Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Bud Shank Bows Out In Good Company

This is an entertaining and frequently joyous album with a sad ending, which you’d never know from the music. A day after recording the new album In Good Company with British alto saxophonist Jake Fryer, renowned alto player Bud Shank died. He literally went out on a high note. Lest anybody get the idea that this might be exploitative – think of the Yardbirds with Sonny Boy Williamson, for example – Fryer set up this session with Shank and his West Coast band in order to get the chance to collaborate with a player he greatly admires, and although not in the best of health, Shank rose to the occasion. Here, the two saxophonists are joined by Mike Wofford on piano, Bob Magnusson on bass and Joe LaBarbera on drums on what Fryer describes as an “album of first takes.” Full of spontaneity and high spirits, it foreshadows nothing but good times. Shank cut his teeth during the era where jazz was the western world’s default pop and dance music, and here Fryer provides a vividly melodic, catchy set of tunes along with a couple of well-chosen covers to springboard plenty of inspired interplay. As much as this is a tribute album, it’s not deferential: this is party music, after all.

On the opening cut, Caravan, Shank cuts his phrases a little shorter here than he might have in his prime but he’s on his game, bobbing and weaving, brevity matched to an understated sophistication: listen closely, and he’ll school you. Jake Fryer, as the liner notes mention, draws on Shank and also on Phil Woods: the bop influence is there, but so is the tunefulness. The swing blues Bopping with Bud is a platform for a tastily judicious descent by Shank, and to his credit Fryer follows in the same vein rather than trying to win a cutting contest. And the moment where Wofford realizes, “wow, I guess I get a solo now,” it’s pure delight.

Agnieszka, a warmly lyrical ballad dedicated to Fryer’s wife, is genuinely gorgeous, with a long, expansive piano spot from Wofford, followed by the blithe staccato shuffle Tip Top & Tickety Boo. Breaking Loose is essentially a long vamp that takes on a funky edge, giving LaBarbera ample opportunity to revisit his days with the Woody Herman big band. Similarly, The Time Lord makes for an amiable showcase for LaBarbera, with Shank getting into the rhythmically shifting fun as well. A cover of Almost Like Being in Love makes for another Wofford showcase; the title track, a brisk jump blues, highlights interplay from the reeds followed by a genuinely funny exchange between bass and drums on the way out. The album closes with a casual, friendly, low-key take of Kurt Weill’s Speak Low, more wee-hours theme than conspiracy. It’s out now on Capri Records.

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February 15, 2011 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment