He spent the 1960s as a first-call studio musician in Hollywood. The finale The Color Of Her Hair by Laurindo Almeida is a short sunset valley song of less than two minutes which seems to be about a drive through serpentine mountain ranges as delivered by bubbling double bass billows and an innocence which, for once, truly meshes the busy strings with the leading guitars. Exotica fans tend to love their favorite genre for the opposite reason, namely the appearance of beloved material in various arrangements and tempos. He also recorded on tenor and baritone sax. In 1974, Shank joined with , replaced by after 1977 , and to form the group the L. 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. There's always been a fascination for altoists to dabble with the tenor saxophone, and while the fluidity of Shank's playing is present, this is a pretty typical set of standards and Hollywood tunes.
He was like the guy that you always want to have at parties: not likely to offend or do anything crazy, but simply the guy you wanted to have around to make sure things got started properly. Many of the compositions are uplifting, upbeat and uptempo, so there is always a joyful and refreshing aura in the air, for there are no classics such as Brazil, Taboo or The Breeze And I on this album. To date the documentary film has been awarded 4 indie film awards including an Aurora Awards Gold. Four, who recorded and toured extensively through 1982. Shank ultimately abandoned the flute to focus exclusively on playing jazz on the alto saxophone. A very catchy tune and definitely not convoluted at all. Shank never recorded a masterpiece, but did record several fine records in his long career.
He began with in , but had switched to saxophone before attending the. 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. May 27, 1926 — April 2, 2009 was an American alto saxophonist and flautist. Bud Shank Four Classic Albums 2012 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. And yes, this one is indeed another night-focused corker.
The remaining five tracks are not necessarily Brazilian, but showcase the talent of North American writers too. As Clare Fischer, Laurindo Almeida and João Donato are prolific composers, one can count on their vivid imagination and will to inject their own material into the album, and this also applies to Brazil! Still, things don't pick up until after a few forgettable numbers with an orchestra. Bud Shank On Tenor from 1957 features the same group and is exactly what it promises. The same can be said here as well: a nightly tune by the numbers, but benign enough to be embraceable. Fast-paced, sporting dry acoustic guitars and glitzy percussion, the strings make the important difference and cover the lacunar structure. Title: Year Released: 2012 Record Label:.
He rose to prominence in the early 1950s playing lead alto and flute in 's Innovations in Modern Music Orchestra and throughout the decade worked in various small jazz combos. Released in 1966 on the World Pacific label, it features the talent of pianist, organist and frequent collaborator Douglas Clare Fischer , pianist and composer João Donato, guitarists Joe Pass and Laurindo Almeida as well as trumpeter Chet Baker. The Bud Shank Quartet Featuring Claude Williamson from 1956 says it allno gimmicks here. Mercer's arrangements, however, are tasteful and unobtrusive, providing a backdrop for Shank without overwhelming him with overwrought swells and glissandos, and if things get a little too precious with the flute numbers, it's at least a consistently pleasant record that floats along pleasantly. Shank also worked closely with , a saxophonist with whom he spend a fair amount of time on the Kenton bandstand.
Of course considering the pairing it's no surprise that Shank plays the flute and Cooper plays the oboe for their famous combination of the two instruments. The album is aesthetically pleasing due to its large roster of unique material specifically written with this artifact in mind. The sound of a quintet augmented by an orchestra, yep, this has been done before and ever since, but when Latin-focused works are ennobled by the expected string washes, the enchantment level usually grows, for these strings make sure that the archetypical Latin murkiness and utter devotion do not seem overly mighty. The quartet with on piano, on bass, and on drums was a terrific group who played with enthusiasm and pluck. Here comes the twist: the band is accompanied by a small string ensemble which adds lilac ruralities and technicolor rhizomes to the 12 — already sunny — concoctions.
Shank and his fellow musicians choose wisely and try to impress with new melodies or witty mutations rather than tailoring an album for the fans of renditions. Bud Shank in 2006 Background information Birth name Clifford Everett Shank, Jr. Many saxophonists doubled on flute, but none seemed as dedicated as Shank to exploring the tonal possibilities available with the extra instrument. Shank helped to popularize both Latin-flavored and chamber jazz music, and as a musician's musician also performed with orchestras as diverse as the , the New American Orchestra, the Big Band, 's Neophonic Orchestra, and. Unsurprisingly, the opposite is indeed the case, as the exclamation mark galore Brazil! His world music collaborations continued in 1962, fusing jazz with Indian traditions in collaboration with Indian composer and sitar player. And finally there's I'll Take Romance from 1958 which brings on the orchestra again for a full-blown sax 'n' strings recording.
. In 2005, he formed the Bud Shank Big Band in Los Angeles to celebrate the 40th anniversary of Stan Kenton's Neophonic Orchestra. This interpretation —as well as the whole album — is about a glorified state, a genre mélange known under the name Exotica. Shank died on April 2, 2009, of a at his home in , one day after returning from , where he was recording a new album. In the 1970s and 1980s, he performed regularly with.