Bud Shank and the Sax Section

Whenever a jazz artist is packaged on an album as joining, meeting or leading a "sax section," I'm instantly hooked. In every case, the result is exciting, since no one in his right mind would be paired with a sax section unless the results and collective talent were sterling. Examples of this approach that come to mind include Al Cohn and the Sax Section (1956), Coleman Hawkins Meets the Saxophone Section (1958) and That's Right: Nat Adderley and the Big Sax Section (1960). Then, of course, there was Supersax, starting in 1972, playing dense-packed arrangements of Charlie Parker solos. I recently discovered another album in this category that, like the other sax summit efforts, is terrific: Bud Shank and the Sax Section (1968). [Black-and-white photos of Bud Shank above and below by William Claxton]

Using the phrase "the sax section" in an album title carries major connotations and responsibilities. The implications always are that the reeds separately and together are all muscle, that the tracks on the album are shrewdly chosen and that the arrangements are tight and adventurous to the ear. All are certainly the case with this Bud Shank album.

The West Coast band assembled for the Pacific Jazz date featured Bud Shank and Bill Perkins (alto saxes), Bob Hardaway and Bob Cooper (tenor saxes), Jack Nimitz and John Lowe (baritone and bass saxes), Dennis Budimir (guitar), Ray Brown (bass) and Larry Bunker (drums). Bob Florence [pictured] handled the arrangements and conducted the band.

Bud Shank had a split musical personality during the 1960s. On the one hand he could tear your heart out with edgy playing on ballads and up-tempo pieces. But Bud also could lay back and surf melodies beautifully. He recorded this album in the middle of a highly commercial period for Pacific Jazz. At the time he was recording bossa nova albums (Brasil! Brasil! Brasil!) and LPs that tried to capitalize on the surging rock trend (A Spoonful of Jazz and Magical Mystery). Some were more successful than others and all had heart.

Tracks on The Sax Section include Summer Samba, On a Clear Day, the Sidewinder and And I Love Her. As you can see, the material was all over the lot hoping to appeal to everyone. And yet the album works, largely because of Bob Florence's arrangements and the shrewd doubling of the baritone and bass sax parts, which give the charts heft at the bottom. Florence also had the good sense to widen out the voicings and extend the counterpoint—making the section sound like a full band rather than one instrument. The overall sound remains wonderfully reedy and flighty. Interestingly, Jack Nimitz was the sole member of this sax section who wound up as a member of Supersax.

JazzWax tracks: Unfortunately Bud Shank and the Sax Section album isn't available on CD. Blue Note, which owns the Pacific Jazz catalog, should really consider re-issuing it. In fact, since we're on the subject, a box of Bud's 1960s World Pacific albums is in order. The album is available on eBay and Amazon from independent sellers as a vinyl LP.

A special JazzWax thanks David Langner and Wen Mew.

Comments

[Bruce Armstrong]

Mike, thanks for bringing Bud's "Sax Section" recording to your readers' attention. Now, if somebody would only reissue it in CD. It is one of the all-time great recordings of the saxophone section with rhythm concept. The Bob Florence charts are absolutely outstanding and the execution by Bud and the rest of the musicians is a living example of those "super pros" at the top of their game. I bought the LP when I was still in college--c.1966--and had the great fortune to see Bud perform with the exact same personnel at Donte's in Los Angeles a few years later. That evening remains one of my personal "live music" highlights.

[Michael Jenner]

great call on Al Cohn and the Sax section! I also immediately think of two Benny Carter albums- Further Defintions with Hawk, Phil Woods, and Charlie Rouse and Over The Rainbow with Herb Geller, Jimmy Heath, Frank Wess, and Joe Temperly. I also love Omer Avital's "Think With Your Heart"- Myron Walden, Joel Frahm, Greg Tardy, Jay Collins, and Joshua Levitt. And last but not least, the Coleman Hawkins record on Savoy with the Basie sax section.

[Camden Hughes]

Yes, I wish someone would issue this on cd! That's disappointing. I was about ready to download it right now, but unfortunately that's not going to happen.

[John Herr]

While we're discussing the choiring of saxes, let's not omit Additions to Further Definitions, Benny Carter's '66 sequel to his Further Definitions. Nobody wrote for sax section like Carter, as he proved again in '89 with the CD Over the Rainbow, featuring a cohort that included Herb Geller, Jimmy Heath, Frank Wess & Joe Temperley. Other albums in this category worth mentioning are Dave Pell's 2 Prez Conference releases in '78 with Bob Cooper, Bob Hardaway & Bob Efford joining the leader in unison passages behind trumpet soloist Harry Edison & singer Joe Williams. Sadly, the music from the 2 LPs, which both had the same title, is now apparently available only on a single-CD reissue, which preserves 15 of the 20 tunes.

[David]

Thanks to Michael and John for bringing the "Over the Rainbow" album to our attention - sounds like a "must have." Larry, where can I find the Charlie Parker anecdote?

[Frank Pellecchia]

To Bruce Armstrong: If you are the Bruce Armstrong sax player I knew in the Air Force c. 1966-1970, please email me ([email protected]). I recently spoke to Don Remine's son and I have recordings of the Night Band that may interest you.

[Tom M]

I have these tracks converted to .wav and .mp3 from my original '66 vinyl.

It's nice to have 'em with me on the ipod and in the CD spinner.