Richard "Groove" Holmes - Six Million Dollar Man (1975) [vinyl]

One of Groove Holmes' best albums of the 70s -- thanks to some electric blacksploitation arrangements from the great Oliver Nelson! The format's a bit tighter here than on some of Holmes' Groove Merchant albums from the earlier part of the decade -- an approach that's almost like soundtrack scoring at times, but which allows Groove to stretch out a bit more on the solos, and take things way past the already-funky head arrangements penned by Nelson. Mike Wofford's also on the record, throwing in some great electric piano and Arp in underneath Holmes' own funky Hammond -- and other players include Tom Scott, David T Walker, and Oscar Brashear -- who all contribute nicely to the record. Titles include "Disc-o-Mite", "Salsa de Alma", "Dumpy Mama", "Mama's Groove", "125th & 7th Ave", and "Six Million Dollar Man", the theme from the TV show!  © Dusty Groove, Inc. 

Flying Dutchman, BDL1-1146, 1975
Recorded in 1975 

Musicians:
Richard "Groove" Holmes - Organ
Oscar Brashear, Charles Findley, Bobby Bryant - Trumpet (#A2,B1)
Garnett Brown, Maurice Spears, Lloyd Ulyate - Trombone (#A2,B1)
Tom Scott - Tenor Saxophone, Flute (#A2), Arranger, Conductor (#B2)
Bud Shank, Jerome Richardson, Jack Nimitz, Gene Cipriano - Woodwinds (#A2,B1)
Mike Wofford - Piano, Electric Piano, ARP Synthesizer
David T. Walker - Electric Guitar
Chuck Rainey - Electric Bass (#A1,A2,A4,B2-B4)
Chuck Domanico - Electric Bass (#A3,B1)
Jimmy Gordon - Drums (#1,A2,A4,B2-B4)
Shelly Manne - Drums (#B1)
Mailto Correa - Percussion
Larry Bunker - Percussion (A3,B1)
Oliver Nelson - Arranger, Conductor (#A1-B1,B3,B4)

Tracks:
A1. Disc-O-Mite {Oliver Nelson, Richard "Groove" Holmes} (5:21)
A2. Salsa De Alma {Richard "Groove" Holmes} (5:19)
A3. Once Is Not Enough {Henry Mancini, Larry Kusik} (3:26)
A4. Dumpy Mama {Oliver Nelson} (4:46)
B1. "Six Million Dollar Man" Theme {Oliver Nelson} (4:55)
B2. Double Scale {Tom Scott} (4:12)
B3. 125th St. and 7th Ave. {Oliver Nelson} (3:40)
B4. Mama's Groove {Richard "Groove" Holmes} (7:06) 

Total Time: 39:45 

Credits:
Producer - Bob Thiele
Engineer - Eddie Brackett
Remix Engineer - Bob Simpson
Art Direction – Acy Lehman, Dick Smith
Photography - David B. Hecht
Liner Notes - Nat Hentoff

Link

Double Scale

Bud Shank At Jazz Alley (1986) [Vinyl 24/48]

A Japanese 1987 issue is the only CD I'm aware of, and I could never locate a copy, so I was very pleased to pick up this mint LP

Review by Scott Yanow:
Altoist Bud Shank celebrated his move to the Seattle area by utilizing two talented Seattle players (pianist Dave Peck and bassist Chuck Deardorf) plus drummer Jeff Hamilton for this fine live set. On a well-rounded program of originals, an obscurity and a couple of standards ("A Nightingale Sang In Berkeley Square" and "I Loves You Porgy"), Shank is in top form, really stretching himself on the frequently challenging material. A good example of Bud Shank's playing in the 1980s.

The liner notes are much more interesting than Scottie's review!

01 - A Nightingale Sang In Berkelet Square
02 - Seaflowers
03 - Too Long At The Fair
04 - Arion
05 - Song For Lady Lynn
06 - I Loves You, Porgy
07 - Wales
08 - Bud's Theme

Bud Shank (alto saxophone) Dave Peck (piano) Chuck Deardorf (bass) Jeff Hamilton (drums)
"Jazz Alley", Seattle, WA, October 16, 17 & 18, 1986
Contemporary LP C 14027

Bud Shank - That Old Feeling (1986) [vinyl>flac]

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)

Bud Shank - Girl In Love (1966) [vinyl]

Something a little different for the Crypt.
This is from a series of albums Shank made for World Pacific in the mid 60s. Most have had Japanese CD reissues, however this one seems only to be available in its original vinyl form?

This is Shank in a very commercial setting with appropriate arrangements by Oliver Nelson. Nothing profound happens here but, of its type, this is excellent and vastly superior to the Johnny Hodges Sandy's Gone, that I posted at the old Crypt while ago, and that would appear to have been aimed at a similar market.
Alan Zeffert writing in "Jazz On Record, A Critical Guide to the First 50 Years" remarked '...he has offered virtually straight offerings of current pop hits. Ephemeral though most of this material may be, mention must be made of the altoist's now exquisite, full, golden tone and perfect articulation...'

01 - Lady Jane
02 - Summer Wind
03 - The Sun Ain't Gonna Shine (Anymore)
04 - Strangers In The Night
05 - When A Man Loves A Woman
06 - Girl In Love
07 - Don't Go Breaking My Heart
08 - Everybody Loves Somebody Sometime
09 - Time
10 - The Shining Sea
11 - Lara's Theme From Dr. Zhivago
12 - Solitary Man

Bud Shank (as) Frank Rosolino (tb) Bob Florence (p) Herb Ellis, Dennis Budimir, John Pisano (g)
Bob West (b) Frank Capp (d) Victor Feldman (pc)
Arranged & Conducted By Oliver Nelson
Recorded Los Angeles in 1966