A sublime little set all the way through - an early 60s date from the west coast scene - and one that was almost as important to that side of the country as the Verve bossa records were to New York! Bud Shank's in the lead on alto sax - no flute at all this time around - blowing sharp and soulfully, in a way that's even more deft than most of his other albums! But the equal star here is the young Clare Fischer - who plays piano in the group, and also contributed a host of original tunes to the set - fresh numbers that are way different than the usual "bossa-ized" standards, or American remakes of Brazilian classics. Ralph Pena is a key member of the group on bass - and Larry Bunker plays some vibes as well. Titles include "Joao", "Pensativa", "Samba Guapo", "Samba Da Borboleta", and "Que Mais?".

One of the greatest albums of Brazilian jazz that Bud Shank ever recorded - done with a style that's a lot more like some of the best bossa albums from Rio at the time! Bud's recorded in other bossa settings before - but there's something about this record that really gets the whole thing right - as Shank's alto and flute come into play with a killer combo that includes Clare Fischer on piano, Larry Bunker on vibes and drums, Joe Pass on guitar, and Milt Holland and Chuck Flores on percussion. The added percussion really brings a lot to the set - and gives it a strongly bossa-driven groove that really lets Shank take off on alto and flute solos. Fischer's piano is remarkably strong - caught at that clear early point in his career when he was such a fresh voice on the scene.

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.

Altoist Bud Shank (who doubles on flute) and acoustic guitarist Laurindo Almeida first teamed up in 1954 to make a couple of albums called Brazilliance that hinted at but greatly predated bossa nova. Shank and Almeida came together 20 years later to form the L.A. Four, a quartet also including bassist Ray Brown and drummer Shelly Manne. Their debut recording as a unit was made at the 1974 Concord Jazz Festival, and it finds the appealing musicians blending together well on bossa nova tunes (including "Manha de Carnaval"), Almeida's classical-oriented originals, and some swing. This was a particularly inventive chamber jazz band.

For their third recording, the L.A. Four had drummer Jeff Hamilton permanently taking Shelly Manne's place but otherwise utilized their original players (altoist-flutist Bud Shank, guitarist Laurindo Almeida, and bassist Ray Brown). Most unusual in their repertoire on this set is Chuck Mangione's "Land of Make Believe," which was a current pop hit. Otherwise, the tunes are the usual mixtures of bossas, classical numbers, and standards, including "Summertime," "Mona Lisa," and "Nuages." Tasteful and lightly swinging music.

Two of the stars of cool jazz, Bud Shank and Bill Perkins, are featured to various degrees throughout this session. Shank in the 1950s was practically the epitome of West Coast jazz. His cool tones on alto and his fluid flute were utilized on many dates; the main set here also finds him switching in spots to tenor and baritone. Perkins, always a versatile reed soloist, is best known for his tenor playing but during that date he also plays alto, and (on two versions of "Fluted Columns") there are some rare examples of his flute. Shank and Perkins team up quite effectively with pianist Hampton Hawes, bassist Red Mitchell, and drummer Mel Lewis for the May 2, 1955 session, which includes a trio feature for Hawes ("I Hear Music")…

On this rewarding set, the L.A. Four (altoist Bud Shank, acoustic guitarist Laurindo Almeida, bassist Ray Brown, and drummer Jeff Hamilton) perform a Bach melody, "Carinhoso" (originally recorded by Shank and Almeida back in 1954), "Just Friends," a "Love" medley ("Love for Sale" and "Love Walked In"), and Chick Corea's "Spain." Shank sticks exclusively to alto for the date, leaving his flute in its case, and the result is a more high-powered program than usual.

Bud Shank is typical of the jazz musicians that roamed the West Coast in the fifties in that he was able to work comfortably in a variety of settings: big bands, the studio, and clubs. Like many of the other players, Shank also played more than one instrument, which made him a valuable member of the bandstand and afforded his solo recordings a bit more variety than what was coming out of the cool school at the time. Four Classic Albums collects a handful of records from this period that display not only the range of Shank's capabilities but also serve as a good cross section of what was happening in California mid-century…

Altoist Bud Shank and flugelhornist Shorty Rogers worked together on a fairly regular basis after Rogers returned to active playing in 1982. While Shank had advanced as an improviser (developing a wider range of expression and playing with more intensity than previously), Rogers' cool-toned style was largely unchanged. With pianist George Cables, bassist Monty Budwig and drummer Sherman Ferguson completing the quintet, Shank and Shorty perform three of Rogers' originals plus inventive reworkings of four swing and bop standards arranged by the flugelhornist. A fine outing.

Bud Shank Quartet Featuring Claude Williamson is an album by Bud Shank recorded in late 1956 for the Pacific Jazz label.
Bud Shank began his career pigeonholed as a cool schooler, but those who listened to the altoist progress over the long haul knew that he became 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 his later years, he had more in common with Jackie McLean or Phil Woods than with Paul Desmond or Lee Konitz…

The near-telepathic interplay that distinguishes all of Bud Shank's collaborations with reedist Bob Cooper reaches a dazzling peak with the live Jazz at Cal-Tech. A deceptively freewheeling set recorded with pianist Claude Williamson, bassist Don Prell, and drummer Chuck Flores, it boasts a simmering intensity often missing from Shank and Cooper's subsequent studio sessions, channeling the energy of the audience to add a new edge to their creative give and take, particularly on a rousing rendition of Count Basie's "The King." No less impressive is a lovely ballad medley featuring "How Long Has This Been Going On?" and "Tea for Two."

As its title promises, Bud Shank Plays Tenor eschews the jazzman's signature alto and flute, and while the leap to tenor doesn't dramatically impact his overall sound and style, it does add soul and depth to his lyrical solos. Paired with pianist Claude Williamson, bassist Don Prell, and drummer Chuck Flores, Shank crafts a radiant set of standards spanning from "All the Things You Are" to "Long Ago and Far Away," and while none of the performances reinvent the familiar material, the robust approach sets the session apart from his other Pacific Jazz dates.