Almost a half century after their days as poster boys for West Coast cool, itself an approach to jazz first codified in New York, altoman Bud Shank, trumpeter Conte Candoli and tenorman Bill Perkins reflect on Silver Storm another sound that also found its origin in the east, that of hard bop, specifically the Jazz Messengers' strongly assertive, blues-based frontline backed by a straightahead, swinging rhythm team. Although from the first, Candoli had been recognized as a fluent bop trumpeter in the Gillespie/Navarro tradition, the two saxmen enjoyed different reputations: Bud as a lyrical, laid-back altoist and flutist, and Perk as a Pres/Zoot-styled time-booter. However, their styles today are at wide variance with their images of yore, with Bud suggesting the influence of a hoarse-toned Cannonball at his prime and Perk that of late '50s Trane. Lending their own contemporary voices to Shank's sextet are pianist Bill Mays, bassist Bob Magnusson and drummer Joe Labarbera.
Shank's arrangements include reworkings of Gerry Mulligan's "Idol Gossip," Frank Rosolino's "Blue Daniel," and Mike Wofford's "#10 Shuffle/John C.," as well as charts on "My Shining Hour," "Yardbird Suite," his own "Cotton Blossom," "Big Mo," "Wildflower's Lullaby" and the Ornette-inspired "Perkolator," the only performance venturing into the unlikely territory of avant-garde, with Perkins, at 76, temporarily setting aside his now beefed-up tenor for a featured turn on soprano. To complement this artsy volte-face, Magnusson switches to chamber-style arco, as he also did on the preceding "John C."