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Bud Shank & Bob Cooper: Mosaic Select 10: Bud Shank & Bob Cooper
by C. Andrew Hovan
One is no longer with us and the other still serves as a vital bop-inflected saxophonist, but for a short period of time in the late '50s, Bob Cooper and Bud Shank joined forces with producer Richard Bock on a series of fine Pacific Jazz sessions that, while not widely known even at the time, will ...
A Fireside Chat With Bud Shank
by AAJ Staff
Is Bud Shank West Coast cool jazz? Providing you know what the hell 'cool jazz' is (and I don't), I find everything that Shank plays to be cool. Shank's alto is hip, but alas, I have a hidden agenda. I am campaigning here and now to convince Shank to play the flute once more. Shank has, ...
Silver Storm
By Bud Shank
Label: Raw Records
Released: 2001
Track listing: Idol Gossip; Blue Daniel; Cotton Blossom; Big Mo; My Shining Hour; #10 Shuffle / John C; Perkolator; Wildflower
Bud Shank Sextet: Silver Storm
by Todd S. Jenkins
I doubt anyone could have come up with a more suitable title for an album than this. Six veteran gray foxes of West Coast jazz, with a collective 300 years of experience, blow clean through an incendiary set that sharply belies the “cool” image with which they’ve come to be associated. Unlike so many aging jazz ...
Three To Get Ready
By Bud Shank
Label:
Released: 2000
Track listing: Should I; Softly, As In a Morning Sunrise; Squeeze Me; No Greater Love; My Funny Valentine; Have You Met Miss Jones; I Hear a Rhapsody; Payin
David Friesen, Clark Terry, Bud Shank: Three To Get Ready
by Jim Santella
Recorded February 24, 1994 in East Berlin, this session, before a large audience in an auditorium, brings together three melody makers with no chording instrument or drum set. David Friesen provides a walking bass pattern, while the trio creates obvious harmony as they work together. But this unusual instrumentation provides a setting that is far removed ...
Bud Shank: The Complete Pacific Jazz Bud Shank Studio Sessions
by C. Andrew Hovan
The problem with examining the music that emanated from the west coast during the '50s and '60s was that too often much of it was lumped under the generic and grand category of “West Coast Cool." Sure, there was music that fit that bill, but there was also traditional jazz prospering on the west coast (Lu ...
