I rather like the review I've used below but one thing struck me listening to this that Sheridan doesn't mention. In his West Coast heyday the similarity between Shank and Art Pepper was often remarked. Shank acknowledged Pepper as a major influence and at times sounded uncannily like him. Both musicians disappeared from the jazz scene in the latter part of the 60s, Pepper to deal with the consequences of his drug addiction, Shank for the lucrative security of the film and recording studios. Both returned in the 70s. This album was cut a few years after Pepper's passing and cut with Pepper's preferred pianist in his later years. Yet there is now no way that I could confuse the two. In the 50s they shared a similar tone, a sound, but by the late 70s they had moved apart. Sheridan uses the phrases 'a little more grit' and 'impassioned playing' to describe Shank's approach and indeed it is possible to discern more 'attack' more 'adventure' here, but I feel that Pepper had moved far further from his mid-fifties playing, there's a ferocious intensity, even on ballads, and a feeling for the blues that Shank never displays. Don't get me wrong I love the playing of both musicians throughout their respective careers, but I'd be interested in your opinions.
Review by Chris Sheridan, Jazz Journal, May 1987:
Bud Shank was always a highly effective alto soloist in the old West Coast days, as performances like East Of The Sun, with Howard Rumsey's Lighthouse All-Starts testify. However, his post-studio renaissance has seen a little grit added to the harmony, a bit of the crie de coeur that makes the difference between pleasantries and something more profound.
Here, his impassioned playing meshes vigorously with a robust rhythm trio to produce music of immense involvement, strong melody and varied emotional content. From the wiry opening bars of Benny Golson's usually wistful Whisper Not, this is clearly music that reaches out for attention — nor is the Shank way with a ballad any the more passive these days, as Cabin In The Sky readily testifies. Other highlights include the Monkishly puckish El Wacko, the bounding treatment of Sonny Rollins' No Moe and his unhackneyed way with As Time Goes By.
This is Shank's second album for Contemporary in 14 months and his third winner since splitting with the more wispy approach of the LA4. It should go a long way towards restoring his reputation as a pungent soloist with something worthwhile to say.
1. Whisper Not
2. Dream Dancing
3. Cabin In The Sky
4. El Wacko
5. No Moe
6. I've ToldEv'ry Little Star
7. As Time Goes By
8. That Old Feeling
Shank (as); George Cables (p); John Heard (b); Albert Heath (d).
Berkeley, California, February 17-18, 1986.
(Contemporary 14019)
email for link:
ReplyDeletegrumpywon(a)gmail.com
Thank you for this. Forgive the long-winded comment, but it seems there are two major categories of white jazz musicians. The best, Beiderbecke, Teagarden, Shaw, Goodman, Getz, Sims, Mulligan, Tristano, Marsh, Brubeck, Desmond, Pepper, Feldman, Evans to name some, despite alcohol, narcotics and ridicule by the likes of Miles Davis, invariably performed at a very high level and often produced work rivalling their black contemporaries. I believe, for example, that the duets of Desmond & Mulligan were the equal of anything produced by the pairings of Griffin & Lockjaw Davis and Stitt & Ammons. On the other hand, lesser white musicians, including Herman, Kenton, Baker, Konitz, Cohn, Ferguson, Shank, rarely performed at such a high level and habitually offered either shallow or shit-slick toffee. Art Pepper, despite or maybe because of his personal demons, never produced a mediocre recording during his troubled life. Bud Shank, unfortunately, frequently did. THAT OLD FEELING is a mild exception but still strikes me as being typically bland, puerile and pedestrian.
ReplyDeleteThanks Grumpy. Loving Bud's rasping sound. :)
ReplyDeleteThanks once again, Grumpy. Another nice choice....
ReplyDeletePersonally, I'm never gonna email anyone for a link as I find that particular position on downloads to be somewhat annoying (sorry, Grumpy, but I've felt this way for a long while), although I am thankful and appreciative that you have such great material to post and do so freely.
ReplyDeleteBut, to the point, Anonymous (and I find that rather pose annoying as well) has contributed a pretty good analysis of the 'white jazz musician' scene. I would limit the admissible whiteys a lot further than he has. I like Paul Desmond for his Bossa Nova stuff, but he's certifiably a honky, as are Mulligan and Brubeck. No dishonor, but lacking the basic grounding in Gospel/Soul/R&B or whatever definitely influenced ones ability to produce a solid jazz improvisation. Art Pepper is a remarkable exception, and I'll be damned to know how he got his infallible soul (it wasn't through a needle) but he certainly had it.
That said, Mr. Anonymous, comments on a freely offered download from a fellow jazz enthusiast is probably not the best place to start a 'De gustibus non est disputandum' sort of argument, and Grumpy, please forgive me if I may have done the same.
Many thanks for the link Grumpy. I like what I'm hearing.
ReplyDeleteOh, and for me the best jazz musicians are the ones that I like :)
Absolutely with you on that Newlyner
ReplyDeleteBob
Mike and others, you should be asking the question 'why am i asking for emails?'.
ReplyDeleteIf you find asking for a link for a high quality presentation of great music for FREE annoying, what do you think might annoy me?