After this successful new meeting, at Donato´s request, Shank postponed his return to the U.S. in order to record a few more songs in Rio. The result is in this CD produced in May 8th./ 9th., 2004.

It all started in 1965, in full effervescence of the bossa nova, when the alto-saxophonist Bud Shank and the pianist, composer and arranger João Donato recorded the album “Bud Shank and His Brazilian Friends”, in Los Angeles. After that, they did not see each other until 2004, when by my indication, Shank came to Brazil for the Chivas Jazz Festival. I informed the good news to the critic Antonio Carlos Miguel, who suggested for Shank and Donato to revive that partnership. Toy Lima, the festival director, approved the idea, Shank agreed to it too, and they played “Café com Pão” (Coffee and Bread).

After this successful new meeting, at Donato´s request, Shank postponed his return to the U.S. in order to record a few more songs in Rio. The result is in this CD produced in May 8th./ 9th., 2004.

It was a memorable meeting during which they squandered creativity, emotion and enthusiasm. Their mutual understanding was instantaneous and the music flowed with a total interaction between them, following the current of evolution of their imagination. Shank and Donato are accompanied by Luis Alves (bass), Robertinho Silva (battery), and Eloir de Moraes (percussion) in some tracks. Its repertory includes compositions by Donato, Cal Tjader and four classics.

“Gaiolas Abertas” (Open Cages), originally named “Silk Stop”, receives a relaxing treatment on top of a Latin-Brazilian bouncing rhythm; Shank initiates his solo with musical sentences in unfolded scales, and Donato exhibits his vast rhythmic-harmonic wealth.

Shank´s sound assumes a poignant tone in “Joana”, underlined by Donato in each inflection and variation, sustaining his solo impregnated with lyricism and delicacy.

Shank presents “Black Orchid” with a pronounced lyricism in which his sax sings literally the melody, pursuing an exploration studded with suggestive variations. He is followed by Donato, who exhibits his seemingly inexhaustible imagination.

After the piano introduction in “Minha Saudade” (My Yearning), Shank presents the melody in articulated phrases, which constitute the prelude of an extensive improvisation; Donato´s solo is an authentic tonal, lyric and introspective poem.

Donato leads the path in “Night and Day” for Shank to develop phrases which are thematic variations and harmonic developments of that piece. Shank fragments the melody of “But Not For Me” before starting his imaginative evolutions. Donato´s accompaniment with percussive chords contrasts with the patriarchal relaxation of his solo. Following, Shank slows down the time, giving thus a new flavor to his interpretation.

“There´ll Never Be Another You” is played in a bossa nova rhythm. Once more, Donato practices one of his favorite abilities - the quotation of other melodies - and Shank refines the melodic embellishments of his phrases.

In “Yesterdays” emerge the empathy and the affinities between the leaders, dissecting the harmonies in Jerome Kern’s classic. The success of those recordings urged a new meeting of Bud Shank with João Donato, in November 2006, to present two concerts at Mistura Fina. On that occasion, a new DVD to be launched by Biscoito Fino was also recorded.