Bud Shank’s honesty, forthrightness and cheerfulness came through in his playing. Those qualities and his transcendent musicianship were evident to all but those deafened by categorical imperatives having to do with geography, race and style. He lived to be 82, and he worked to the end, one of the great alto saxophonists in jazz. Shank died Thursday night shortly after arriving home in Tucson, Arizona, from Southern California. He had been working on a recording project. Earlier this year, he recorded a CD in a club engagement with the rhythm section he spent a lot of time with over the past decade, pianist Bill Mays, bassist Bob Magnusson and drummer Joe LaBarbera. Mays sent a message this morning:
Our last work together was in January (4 nights at L.A.’s Jazz Bakery). Some very memorable tracks were recorded that week and I hope they see release some day. Bud was always willing to let the music “go where it wants” and set minimum “controls” on the players. His enthusiasm, optimism, laugh, and sense of humor, were a delight (after moving to Arizona he bought a truck and installed his no-more-used clarinet in the rifle rack!). I will miss the man very much.
Shank was inconvenienced by the pulmonary problems that restricted his mobility the past couple of years. He spent more time in a wheel chair than suited him. Nonetheless, he traveled long distances to perform, as far as Japan, maintaining the vigor of his playing and the essential buoyancy that dominated his personality.
Over the years, we worked together on projects and I spent considerable time with him. When I was researching the long essay that became the booklet for the 1998 Mosaic box set The Pacific Jazz Bud Shank Studio Sessions (limited edition, long since sold out), I stayed with Bud and Linda Shank at their house in the woods near Port Townsend, Washington. Here’s a passage that says something about the man and about his lack of self-deception.
If the child is father to the man, then the thin, crew-cut diffident, inward-looking Bud Shank begat his opposite number. His substantial figure comfortable on a couch in a music room above a spacious lawn surrounded by tall pines, Shank agreed to do something he detests, look backward in music. With a mane of grey hair and a beard that squares off a solid jaw he has the look of a Victorian sea captain. His appearance is appropriate to the history of the seafaring town he lives in, but one floor below is a garage containing his collection of Porsches and an Infiniti Q45. Shank’s laugh comes often and usually accompanies strong opinions. It has resonance and a certain wryness. I persuaded him to listen to “Bag of Blues,” Bob Cooper’s unusual composition from 1956.
When it was over, he said, laughing, “I was very young at the time. Formative period. Still learning. Still searching. I could see evidence of some of those influences we talked about. Spots of Zoot Sims, spots of Lee Konitz, spots of Charlie Parker.
I told him, “When you were listening to yourself play a double-time passage, you said, ‘Show-off.'”
“Well, yeah, but I really wasn’t showing off in those days. It came from some musical reason but it didn’t fit the flow of what I was doing before or after. I guess that’s why it disturbed me. Again, that’s the mish-mosh of different influences that were in me in those days. I didn’t have it together yet.
Later, that night, or maybe the next day, we talked about his rise to fame in the 1950s when Los Angeles, always a good jazz town, became the center of what commercial interests and some critics decided was a school or movement. Shank’s quartet then had Claude Williamson on piano, Don Prell on bass and Chuck Flores on drums.
With the exception of those caught in the war between beboppers and moldy figs that was manufactured by know-nothing critics in the 1940s, no musicians have been more unfairly typecast than the young jazz players of Los Angeles in the 1950s.
“Neither Claude nor Chuck nor I was playing what was known as ‘west coast jazz’ music at that time,” Shank said. ‘That happened a few years before then and we were all breaking away from that.”
“Meaning what?” I asked. “What were you breaking away from?”
“The very delicate way that we all played in earlier years…” He stopped in mid-sentence. “I don’t even know what the hell west coast jazz is,” he said, with exasperation and no wry laugh. “It was something different from what they were doing in New York, so the critics called it west coast jazz. That Miles Davis Birth Of The Cool album, out of New York, probably started west coast jazz. It was also very organized, predetermined, written. It was a little bit more intellectual, shall I say, than had happened before. Jimmy Giuffre, Buddy Childers, Shorty Rogers, Shelly Manne, Marty Paich, Bob Cooper, almost everybody involved; we all came from somewhere else, New York, Texas, Chicago, Ohio. The fact that we were in L.A. around the orange trees had nothing to do with it. I really think that everybody played the way they would have played no matter where they were. New York writers, they’re the ones who invented west coast jazz.”
“Those bastards,” I said.
“Those bastards,” he said, laughing uproariously.
It was a source of frustration to Shank that, for many listeners who didn’t keep up with music, his flute playing defined him. During his membership in the Lighthouse All-Stars in the fifties, he became one of the best jazz flutists in the world.
“I had always thought of myself as a saxophone player,” he told me, “but the flute thing just appeared and all of a sudden, it was ‘Oh, flute, flute, Bud Shank, flute,’ which didn’t sit too well, but at least people were noticing me, so, okay, let’s keep on doing it. I was a saxophone player. That’s all I’d ever thought of.”
