had come and gone in the prior decade.  Other experiments were not so easily dismissed. Tjader teamed up with New Yorker Eddie Palmieri in 1966 to produce El Sonido Nuevo ("The New Sound"). A companion LP was recorded for Palmieri's contract label, Tico, titled Bamboleate. While Tjader's prior work was often dismissed as "Latin lounge", here the duo created a darker, more sinister sound. Cal Tjader Plays The Contemporary Music Of Mexico And Brazil (1962), released during the bossa nova craze, actually bucked the trend, instead using more traditional arrangements from the two countries' past. In the late 1960s Tjader, along with guitarist Gabor Szabo and Gary McFarland, helped to found the short-lived Skye record label. Tjader's work of this period is characterized by Solar Heat (1968) and Tjader Plugs In (1968-69), precursors to acid jazz.

Did Cal win any award or recognition?

Answer with quotes: Billboard's Top 50 Albums of 1965.


Problem: Edward Joseph Drake (16 August 1912 - 30 May 1995) was an English football player and manager. As a player, he first played for Southampton but made his name playing for Arsenal in the 1930s, winning two league titles and an FA Cup, as well as five caps for England. Drake is Arsenal's joint fifth highest goalscorer of all time. He also holds the record for the most goals scored in a top flight game in English football, with seven against Aston Villa in December 1935.

Without much ado he was appointed manager of First Division Chelsea in June 1952. This is so due to the rivalry between the Gunners and the Blues being non existent at the time. Upon Drake's arrival at Chelsea, he made a series of sweeping changes, doing much to rid the club of its previous amateurish, music hall image. He discarded the club's Chelsea pensioner crest and with it the Pensioners nickname, and insisted a new one be adopted. From these changes came the Lion Rampant Regardant crest and the Blues nickname. He introduced scouting reports and a new, tougher, training regime based on ballwork, a rare practice in English football at the time. The club's previous policy of signing unreliable big-name players was abandoned; Drake instead used his knowledge of the lower divisions and the amateur game to recruit little-known, but more reliable players. These included John McNichol, Frank Blunstone, Derek Saunders, Jim Lewis and Peter Sillett  Within three years, in the 1954-55 season, Drake had led Chelsea to their first league championship triumph. In doing so, he became the first person to win the league title both as player and manager. However, Drake never came close to repeating the success. The championship-winning side was gradually broken up, to be replaced by the crop of youngsters emerging from the club's youth team, such as Jimmy Greaves, Peter Brabrook and Bobby Tambling, for whom Drake was an aloof figure. Thereafter performances and results were very erratic, leaving the club stranded in mid-table; an FA Cup loss to Fourth Division side Crewe Alexandra weakened his position at the club and a few months later, Drake was sacked early into the 1961-62 season.  After leaving Chelsea, he became reserve team manager at Fulham. During 1970 Drake went on to have a six-month stint as assistant manager at Barcelona. He later returned to Fulham where he became a chief scout, director and life president of the Cottagers. Drake passed away at the age of 82 on 30 May 1995.

How did the public take the change?

Answer with quotes: