Remembering Bud Shank (1926-2009)
The News Review:
- Remembering Bud Shank (1926-2009)
- A life in music and photographs
- Live review: mar Sosa and the Afreecanos Quartet at Jazz Bakery
- Music: That old-time religion
Remembering Bud Shank (1926-2009)
Jazz.com
I enjoyed Shank?s response to a high-handed question from a European critic who tried to take him to task. Bud?s reply:You have to survive. When I became a full-time studio musician I had been unemployed for a long time since jazz music left us in 1962-63 or whenever. I don?t think any of us realized what was going on but some American jazz musicians ended up here in Europe some gave up playing altogether some went off into never-never land by whatever chemical they could find. And there were some others who went into another business. I went into another business using the tools I had which was playing the flute and the saxophone.
A life in music and photographs
Sacramento Bee
The highlight likely will be the Brubeck work which was co-commissioned by the Philharmonic and six other orchestras including the Stockton Symphony where the work had its world premiere last week. Sacramento Philharmonic board member Jennifer Bayse Sander came up with the idea for a musical work honoring Adams in 2006 soon after she made the orchestra’s commission of an Andre Previn work honoring Wayne Thiebaud. Jazz legend Dave Brubeck grew up in Ione and studied composition under Darius Milhaud. Brubeck’s music often uses unusual time signatures. He and his son both live in Wilton Conn. Chris Brubeck said that his father who is 88 wasn’t keen on writing a new orchestral work. But after reading about Ansel Adams’ life and looking through the book “Ansel Adams: 400 photographs” the elder Brubeck grew excited about composing a new piece.
Live review: mar Sosa and the Afreecanos Quartet at Jazz Bakery
Los Angeles Times
But if music making is earnest business for the Cuban jazz musician it’s also an act of pure childlike pleasure which registers in his glistening eyes spontaneous dance shuffles and the joyful yelps he sometimes utters when the band finds its way through his pan-African sonic labyrinths. The Afreecanos Quartet (get it?) is the latest embodiment of Sosa’s enthusiastic quest for the musical mother tongue that links Caribbean beats and progressive jazz with North African percussion and New York hip-hop style spoken word with fulsome brass. Significantly at the first of his two Thursday night shows the opening of a four-night stand in Culver City Sosa hardly bothered to announce a single song title. Like the trans-global sources that inspire it Sosa’s music in live performance runs together in a more or less continuous flow that at times puts me in mind of a kind of Caribbean-Yoruban version of the second half of “Abbey Road” with Ruben González Baaba Maal restes Vilato and the Brazilian magus-madman Tom Zé standing in for John Paul George and Ringo.
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Music: That old-time religion
Minneapolis Star Tribune
But as he pushes further into middle age the 57-year-old guitarist seems eager to embrace the form as well as the substance of his blues and soul heritage. Four years ago he paid homage to Ray Charles with "That’s What I Say" the first of his dozens of discs not to include a single original composition. But with last week’s release of "Piety Street" Scofield is offering up even more of a wrinkle on his usual template — a gospel album albeit one recorded with some of the finest R&B musicians in New rleans the birthplace of jazz. "I’m just a music nerd like everybody else and if you follow on the path of soul and R&B you get to gospel" he explains by phone from his home in Westchester County N. "I think everyone in America has a peripheral awareness of this music; I remember hearing Mahalia Jackson I think on ‘The Mike Douglas Show’ when I was young. But a great friend who has supplied me with music for the past 20 years turned me on to Dorothy Love Coates and I just began collecting this stuff — there is so much incredible material.