Bud Shank Albums (54)
'Beyond the Red Door'
Release Date 1/1/2007
Tracks 9
Label Jazzed Media
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What The Critics Say
Bud Shank and Bill Mays first joined forces back in the '70s, but the alto saxophonist's opportunities to use one of his favorite pianists diminished when Mays moved to the East Coast. This reunion is a fun-filled duo date with many playful moments, starting with the jubilant take of "The Red Door." Mays' idea to combine two haunting ballads in medley form, Russ Freeman's overlooked gem "The Wind" and "The Peacocks" (one of Jimmy Rowles' best known works and a favorite of the late Bill Evans, among many others), works beautifully, as the two deliver a heartfelt performance. The pianist also contributed his bittersweet waltz "Quietly." Their spacy introduction to the standard "The Touch of Your Lips" is hardly a typical bop arrangement, while the jaunty setting of "Everything I Love" has a choppy flavor and some of Shank's best playing of the session. Shank co-wrote two pieces with his wife Linda: the nostalgic "Carousels" (first conceived as a bossa nova years ago) and the unusual "Why Not Now?," an intriguing work that defies musical labels. Highly recommended! ~ Ken Dryden, All Music Guide
'Taking the Long Way Home'
Release Date 6/13/2006
Tracks 8
Label Jazzed Media
See Album Tracklist and Review
What The Critics Say
Recorded live at one of the Los Angeles Jazz Institute's legendary four-day jazz convention/festivals, Taking the Long Way Home features altoist Bud Shank joined by a specially assembled big band. The arrangements are mostly by Mike Barone, Bob Cooper, Manny Albam, and Bob Florence with Shank being the main soloist throughout. Tenor saxophonist Doug Webb is prominent interacting with Shank on "The Night Has a Thousand Eyes," trumpeter Carl Saunders has a heated spot on "Limes Away," and Florence plays piano on his lengthy "Taking the Long Way Home." Shank's warm alto solos, his verbal introductions of each selection, and the tightness and spirit of the band (despite only having one or two rehearsals) make this a real keeper. ~ Scott Yanow, All Music Guide
What The Critics Say
This Fresh Sound CD compilation pairs two separate 10" LPs from the 1950s by Bud Shank. The first, originally issued as Bud Shank and Three Trombones, is a bit unusual, as the alto saxophonist is joined by three valve trombonists (Bob Enevoldsen plus Maynard Ferguson and Stu Williamson, the latter two better known as trumpeters), plus a rhythm section consisting of Claude Williamson, Joe Mondragon, and Shelly Manne, with arrangements by Bob Cooper. Cooper's perky "Wailing Vessel" is the highlight of the session; there's also an alternate version that has been added to this reissue. Also worth noting are "Baby's Birthday Party" (an obscure work by Ann Ronell, composer of the standard "Willow Weep for Me") and the moody arrangement of "You Don't Know What Love Is." The latter recording, previously issued as Bud Shank and Bob Brookmeyer and also as a part of The Saxophone Artistry of Bud Shank, features the alto saxophonist and the valve trombonist joined by pianist Claude Williamson, bassist Buddy Clarke, and drummer Larry Bunker, plus a string quartet. Both players are in top form throughout these eight tracks. Russ Garcia's relaxed chart of "When Your Lover Is Gone," Johnny Mandel's rhumba-flavored scoring of "Out of This World," and his breezy original "Low Life" have obvious appeal. But Brookmeyer's imaginative composition "Rustic Hop" (previously recorded by Brookmeyer with Stan Getz and later with Gerry Mulligan) easily stands out as the best track from the latter sessions. All of this valuable music has since been reissued in the Mosaic Select box set Bud Shank and Bob Cooper. ~ Ken Dryden, All Music Guide
What The Critics Say
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
What The Critics Say
Altoist Bud Shank recorded frequently as a leader during 1954-1969 for Richard Bock's Pacific Jazz and World Pacific labels, but very few of those diverse records (other than his collaborations with guitarist Laurindo Almeida) are currently available. An exception is this CD reissue (on Choice) of a live set by his 1956 group for the obscure Concept label. Recorded in early stereo by Gerry MacDonald, the Shank Quartet (with pianist Claude Williamson, bassist Don Prell and drummer Chuck Flores) was caught during a seven-month period when they worked regularly at the Haig in Los Angeles. They stretch out on Williamson's "Ambassador Blues" and a variety of standards, playing cool-toned bop and pushing themselves. Easily recommended to straight-ahead jazz fans. [Originally released in 1956, Live at the Haig was reissued on an import-only Japanese CD in 2003.] ~ Scott Yanow, All Music Guide
What The Critics Say
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
What The Critics Say
Originally known as a cool-toned altoist and occasional flutist, Bud Shank's playing from this recording forward surprised many listeners. There was a forcefulness and a passion to his alto solos (he had given up the flute) that had not been heard that much from him previously. Assisted by pianist Kenny Barron, bassist Ron Carter, and drummer Al Foster, Shank rips into five bop standards, his own "Cotton Blossom," and Walter Norris' "Space Maker" with plenty of intensity, stretching himself and inspiring his sidemen. Highly recommended. ~ Scott Yanow, All Music Guide
What The Critics Say
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
