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| 4.999 Ft
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| 1. | Idol Gossip
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| 2. | Song For Strayhorn
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| 3. | The Red Door
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| 4. | I Hear The Shadows Dancing
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| 5. | Rico Apollo
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| 6. | Line For Lyons
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| 7. | North Atlantic Run
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| 8. | O Great Spirit
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| 9. | Night Lights
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| 10. | Bark For Barksdale
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| 11. | Theme For Jobin
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| 12. | After You Jeru
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Jazz / Cool, Hard Bop, West Coast Jazz
Recorded at Sage & Sound Studio, Hollywood, December 7 & 8, 1998
Bud Shank - Sax (Alto)
Alun Morgan Liner Notes
Bob Comden Photography
Bob Magnusson Bass
Dave Pell Photography
Dick Bank Producer, Liner Notes
Gene Lees Liner Notes
Heidi Frieder Design
James Mooney Mixing, Engineer
Joe La Barbera Drums
Joe Sidore Mastering
Jordi Pujol Producer
Mike Wofford Piano
Stan Levey Photography
William Claxton Photography
Bud Shank's tribute to the late Gerry Mulligan is a brilliant follow-up to his earlier Fresh Sound CD saluting Bill Evans. Once again joined by pianist Mike Wofford, bassist Bob Magnusson, and drummer Joe La Barbera, the alto saxophonist explores music from throughout Mulligan's long career, most of which was composed by the late baritone saxophonist. "Idol Gossip," which is based upon the chord changes to "Bernie's Tune" (an early hit for Mulligan composed by Bernie Miller), is a superb opener, with Shank's brash playing and Magnusson's tasty bass solo. Shank's sassy take of the ballad "Song for Strayhorn" may be less melodic than the composer's recording of it, but it works very well. The buoyant "Rico Apollo," composed late in Mulligan's career, is a bit of a hoedown with some down-home piano by Wofford. Mulligan wrote "O Great Spirit" near the end of his life and didn't record it, but Shank's powerful performance should bring it the attention it deserves. "After You, Jeru" is Shank's own, a bittersweet ballad protesting the premature death of his good friend Gerry Mulligan. Not only is there a generous helping of great music, clocking in at almost 77 minutes, but the detailed liner notes and remembrances by several writers, along with photos and the program from Mulligan's memorial service, add to the value of this very rewarding CD. ~ 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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