js “I Hear Music” consists of recordings that mostly came from two different sessions led by Bud Shank, one session from the mid-50s and the other from a few years later. The Sunset label slapped these songs together in the mid-60s and released them with a contemporary pop looking album cover to try and capitalize on Shank’s then growing popularity that had risen due to him forsaking his 50s jazz roots and going in a more pop direction. This album may have been a bit misleading at the time of its release, but fortunately the music is very good. Although many of the songs on here show up on various Shank CD re-issues, due to its thrown together nature, this album will probably never show up on a CD.

The best songs on here come from the mid-50s session that has Shank working with fellow woodwinds player Bill Perkins plus a hard driving rhythm trio that often includes Hampton Hawes and either Mel Lewis or Shelly Manne. Perkins and Shank’s ability to play together and intertwine is sublime, plus the all around playing on these sessions is just hotter. The later sessions lean more towards Shank’s classic west coast “cool” sound and feature some of his smoothest playing. Although these tunes are from different sessions, it seems care was taken to give the album a nice flow, particularly on side two where the 3rd stream influenced “Noctune for Flute” is followed by an equally sophisticated arrangement of “A Sinner Kissed an Angel”.

The nice thing about this vinyl is that its not particularly collectable and can be picked up for a low price from used record vendors. It can make a nice introduction for someone wanting to explore Shank’s 50s jazz before he went in a more commercial direction in the 60s. If one wanted just the music from one session or the other, then the CD “Pacific Jazz Records 93159” contains the mid 50s session, while the later cooler sessions can be found on Shank’s early quartet albums. One song on here, “You don’t Know what Love is”, is from “Bud Shank and Three Trombones”.

js This album shows up in the thrift stores a lot and with its faux-Martin Denny cover and listing of lounge all-stars like Bud Shank and Chet Baker on its cover, its bound to make the rare vinyl seeker think he’s found an exotica gem, but its not really all that. This record may be a little more hip than your average 60s easy listening disc, but the production is way too basic and simple to qualify for the collectable status. “Michelle” sounds like a rush job with way too plain arrangements and production to compete with the lounge greats in this era. The late 60s saw a rush of creativity in all the arts, and easy listening was part of this too. Top notch arrangers like Enoch Light and Andre Kostelanetz left no stone unturned in lavish arrangements that made use of exotic instruments and modern stereo tricks and effects. “Michelle” has some of the desired effects of the genre; the wordless vocals, the spaghetti western guitars and deep reverb on signature percussion parts, but otherwise Bob Florence’s production is really lacking.

On the plus side, despite this being an easy listening record, Bud Shank does not hold back and rapidly glides around like the great virtuoso he is. Chet Baker effortlessly counters him in his cool minimal approach. Baker playing any three notes sounds better than most guys pulling off a perfect rendition of “Giant Steps”, he’s that good. Their natural interplay is the highlight of the album, although you hear way more Shank on here than Chet. The choice of tunes of course are the hip ones of the day; ballads by The Beatles, Simon and Garfunlkel, The Stones etc and Shank and Baker bring something new to each one. This may not be the Exotica classic that it is dressed up to be, but collectors of unusual 60s kitsch cover tunes may find some things to like on here. On the album closer, “Blue on Blue”, they finally cut loose, get a little jazzy and Baker knocks off a great bop solo, as if he had been holding it back for the whole previous part of the album.