Bud Shank And The Sax Section

The history of the saxophone family is inextricably interwoven with the history of jazz as is that of no other instrument. Indeed, the sound of a saxophone outside jazz in other forms of serious music is so minor as to be approximately comparable to that of, let us say, the harpsichord in jazz. Perhaps one of the most successfully productive devices in the creation of the excitement of the jazz sound, especially in big band forms, is the saxophone ensemble, utilizing various combinations of sax types in orchestral voicings ranging from unison to complex harmonics. Arrangers long ago discovered the varied richness that the blending of alto, tenor, baritone, and even soprano, bass and contra-bass saxophones can produce. In addition, the marvelous flexibility of phrasing inherent in the saxophone design and the consummate facility of literally hundreds of jazz reed instrumentalists assured the premier status of this family of instruments in jazz. 

Many have remarked upon the closeness of the middle-range (alto and tenor) saxophone sounds to that of the human voice, lusty and vivid with the cry and moan of jazz and the blues. But for all the success of saxophones in ensembles, in big bands and as distinctive solo voices in the hands of dozens of small band virtuosos, there has been remarkably little success in the numerous attempts to accomplish what has been so eminently accomplished in the present long-play recording.

Past failures have shown that it is not so easy as it might first appear to remove the saxophone ensemble from the band, place it in front of a good rhythm section, add a generous supply of solo space and come up with the best of all possible saxophonic worlds. Many sax players that seemed to be fine soloists with the brass bellying up beneath them and an urging crowd before them, become painfully weak in merely a section with rhythm setting. Many arrangements that seemed to scintillate in orchestral form felt strangely naked and impotent when stripped of all but the sax section.

The trick to success is here. "The idea for this recording", observed altoist-leader, BUD SHANK, "has been in my mind for nearly two years. The final production was delayed for a variety of reasons, some financial, some artistic, and during that time the details of concept only slowly took form. Three different arrangers were. considered at one time or another, as well as various combinations of individuals for the sax section and the rhythm. We went through periods where the thing did not seem commercially wise even for a jazz record, times when personnel problems seemed difficult, and the choice of material to be performed was puzzling". There have been some famous sax ensemble sounds, such as those in the bands of Basie, Lunceford, Ellington, Goodman, Herman (the Four Brothers sound) and Kenton, which have resulted in a project, such as the present one, with a great temptation to pay tribute in recording to one or another of those sounds.

That temptation has been valiantly resisted here by Shank and his most successful choice for arranging chores, BOB FLORENCE. 

The whole project sits on a rhythm section that just kills me and I've thus never felt so confident in recommending a recording to prospective listeners and buyers. Every living, breathing second of it makes up for every stupid, insipid, foolish piece of pseudomusical nonsense I've heard in the last few months. I feel warm all over. *John William Hardy (liner notes)*

During an era when altoist Bud Shank was recording an extensive series of fairly commercial albums for World Pacific, this LP was better than most. Teamed with a saxophone section that included altoist Bill Perkins, both Rick Hardaway and Bob Cooper on tenors and baritonists Jack Nimitz and John Lowe plus guitarist Dennis Budimir, bassist Ray Brown and drummer Larry Bunker, Shank and his sidemen play rather concise versions of a dozen songs arranged by Bob Florence. One wishes that the saxes could have stretched out more on such tunes as "The Sidewinder", "On A Clear Day", "Take Five" and "Senor Blues", since none of the performances exceed 3 1/2 minutes, but overall, the music on this out-of-print LP is reasonably enjoyable within its limitations. *Scott Yanow*

A great showcase for the amazing reed talents of Bud Shank — great in a small combo during the early years of his career, and equally at home in larger groups like this during the 60s! As you'd guess from the title, Bud heads up a fuller section of saxophonists — players who include Bill Perkins, Bob Cooper, and Jack Nimitz — working with Bud in a style that's a more modern extension of modes first explored by the Four Brothers/Herman group in the late 40s – but with much groovier 60s styles here! Bob Florence handles the arrangements, and he brings a great sense of color and tone — and a nice ear for a groove – on titles that include "Take Five", "The Sidewinder", "Summer Samba", "On A Clear Day", "Summertime", "Reza", and "Senor Blues".  *dustygroove.com*

Side 1

1 - Summer Samba (So Nice)

(Marcos Valle, Paulo Sérgio Valle, Norman Gimbel)

2 - On A Clear Day (You Can See Forever)

(Alan Jay Lerner, Burton Lane)

3 - Sidewinder

(Lee Morgan)

4 - Summertime

(George Gershwin, DuBose Heyward)

5 - And I Love Her

(John Lennon, Paul McCartney)

6 - The Grass Is Greener

(Howlett Smith, Spence Maxwell)

Side 2

7 - The Work Song

(Nat Adderley)

8 - Reza

(Edu Lobo, Ruy Guerra)

9 - Take Five

(Paul Desmond)

10 - Here's That Rainy Day

(Jimmy Van Heusen, Johnny Burke)

11 - A Time For Love

(Johnny Mandel, Paul Francis Webster)

12 - Señor Blues

(Horace Silver)

Bud Shank (alto sax, soprano sax); Bill Perkins (alto sax); Bob Cooper, Bob Hardaway (tenor saxes); John Lowe, Jack Nimitz (baritone saxes); Dennis Budimir (gutar); Ray Brown (bass); Larry Bunker (drums). Arranged and conducted by Bob Florence.

Recorded in Capitol Studios, Hollywood, California, December 1966.