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| 5.825 Ft
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| 1. | Port Townsend
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| 2. | Alternate Root
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| 3. | Let Me Tell You Why
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| 4. | Straight, No Chaser
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| 5. | Perkolater
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| 6. | Grizzly
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| 7. | Finger Therapy (For Sherman)
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| 8. | Linda
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| 9. | Killer Joe
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| 10. | Blues, Funcused
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| 11. | Little Rootie Tootie
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Jazz / Cool, Hard Bop, West Coast Jazz
Bud Shank - Arranger, Producer, Flute, Sax (Alto)
Alan Bates Producer
Bill Perkins Associate Producer, Arranger, Sax (Tenor), Sax (Soprano)
Conte Candoli Trumpet
David Keller Producer
Herb Wong Liner Notes
Jack Nimitz Sax (Baritone)
John Clayton Arranger, Bass
Malcolm Walker Design
Mike Barone Arranger
Phil Bray Cover Photo, Photography
Sherman Ferguson Drums
Talley Sherwood Engineer
Teresa Caffin Assistant Engineer
William Claxton Insert Photography, Photography
The Bud Shank Sextet found here differs from most in that it is pianoless. The pianoless concept is not foreign to Shank's varied experiences of course and it has historical roots dating back to the Gerry Mulligan Quartet of 52-53.
The book leans significantly on John Clayton's formidably creative writing with other arrangements by Bill Perkins and Bud Shank himself. Baritone man Jack Nimitz says succinctly "Everything is so different, every tune has it's own flavours - a different kind of album with no West Coast sigma."
Bud Shank assembled a pianoless sextet made up of West Coast musicians for this 1993 studio date, including a front line consisting of the alto saxophonist and leader with trumpeter Conte Candoli, tenor and soprano saxophonist Bill Perkins, baritone saxophonist Jack Nimitz, and a rhythm section that includes bassist and composer John Clayton and drummer Sherman Ferguson. The playing is crisp, the ensembles are a joy to hear, and the solos are consistently adventurous. "Port Townsend" is a lively post-bop vehicle that opens the session, featuring a strong solo by Candoli. The leader contributed the somewhat exotic "Perkolator" (a feature for Perkins' soprano sax) and the pretty ballad "Linda." But it is Clayton's charts that threaten to steal the show, including the strutting "Alternate Root," the bittersweet "Let Me Tell You Why," which has some almost mournful solos by Shank, and the funky blues "Funcused Blues." There are also impressive performances of jazz standards by Thelonious Monk and Benny Golson. Unfortunately, this CD was deleted with the demise of the initial revival of the Candid label. ~ Ken Dryden, 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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