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2 x CD |
| 5.167 Ft
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| 1. CD tartalma: |
| 1. | When Lights Are Low
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| 2. | Old Devil Moon
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| 3. | The Nearness of You
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| 4. | How Long Has This Been Going On/Tea for Two
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| 5. | Lullaby of Birdland
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| 6. | Somebody Loves Me
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| 7. | Moonlight in Vermont
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| 8. | The King
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| 9. | Bags of Blues
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| 10. | Nature Boy
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| 11. | All This and Heaven Too
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| 12. | Jubilation
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| 2. CD tartalma: |
| 1. | Do Nothing Till You Hear from Me
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| 2. | Nocturne for Flute
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| 3. | Walking
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| 4. | Carioca
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| 5. | A Night in Tunisia
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| 6. | Tertia
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| 7. | All of You
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| 8. | Theme
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| 9. | Jive at Five
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| 10. | Softly, As in a Morning Sunrise
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| 11. | Polka Dots and Moonbeams
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| 12. | Pavana the Lamp Is Low
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Jazz / West Coast Jazz
Bud Shank - Sax (Alto), Flute
Andrew Thompson Mastering
Bob Cooper Sax (Tenor), Oboe
Chuck Flores Drums
Claude Williamson Celeste, Piano
Don Prell Bass
Roy Carter Liner Notes
2008 collection from the alto sax star Bud Shank, one of the pioneers of '50s West Coast Jazz, The California-based musician's career trajectory had him initially winning his spurs within the ranks of the big bands of Charlie Barnet and Stan Kenton's historic Innovations Orchestra. With his buzz cut coiffeur, Hawaiian shirts, chinos and open top sports car, the ubiquitous Bud Shank epitomized West Coast cool.
Alto saxophonist and flutist Bud Shank was one of the titans of the west coast jazz scene in the 1950s and early '60s. His many recordings revealed him to be as much a Charlie Parker disciple as Art Pepper, but Shank's tone was less pointed and his use of space relied as much on melody as rhythm. This two-disc Giant Steps compilation contains Shank's first three dates as the leader in quintet and quartet settings for Pacific Jazz recorded between January and July of 1956. The first eight tracks on disc one are a live quintet side recorded at Cal Tech with fellow reedman Bob Cooper, pianist Claude Williamson, bassist Don Prell, and drummer Chuck Flores. The interplay between Cooper and Shank is outstanding. Cooper reveals himself to be one of the few jazzmen of his era (only Yusef Lateefcomes to mind from the period) who was as accomplished on the oboe as he was on the saxophone. Their reading of George Shearing's "Lullaby of Birdland" on this set is a brilliant example of Cooper's capabilities on the oboe, especially as it interacts with Shank's flute. Of the many versions of this tune, this one is quite distinctive. The following two studio sides that make up the balance of disc one and all of disc two are Shank's best-known quartet minus Cooper. The weight of the balance falls on Williamson as a fellow soloist, and he fills the bill nicely with his always-blue approach to the keys. Less decorative and fiery than some, his harmonic palette is rich, full of tones and nuances, and a studied but swinging elegance. Check his wonderful comping on "Nature Boy" behind Shank's flute solo. The placement of lower middle range notes in counterpoint to Shank's high register solo are of beautiful and striking contrast. But he could let it rip, too, as evidenced on "Night in Tunisia," where the flights of arpeggiated fancy in his solo complement and extend Shank's. His big rhythm approach with the left hand was similar to Bud Powell's but a bit moodier. Another fine example is his solo on "Softly, As in a Morning Sunrise." Shank is on fire on all of these dates, showcasing his supple, deep-reaching alto chops and his more spacious work on the flute. These are all killer dates and offer a perfect view of the West Coast jazz period at its very best, and lend mightily to the continuing appreciation of Shank as one of the giants of the period and the scene. ~ Thom Jurek, 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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