BUD SHANK — Michelle (review)

BUD SHANK — Michelle album cover Album · 1966 · Pop/Art Song/Folk Buy this album from MMA partners
3/5 ·
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.
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