'This CD reissue features Almeida, Shank (now doubling on flute), bassist Gary Peacock, and drummer Chuck Flores once again combining Brazilian rhythms and folk melodies with cool bop improvising. This time around, the arrangements are not as restrictive, Shank's solos are longer, and the jazz content sometimes overrides the Brazilian elements. The music is still quite enjoyable (the very complementary Almeida and Shank would join together again in the 1970s as the L.A. Four) if not as historical; both volumes are highly recommended'. (Scott Yanow, Allmusic).
"More than seven years before Stan Getz and Charlie Byrd introduced the bossa nova of Antonio Carlos Jobim to American audiences, guitarist Laurindo Almeida and altoist Bud Shank (in a quartet with bassist Harry Babasin and drummer Roy Harte) recorded the intriguing music heard on this CD reissue. The performances are very close to bossa nova in their combination of cool-toned jazz and Brazilian rhythms; in fact, these are arguably the first bossa nova recordings, long before even Jobim and Joao Gilberto initially recorded. Only four of the 14 tunes ("Speak Low" is heard in two versions) are not based on Brazilian folk songs, and many of the songs (particularly "Carinoso") are quite memorable. This historically significant, very accessible, and highly recommended release is a gem." (Bron Allmusic).
"This delightful concert in East Berlin combines the talents of three veterans in spontaneous explorations of well-known standards. The interplay is exemplary, as are the solos; highlights include a snappy "Softly As in a Morning Sunrise" that features Friesen simultaneously playing a bassline and soft percussion on his instrument, a pulsating "There Is No Greater Love," and the humorous improvised finale of "Payin' Them Berlin Dues Blues." Nobody else was needed on-stage during this incredible set". (Ken Dryden, Allmusic).
"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)
"Alto saxophonist and flutist Bud Shank was one of the titans of the West Coast jazz scene in the 1950s and early '60s. His many recordings revealed him to be as much a Charlie Parker disciple as Art Pepper, but Shank's tone was less pointed and his use of space relied as much on melody as rhythm. This compilation contains Shank's first three dates as the leader in quintet and quartet settings for Pacific Jazz recorded between January and July of 1956. The first eight tracks on disc one are a live quintet side recorded with fellow reedman Bob Cooper. The interplay between Cooper and Shank is outstanding. Cooper was one of the few jazzmen of his era who was as accomplished on the oboe as he was on the saxophone. The following two studio sides that make up the balance of disc one and all of disc two are Shank's best-known quartet minus Cooper. These are all killer dates and offer a perfect view of the West Coast jazz period at its very best." (Thom Jurek, Allmusic)
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