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| 4.246 Ft
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| 1. | On the Trail
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| 2. | Buster's Last Stand
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| 3. | Tommyhawk
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| 4. | Sacajawea
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| 5. | Blazing Paddles
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| 6. | Sausalito
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| 7. | California Medley: Avalon/Relaxin' at Camarillo
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| 8. | Laura
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| 9. | Summer Medley: Summer Serenade/Summer Sketch
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| 10. | Goodbye California
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Jazz / Bop, Hard Bop
Bud Shank - Mixing, Producer, Sax (Alto)
Bill Mays Piano
Bob Magnusson Bass
Conte Candoli Trumpet
Danny Hull Engineer, Vocals
Doug Ramsey Liner Notes
Jay Thomas Sax (Tenor), Sax (Soprano)
Joe La Barbera Drums
Joe Sidore Digital Mastering
Michael Cobb Graphic Design, Executive Producer
Randy Cole Mixing
Rick Chinn Engineer
For this straight-ahead set, altoist Bud Shank performs a variety of songs having to do with traveling in the West, mixing in standards with originals. The sextet teams Shank with trumpeter Conte Candoli (in one of his final recordings), tenor saxophonist Jay Thomas, pianist Bill Mays, bassist Bob Magnusson, and drummer Joe LaBarbera. Danny Hull has a few vocals along the way and those are just okay; plus not that many of the originals are overly memorable. However this version of "On the Trail" (which has been given a bridge) and a "California Medley" comprised of "Avalon" and "Relaxin' at Camarillo" are highlights. Also, it is good to hear Shank and Candoli playing together one last time after knowing each other for a half century. ~ Scott Yanow, All Music Guide
Bud Shank
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: May 27, 1926 in Dayton, OH
Died: Apr 02, 2009 in Tucson, AZ
Genre: Jazz
Styles: Big Band, Cool, Hard Bop, West Coast Jazz, Mainstream Jazz, Standards
Bud Shank began his career pigeonholed as a cool-schooler, but those who have listened to the altoist progress over the long haul know that he has become one of the hottest, most original players of the immediate post-Parker generation. Lumped in with the limpid-toned West Coast crowd in the '50s, Shank never ceased to evolve; in the '90s, he has more in common with Jackie McLean or Phil Woods than with Paul Desmond or Lee Konitz. Shank's keening, blithely melodic, and tonally expressive style is one of the more genuinely distinctive approaches to have grown out of the bebop idiom.
Shank attended the University of North Carolina from 1944-46. Early on, he played a variety of woodwinds, including flute, clarinet, and alto and tenor saxes; he began to concentrate on alto and flute in the late '40s. After college, Shank moved to California, where he studied with trumpeter/composer Shorty Rogers and played in the big bands of Charlie Barnet (1947-8) and Stan Kenton (1950-51). Shank made a name for himself in the '50s as a central member of the West Coast jazz scene. In addition to those named above, he played and recorded with bassist Howard Rumsey's Lighthouse All-Stars, tenor saxophonist Bob Cooper, and Brazilian guitarist Laurindo Almeida, among others. Shank made a series of albums as a leader for World Pacific in the late '50s and early '60s.
Shank ensconced himself in the L.A. studios during the '60s, emerging occasionally to record jazz and bossa nova albums with the likes of Chet Baker and Sergio Mendes. Shank's 1966 album with Baker, Michelle, was something of a popular success, reaching number 56 on the charts. Film scores on which Shank can be heard include The Thomas Crown Affair and The Barefoot Adventure.
In the '70s, Shank formed the L.A. Four with Almeida, bassist Ray Brown, and, at various times, drummers Chuck Flores, Shelly Manne, and Jeff Hamilton. Shank had been one of the earliest jazz flutists, but in the mid-'80s, he dropped the instrument in order to concentrate on alto full-time. Over the last two decades, he has recorded small-group albums at a modestly steady pace for the Contemporary, Concord, and Candid labels. Shank's 1997 Milestone album, By Request: Bud Shank Meets the Rhythm Section, presents the altoist in top form, burning down the house with a band of relative youngsters which includes neo-bopper pianist Cyrus Chestnut. Three years later, Silver Storm was released.
---Chris Kelsey, All Music Guide |
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