Jubilation
Flute N' Alto
Bud Shank
A Richard Bock Production
Cover Design by Ted Poyser
All Photos by William Clayton
World-Pacific Records WP-1286
1960
From the back cover: Bud Shank (flute & alto)
Bud Shank is a musician with a distinctive and readily recognizable way with his horn. He not only stays within the range of his horn but seems to find it easy to execute his ideas with alto, baritone or flute. You'll hear alto saxophone and C flute during the playing of this album.
I recorded a telephone conversation with the men who appear on this record and extracted a few questions and answers for this text.
Bud Shank was born in Dayton, Ohio. Educated in the East he came West to receive his first recognition with the Charlie Barnet band. Following a year with Barnet he joined the Kenton band to play the lead book from the chair next to Art Pepper's. The two and one-half years Bud worked with Kenton correspond roughly with Pepper's period of widespread acclaim and Bud was greatly influenced by Pepper's style and sound. When Pepper left the Los Angeles jazz scene the so called "West Coast Jazz School Of Music" was in the process of forming around the men from the Kenton, Herman and Barnet bands, for the most part. With Pepper out of town and the increasing interest in Bud's playing he became the heir apparent.
Bud set about to satisfy those who expected a logical extension of the Pepper sound while, at the same time, building his confidence, technique and individual sound. The change in Bud's playing began as he worked with many different men from various parts of the country during his stay at the Lighthouse. His recent album with Bill Perkins gave many people a recorded example of the turning point in Bud's thinking. This album gives jazz lovers a preview of things to be expected of Bud Shank in years to come.
Q: I think I hear a different sound and approach. What's the reason?
A: I think it's getting out on my own. It's all mental. I'm playing more now the way I've always wanted to play.
Q: Do you believe you're thinking along the Perk and Zoot line, maybe?
A: Oh, yeah. I don't have other things influencing me and I feel freer than I ever felt. I play more the way I want without pressures from anyone.
Q: Meaning guys in the business or record people?
A: Guys I'm working with and also on the record dates and things like that.
Q: Who picked the tunes for the date?
A: I did.
Q: Who did the arrangements?
A: Coop did his two tunes and Claude did "Do Nothin' 'Til You Hear From Me," and "Nocturne," which he wrote, I did "Nature Boy."
Q: Who do yo dig playing alto?
A: That's hard to say – everybody, Lee and Art and well, Bird, naturally.
Q: Who would you say influenced you most when you were beginning to play?
A: Prez.
That last answer probably tells us more than might be obvious at first glance. You'll hear, perhaps, a little more of the currently fashionable tenor saxophone attack in Bud's music now.
Claude Williamson (Piano)
I've have known Claude Williamson since his army days. Claude was born in Brattleboro, Vermont. He worked with the Barnet band before his army service, recording with Barnet an excellent Many Albam score titled "Claude Reigns." He has recorded a surprising amount of music with a great many groups. Since his return from the army Claude has worked extensively in the studios, at concerts and the Lighthouse.
Probably every young pianist in the 1940s felt the influence of Bud Powell. Claude felt it and profited by it. It now appears that the increased demands made of modern pianist today will broaden their thinking even as Claude's scope has expanded during the past years.
Claude now uses his great facility within a looser, more flexible framework, not so shackled with the pre-conceived musical notions of the past decade.
Q: I think I hear a lot more of your left hand now. What do you feel?
A: Since I left the Lighthouse I'm beginning to really find myself – more with this group. I've been trying to keep my left hand busier.
Q: How do you like the instrumentation?
A: I like very much working with the quartet.
Q: Which of the tunes from the date do you like?
A: I like "Do Nothin'" and "Walking'."
Q: "Bag Of Blues: has an unusual sound. What is it?
A: It's not really a blues tune. It's a 32 bar tune. It's in D flat and the thing that makes it sound different is that the progressions are quite unorthodox. Very unusual progression in the first eight and the bridge too.
Claude's talent and serious approach to music guarantees us many exciting years of hearing and enjoying the ever evolving Williamson style.
Chuck Flores (drums)
I met Chuck Flores just a few days after he joined the Woody Herman band. Chuck had studied with Shelly Manne for about a year before taking to the road. During the year he studied with Shelly he worked with several groups in Los Angeles and his home city of Orange, a Los Angeles suburb. When Ike Carpenter's band worked during this period Chuck worked with it.
In replacing Joe McDonald with Woody Herman, Chuck climbed into what might be considered the hottest drumming chair in the nation. Few things bring out authoritative positions of musicians and critics as rapidly as questions regarding the proper selection of a right man for the job. Woody Herman chose teen-ager Chuck Flores as the man for the important opening. Chuck probably has more drive and endurance, for his size, than any drummer since Dave Tough. He proved himself so capable that he remained with Herman throughout the band's second Capitol recording contract. Chuck worked with the big band and the octet in Las Vegas. He has recorded with Dick Collins, Nat Pierce, Claude Williamson's trio and Cy Touff's octet and quintet.
From the Herdsmen he received his nick-name "Wetback" and much of the experience and musical philosophy you will hear demonstrated during the playing off this album.
Q: How do you like the way you sound on the record?
A: Well, you know you hardly ever make an album where you are completely pleased. Some of those things we played back sounded good. Don't know how I'll dig them later.
Q: Do you like the small group compared to the big band?
A: Oh! Yeah. It's really a ball.
Q: You studied with Shelly for a while, would you consider him the major influence in your playing?
A: No, I think Art Blakey and Tiny Kahn and Max, of course.
Chuck Flores, is one of the bright young men in music. His work with men of long experience has taught him things few musicians his age have an opportunity to learn.
It may be safely said that you will hear much more from Chuck Flores.
Don Prell (bass)
I have just met Don Prell, a Los Angeles born bassist. You may be hearing him for the first time during the playing of the numbers in this album. Don has had considerable classical training and experience. He worked two seasons with the Utah Symphony before reverting to jazz playing exclusively. The exacting demands of classical works, in some phases of playing, show through in Don's jazz work. For example, you will find Don's intonation excellent. and he does not over-use the lower register of his instrument as a few of the lesser schooled bassist have been accused of doing.
Q: Do you believe that you benefitted from your symphony work?
A: Oh, yes. It was wonderful experience.
Q: Do you like sumphony work or do you prefer the freedom of jazz?
A: I like to play jazz.
Q: Who would you say influenced you most in your playing?
A: Oh, I don't know – Pettiford, I guess.
Q: How much do you like the album?
A: Very much.
Q: What sort of bass do you use?
A: I don't know. I paid $15 for it and it was in pieces when I bought it. I put it back together, you know.
Q: $15? Did you use it in the symphony?
A: Sure.
There couldn't have been a funnier note on which to conclude the telephone conversations.
I leave the music to speak for itself as I have tired to allow the musicians to speak for themselves. They seem to be a happy group of players and timekeepers. I hope you enjoy the record. – Pay Henry
Jubilation
Bag Of Blues
Nature Boy
Don Nothin' Till You Hear From Me
A Night In Tunisia
Polka Dots And Moonbeams
Jive At Five
Noctune For Flute
Walkin'
