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| 4.246 Ft
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| 1. | Idol Gossip
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| 2. | Blue Daniel
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| 3. | Cotton Blossom
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| 4. | Big Mo
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| 5. | My Shining Hour
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| 6. | No. 10 Shuffle/John C
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| 7. | Perkolator
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| 8. | Wildflower's Lullaby
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| 9. | Yardbird Suite
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Jazz / Cool, Hard Bop, West Coast Jazz
Bud Shank - Sax (Alto)
Bill Mays Piano
Bill Perkins Sax (Tenor)
Bob Magnusson Bass
Conte Candoli Trumpet
Doug Ramsey Liner Notes
Joe La Barbera Drums
In the '50s, Bud Shank, Bill Perkins, and Conte Candoli were all closely identified with jazz's Cool School. Essentially, cool jazz was bebop, but bebop played with subtlety and restraint instead of aggression. As the years passed, however, all of them moved away from cool jazz and opted for a tougher, harder approach. No one can accuse Shank of mellowing with age; in fact, the alto saxman played a lot more forcefully in his sixties and seventies than he did in his twenties and thirties. Shank turned 74 on May 27, 2000, and on this 2000 release, he isn't exactly taking it easy. Leading a sextet that boasts Perkins on tenor sax, Candoli on trumpet, Bill Mays on piano, Bob Magnusson on bass, and Joe LaBarbera on drums, Shank brings a lot of passion to Silver Storm. Most of the CD is straight hard bop, and Shank is as focused and inspired on Frank Rosolino's "Blue Daniel" and Gerry Mulligan's "Idol Gossip" as he is on his own compositions, which include the Art Blakey-ish "Big Mo" and the Brazilian-influenced "Cotton Blossom" (a tune that was originally called "Sambinha"). The biggest surprise comes when the sextet makes a totally unexpected detour on Shank's "Perkolator," a number that finds Perkins on soprano sax instead of tenor. Even moderately improvised free or chamber jazz would not be expected from a group that includes some ex-members of the Lighthouse All-Stars; nonetheless, all of the players rise to the occasion. But for the most part, hot-blooded bop is the thing that prevails on this fine addition to Shank's sizable catalog. ~ Alex Henderson, All Music Guide
Recorded in 2000 in Port Townsend, Washington, where jazzman-in-residence Bud Shank founded a jazz festival, this generous batch of spirited, bop-flavored jazz finds Shank once again teaming up with tenor saxist Bill Perkins and trumpeter Conte Condoli, band mates from his earliest days. The three were partially responsible for inventing "West Coast jazz," a term used to describe L.A.-flavored bebop, and are all still going strong 50 years later. Though "Wildflower's Lullaby"--light, lilting, melodic--might be the most stereotypical of the West Coast sound, this CD features a wide array of mood and tempo, each tune driven by an unusually high degree of musical empathy. Over the years, Shank's alto sound has developed a full-bodied, engaging gruffness, full of depth and nuance, and his soloing, as well as his cohorts', gives eloquent testimony to the value of maturity and experience. These silver-headed jazz veterans do, indeed, kick up a storm, and this CD faithfully captures their exuberant spirit.
---Wally Shoup
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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