1- Valve In Head
2- Cool Fool
3- Little Girl Blue
4- Mobile
5- Wailing Vessel
6- Baby's Birthday Party
7- You Don't Know What Love Is
8- Sing Something Simple

Musicians:
Bud Shank (alto saxophone)
Bob Enevoldsen (trombone) 
Maynard Ferguson (valves trombone) 
Stu Williamson (trombone)
Claude Williamson (piano)
Joe Mondragon (bass)
Shelly Manne (drums)
Bob Cooper (arranger)

Clifford Everett "Bud" Shank, Jr. (May 27, 1926 – April 2, 2009) was an American alto saxophonist and flautist. He rose to prominence in the early 1950s playing lead alto and flute in Stan Kenton's Innovations in Modern Music Orchestra and throughout the decade worked in various small jazz combos. He spent the 1960s as a first-call studio musician in Hollywood. In the 1970s he performed regularly with the L. A. Four. Shank ultimately abandoned the flute to focus exclusively on playing jazz on the alto saxophone. He also recorded on tenor and baritone sax. He is also well known for the alto flute solo on the Mamas & Papas song California Dreamin' recorded in 1965.

On Bud Shank with Three Trombones, Bud was paired with Bob Enevoldsen, Maynard Bud and trombones Ferguson and Stu Williamson. The rhythm section featured Claude Williamson on piano, Joe Mondragon on bass and Shelly Manne on drums. The sextet's arrangements were written by Bob Cooper, whose Wailing Vessel is one of the album's most beautiful tunes.

Here you have Bud working with the trombones the way a sheep dog corrals its heard. On the arrangements, Bud circles, pushes, joins the pack and springs away. There's enormous independence in his phrasing even when pressed into the collective mix. The other standout tune on the album is Baby's Birthday Party, an obscurity written by Ann Ronnell, composer of Willow Weep for Me. But the album's song titles are almost irrelevant. In Bob Cooper's hands, the tunes all become something new with their interludes, tasty backgrounds and beautifully voiced harmonies.

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01. Lady Jane (M. Jagger/K. Richard) 3:05
02. Summer Wind (Mayer/Bradtke/Mercer) 2:24
03. The Sun Ain't Gonna Shine (Anymore) (B. Crewe/B. Gaudio) 2:31
04. Strangers In The Night (Kaempfert/Singleton/Snyder) 2:47
05. When A Man Loves A Woman (Lewis/Wright) 2:23
06. Girl In Love (T. King/C. Kelley) 2:35
07. Don't Go Breaking My Heart (B. Bacharach/H. David) 2:35
08. Everybody Loves Somebody Sometime (Taylor/Lane) 2:44
09. Time (M. Merchant) 3:18
10. The Shining Sea (J. Mandel/P. Lee) 2:40
11. Lara's Theme From Dr. Zhivago (M. Jarre) 2:11
12. Solitary Man (N. Diamond) 2:59

Recorded at LA, on 1966 

Bud Shank - Saxophone
Frank Rosolino - Trombone
Bob Florence - Piano 
Herb Ellis - Guitar
Dennis Budimir - Guitar
John Pisano - Guitar
Bob West - Bass
Frank Capp - Drums
Victor Feldman - Percussion

Arranged & Conducted By Oliver Nelson

A glance through the past achivements of Clifford Everett Shank Jr. on the World Pacific/Pacific Jazz labels gives a striking picture of the man's range of musical intersts. He has not only recorded on alto sax, but also on tenor, baritone and flute. He has worked in a hard-bop setting, with a string emsemble, and teamed with Bob Cooper's oboe, with musicians from Brazil, India and Japan. He has recorded popular songs, jazz standards and his own originals, including the score for a motion picture. Then, of course, in 1965 Michelle brought him to the attention of an unprecedentedly large audience. The end justified the means, for there are Shank fans who, having been attracted to his work by the Michelle single or album, are now digging back into his prior history as a recording artist.

Te present album, like the California Dreamin' set which followed Michelle, was patterned along lines that will maintain Bud's new reputation. A new element has been added, in the person of Oliver Nelson, the St. Louis-born composer-arranger-conductor who for some years was better known as a saxophonist like Bud. Nelson shows a unique faculty for taking the essence of a hit of the day and orchestrating in a manner that displays Shank's instrumental personality to optimum effect.

The somewhat unconventional instrumentation was a challenge to Oliver: six strings (on some tracks, through technical ingenuity, they double to a dozen), four trombones and a large rhythm section: Bob Florence at the piano, Herb Ellis, Dennis Budimir and John Pisano on guitars, Bob West on bass, Frank Capp on drums, Victor Feldman on miscellaneous percussion. Frank's Rossolino's trombone is woven into Bud's lines on Strangers In The Night. This song and Summer Wind are both hits associated with Frank Sinatra. Most of the tunes will be readily identified in connection with another popular version - Lady Jane with the Rolling Stones, Solitary Man with Neil Diamond, and so forth. Two outstanding film melodies are included: Lara's Theme from Dr. Zhivago and The Shining Sea from The Russians Are Coming. The latter is a beguiling melody that would win another Oscar for John (Shadow Of Your Smile) Mandel.