He did a lot of flute playing in the sixties and early seventies, when rock and roll stifled opportunities in jazz and he supplemented his income with studio work. Shank is still a model for many who play the instrument. He disposed of the flute in the mid-seventies, along with his career in the studios. “From now on,” he said, “I’m a bebop alto player.” As he concentrated on the saxophone, the aggressiveness, even ferocity, of his playing expanded along with the size of his sound and a magnificent feeling of liberation.
What a bebop alto player he was.
Denis Ouellet says
Nothing sounds better to my ears than hearing “Bouncing with Bud” with such a wonderful band.
I am reminded of an earlier video made at the North Sea Jazz Festival 2000, where Bud was playing along with Jimmy Heath, Sonny Fortune and Gary Bartz. This is before Youtube. He gave them a run for their money.
Chuck Deardorf says
Thanks for the insightful column, Doug. Those of us who had the privilege of performing and recording with Bud over the years will miss his wisdom, humor and most of all his music.
Bud was always searching and exploring, and he never was on a ‘star trip’ like other jazz stars that will remain unnamed. His respect for the creative process, and moving forward is and will remain an inspiration for many of us whose lives were touched by this great man.
Bud’s dedication to jazz education must also be mentioned; his long tenure at the Bud Shank Jazz Workshop/Port Townsend Jazz Festival created a nurturing and creative environment that has inspired hundreds of young (and not so young) musicians over the years.
Joe La Barbera says
Thanks for such a fitting and heartfelt tribute to Bud. He was swinging right to the very end.
another vote of thanks for this post.
I remember thinking that Claude Williamson had the most percussive attack of any pianist I’ve ever heard; the Russian composer Galina Ustvolskaya was called “the lady with the hammer” because of her piano writing, and Williamson could have been the man with the hammer with his touch. Half-buried memories… thanks again.
Bruce Armstrong says
I first became aware of Bud’s great playing as a high school student through some records of my father’s. Later, while attending college in the L.A. area in the early and mid-1960s I was fortunate to see Bud perform on numerous occasions. I was a young saxophone player and Bud was one of my great musical “heroes.” He also was a great inspiration as a flute player. I wrote him a long-overdue “fan letter” in 1980 when I was living in Las Vegas and working full time as a musician. Bud responded with a letter–handwritten on yellow legal notepad paper–that was about as personal and encouraging as you could ever ask for. I still have it. Rest In Peace, Bud. Thank you for a lifetime of great music and great musical memories.
David Crawford says
I have many wonderful memories of the Port Townsend (WA) Jazz Festivals Bud Shank organized for many years. These festivals (and the associated workshops) were jazz at its very best. In addition to Bud, I remember many outstanding performances including Hal Galper, Benny Green (with a 19 year-old Christian McBride), Carl Fontana & Jiggs Whigham, J J Johnson, Rob McConnell, Maria Schneider, George Cables, Don Lanphere, a very young Aaron Parks, etc, etc. One memorable year featured Stan Kenton alumni, including Conte Candoli, Bob Cooper, Bill Perkins, Milt Bernhart, Frank Capp & Bill Holman. These festivals offered the very best of national big name jazz and local northwest talent (including Chuck Deardorf, above).
Most of all, I remember Bud. Whether on the main stage or at an “after hours” venue in town, he was always an inspiration….
Thanks for the memories Bud.
Richard Herman says
What can I say, I was devasted to hear of Bud’s passing -he was my idle along with Art pepper. Since I am also a saxophone player. I tried to play like Bud–I followed his career before and after I arrived in San Francisco -I arrived in SF in 1954 and spent alot of time at the Blackhawk on turk and hyde streets when I was 19 or 20 -I heard Bud play with his group Claude Williamson was one of the members –I heard Bud play sweet georgia brown in a jam session. I collected his records over the years and followed his career —I even followed him to Port Townsend Washington where I bought a piece of property like Bud did at kala Point 6 miles outside of Port townsend —I tried to play like him and developed a tone similar. I am 74 and living in hayward ca now after I moved there from SF —Bud to me had the tone and feeling that moved me so much —it wasn’t how many notes he played it was the choice of notes and the phrasing that got to me———I will miss him and got to talk to him briefly in SF
Ted DeCerchio says
I remember Bud Shank playing flute around 1960 on Sinatra’s Ring A Ding Ding album,which was arranged & conducted by Johny Mandel.Let’s see, in 1960 Bud would’ve been 34 years young,then & now I thought he was a wonderful jazz flutist within the structure of a big band arrangement.
I first became aware of Bud Shank when my father came from NY in the early 60-ties with a LP record called “Flute ‘n Alto”. Since I played the flute myself and was a frequent visitor at the not many jazz clubs of Oslo, Norway at the time, this record really boosted my interest for jazz. How wonderful a tone Bud had. He inspired me to work on my technique. Thanks Bud. As you can understand, my nickname is inspired by the name of this LP.