"The genesis of this project began with a cistern with a two-million-gallon water tank that had not been used since the 1930s. But the acoustic properties of the cistern fascinated the alto saxophonist, who led five other musicians down the ladder into it to experiment for hours, playing random notes into a recorder over a two-day stretch. He blended the prerecorded material into a concert with arranged material performed by a different group in the Fort Worden Theatre, with the music from each location woven together and occasionally overlapping. The suite has multiple sections within each of the three movements, though it is hard to identify individual sections since there are only three long tracks. This ambitious project falls outside the usual labels for Bud Shank's music, as it hardly fits into any jazz subcategory. But Shank fans ought to search for this now unavailable CD before it becomes too hard to acquire." (Allmusic)
"The recording of studio jam sessions was frequent under producer Norman Granz during the '50s, but his dates were more in the spirit of competition vs. cooperation. Producer Nils Winther assembled three tenor saxophonists (Billy Drewes, Walt Weiskopf and Dick Oatts) and paired them with pianist Andy LaVerne, bassist Jay Anderson and drummer Adam Nussbaum to see what would develop. The extended workout of the pianist's "Triplicate" (which is based upon Miles Davis' "The Serpent's Tooth") provides a chance for the three reedmen to stretch out a bit, with the composer adding a fine solo as well. A brief ballad medley features each saxophonist individually in turn with the rhythm section, but the interplay within the spirited rendition of "Have You Met Miss Jones" and the snappy treatment of the old warhorse "You and the Night and the Music" really bring the musicians together to make them sound like they are old hands at working together yet still able to take a few risks. Recommended." (Ken Dryden, Allmusic)
"One of the first volumes of SteepleChase's series of studio jam sessions, saxophonists Dick Oatts, Don Braden, and Vincent Herring, join forces for some fireworks, accompanied by the top-notch rhythm section of pianist Andy LaVerne (one of the label's most frequently recorded artists), bassist Jay Anderson, and drummer Billy Drummond. LaVerne's up-tempo blues "Jamboree" features great solos and interplay by the front line, as do his breezy "Hat Trick" (showcasing all three on tenor sax) and the loping "How High the Moon." Braden's laid-back "Private Eye," and Oatts' breezy "April" inspire some of the best solos of the session. Each saxophonist has an individual ballad feature, though on this date, unlike many CDs in this series, they are not played together in a medley. The three tenors are also together for a rousing take of Sonny Rollins' "Airegin."" (Ken Dryden, Allmusic)
"Het Millennium Jazz Orchestra v/h Barchem Big Band bestaat al zo'n 30 jaar en is sinds 1985 onder de kundige leiding van Joan Reinders uitgebreid tot een professionele bigband. Het is niet voor het eerst dat het orkest een prominente Amerikaanse gastsolist vraagt. Hier is dat de Amerikaanse sopraan-en altsaxofonist Dick Oatts. In het eerste nummer 'Weve Got Rhythm' van leider/arrangeur Reinders geeft het orkest zijn visitekaartje af. Strak swingend, een modern arrangement (met reminiscenties aan Thad Jones/Mel Lewis) en goede solistische prestaties van diverse bigbandleden. Maar vooral is het Oatts die soleert. In Charlie Hadens 'First Song' soleert hij relaxed, bescheiden en met een mooie toonvorming. In zijn eigen, felle "Public Access" speelt hij vurig en met passie. Het orkest is in goede vorm. De uitstekende arrangementen worden voortreffelijk en strak uitgevoerd. Reinders is niet alleen een zeer kundig en bezielde leider, maar ook een uitmuntend arrangeur." (Jacques Los, Draai Om Je Oren)
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