Of Don't Go Breaking My Heart Bud Shank observes: "This was one I particularly enjoyed doing, because it was written by Burt Bacharach, who in my opinion is the best songwriter in this particular field". Speaking of his own performances on this sides, Bud adds: "I try to improvise as melodically as possible, otherwise I don't think my playing has changed in any basic way". Here, it should be stressed, lies the strength and meaning of his chart-hitting succes. With a backgroung of distinguished accomplishments, all along the road from his big band days to his present eminence as a busy and versatile studio sideman and leader. Bud Shank has managed to reach the mass public without playing in an style that entailed any compromise. Such attainments are rare in the annals of contemporary music. That is has happened in his case is singularly appropiate, for to paraphrase a certain familiar lyric, Bud Shankand superlative musicianship sont des mots qui vont tres bien ensemble. ---Leonard Feather, Editorial Review

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01 Blue Jay Way 
02 I Am the Walrus 
03 The Fool on the Hill 
04 Flying 
05 Hello Goodbye 
06 Your Mother Should Know 
07 Paper Cup 
08 Windy 
09 Never My Love 
10 I Wanna Be Free 
11 I Say a Little Prayer 

Tracks:
Chet Baker, Gary Barone (flugelhorns); 
Bud Shank (alto sax, flute); 
Dennis Budimir, Herb Ellis (guitar); 
Robert West (bass); 
John Guerin (drums); 
Victor Feldman (percussion).

Bud Shank's second Beatles-titled album of the 60s – and a set that's even groovier than the first! The record features a wonderful jazz-based approach to "second chapter" Beatles – with arranger Bob Florence providing superb arrangements for post-Rubber Soul tunes, which are mixed in with some other hip 60s pop numbers too! Bud plays alto sax and flute – still in the lead on the solos – but also couched wonderfully in work from players who include Chet Baker and Gary Barone on flugelhorns, Herb Ellis and Dennis Budimir on guitars, and Victor Feldman on percussion. Titles include "I Am The Walrus", "Paper Cup", "Windy", "I Wanna Be Free", "Hello Goodbye", "Flying", and "Blue Jay Way". ---Editorial Review

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1. Sunshine Express (6:26)
2. Flim Flam (4:22)
3. Here's That Rainy Day (4:12)
4. John C. (6:17)
5. C'est What (7:32)
6. Horizon (4:40)
7. No.10 Shuffle (7:16)
8. Westward Passage (9:07)

Musicians:
Fred Atwood - Bass
Larry Bunker - Drums
Bud Shank - Flute, Producer, Sax (Alto)
Bobby Shew - Cornet, Flute, Horn, Trumpet
Mike Wofford -	Piano

Recorded during a period when he was gradually returning to jazz from a studio career, Bud Shank (who was a member of the L.A. Four with Laurindo Almeida during the period) doubles on alto and flute on this set with trumpeter Bobby Shew, pianist Mike Wofford, bassist Fred Atwood and drummer Larry Bunker. With the exception of "Here's That Rainy Day," all of the music was composed by either Shank or Wofford, and the playing is excellent. ---Scott Yanow, Rovi

This was Bud Shank's first Concord album, his first recording in about 6 years, and one that brought him back from the depths of semi-pop nonsense to a solid jazz footing. Tune selection, all originals except for HOW'S THAT RAINY DAY, is superb. Bud contributes two songs, and both are attractive and memorable. SUNSHINE EXPRESS contains a repetitive pattern that reminded me of Miles Davis's SEVEN STEPS TO HEAVEN; Bud is on alto and the performance generates a tremendous amount of swing. His other composition, C'EST WHAT, is medium-up, and contains excellent solos by Mike Wofford on piano and Bobby Shew on flugelhorn. Mike Wofford wrote the other tunes, all good, with NO. 10 SHUFFLE perhaps being the best. JOHN C. no doubt refers to Coltrane, and the tune obviously has an affinity to Trane's Atlantic period. Bud is on alto here and takes a good solo. He plays flute on only two tracks, the best being on HORIZON, where the harmonics of the tune are thoroughly explored, and he takes a robust solo to boot. This is a very enjoyable CD and continues to delight after repeated listenings. --- Bomojaz, amazon.com

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1	Summer Samba (So Nice) 	2:30
2	Elizete 	3:23
3	Nocturno 	3:01
4	Otem A Note 	2:41
5	Carnaval 	2:22
6	Sausalito 	2:49
7	If I Should Lose You 	2:56
8	Carioca Hills 	2:35
9	Samba Do Aviao 	2:58
10	I Didn't Know What Time It Was 	2:45
11	Quiet Nights (Corcovado) 	3:06
12	The Color Of Her Hair 	1:56

Alto Saxophone – Bud Shank
Arranged By – Julian Lee
Guitar – Joe Pass, Laurindo Almeida
Organ – Clare Fischer
Piano – Joao Donato
Trumpet – Chet Baker

Imagine a shady TV preacher screaming the album title of saxophonist and composer Clifford Everett “Bud” Shank, Jr.'s (1926–2009) album Brazil! Brazil! Brazil!, and you are either in the mood, or run away in panic. If the latter is the case, Shank’s sextet hopefully carries you home. Released in 1966 on the World Pacific label, it features the talent of pianist, organist and frequent collaborator Douglas Clare Fischer, pianist and composer João Donato, guitarists Joe Pass and Laurindo Almeida as well as trumpeter Chet Baker.

Here comes the twist: the band is accompanied by a small string ensemble which adds lilac ruralities and technicolor rhizomes to the 12 – already sunny – concoctions. As Clare Fischer, Laurindo Almeida and João Donato are prolific composers, one can count on their vivid imagination and will to inject their own material into the album, and this also applies to Brazil! Brazil! Brazil! which sports seven instrumentals in total by these gentlemen. The remaining five tracks are not necessarily Brazilian, but showcase the talent of North American writers too. The unique material is worth the record’s existence alone, as is the careful blending of non-Latin elements with the well-known and loved stereotypes. Many of the compositions are uplifting, upbeat and uptempo, so there is always a joyful and refreshing aura in the air, for there are no classics such as Brazil, Taboo or The Breeze And I on this album. Shank and his fellow musicians choose wisely and try to impress with new melodies or witty mutations rather than tailoring an album for the fans of renditions. ---ambientexotica.com

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