Bud Spencerterence Hill

One of the giants of the jazz piano, Bud Powell changed the way that virtually all post-swing pianists play their instruments. He did away with the left-hand striding that had been considered essential earlier and used his left hand to state chords on an irregular basis. His right often played speedy single-note lines, essentially transforming Charlie Parker's vocabulary to the piano (although he developed parallel to "Bird")…

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")…

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…

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.

An excellent companion to Classics' 1949-1950 Bud Powell title, this roundup of the bop pianist's early post-war sides gets top overview honors for its better balanced share of combo and trio sides. The first half is mostly taken up by an incredible 1946 session featuring Fats Navarro, Sonny Stitt, Kenny Dorham, and Kenny Clarke, with highlights including the Navarro originals "Webb City," "Fat Boy," and "Everything's Cool." For Powell fanatics, though, the eight trio sides will be the real attraction. Backed by first-tier boppers Max Roach and Curly Russell, Powell is at his fleet and innovative best on a mix of his own work ("Bud's Bubble"), some Monk ("Off Minor"), and a handful of choice covers ("I'll Remember April," "I Should Care"). A taste of possibly the most irrepressible and sophisticated bop on wax.

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…

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.

A surprising Bud Powell album for Reprise Records - and one of the label's hippest jazz titles ever! When Frank Sinatra first started up the Reprise imprint, he let Duke Ellington do a bit of A&R for the jazz division - and one of the first things Ellington did was capture the great Bud Powell in his then-local setting of Paris - in this rough edgey session that turned out to be one of Powell's last albums, and one of his best from the 60s. The record is nothing fancy on the outside - just simple piano trio versions of jazz standards like "Parisian Thoroughfare", "I Can't Get Started", "Jordu", and "Dear Old Stockholm" - but Powell's dark genius turns the tracks into jagged little razors, cutting with an emotional depth that's quite surprising. Duke Ellington produced - and trio members include Gilbert Rovere on bass and Carl Fields on drums.

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?".