Requisites
You Get More Bounce with Curtis Counce! is a studio album by bassist Curtis Counce recorded on October 8 & 15, 1956, April 27, May 13 and September 3, 1957, at Contemporary Studios in Los Angeles, California and subsequently released on the Contemporary Records label. The music falls somewhere between hard bop and cool jazz and Counce contributed two original compositions to the recording, Complete and Counceltation. The producer for the sessions was Lester Koenig.
Track Listing | 44:39 All compositions by Curtis Counce except as indicated
- Complete ~ 5:51
- How Deep Is the Ocean? (Irving Berlin) ~ 6:35
- Too Close for Comfort (Jerry Bock, Larry Holofcener, George David Weiss) ~ 5:36
- Mean to Me (Fred E. Ahlert, Roy Turk) ~ 4:31
- Stranger in Paradise (Alexander Borodin, George Forrest, Robert Wright) ~ 7:03
- Counceltation ~ 6:01
- Big Foot (Charlie Parker) ~ 9:02
- Curtis Counce ~ bass
- Jack Sheldon ~ trumpet
- Harold Land ~ tenor saxophone
- Carl Perkins ~ piano
- Frank Butler ~ drums
You Get More Bounce With Curtis Counce | by Eddie Carter
Simply stated, this is a superb album by bassist Curtis Counce and his quintet. Counce’s group was one of the better and more resilient bands on the West Coast during the late fifties. As a cohesive unit, the quintet’s interaction throughout the album delivers handsomely on the seven selections that make up this enjoyable set. The album opener is Counce’s Complete which begins with an impressive discussion between the rhythm section ahead of the melody. How Deep Is The Ocean? Is the ageless 1932 standard by Irving Berlin is a perfect vehicle for an affectionate performance by Land who adapts the song as easily as if it was originally created for jazz with a breathtakingly beautiful tenor sax reading of the melody and lead solo, anchored by Sheldon’s imaginative lyricism in support. Too Close For Comfort, the 1956 popular song by Jerry Bock, Larry Holofcener and George Weiss began life on Broadway in the musical production of Mr. Wonderful that year and has been recorded by an A-list of musicians and vocalists too numerous to mention. The 1929 popular song, Mean To Me by Fred Ahlert and Roy Turk has long been praised by critics as a “head of the class” standard for jazz musicians and vocalists to improvise.
Side Two opens with a bop-flavored midtempo rendition of Stranger In Paradise, the popular song from the 1953 musical, Kismet, written by Alexander Borodin, George Forrest, and Robert Wright. Counceltation, the second original by Counce and the title of the 1972 reissue of this album, due in part to the “original cheesecake cover” which enough people found offensive enough for Contemporary Records to replace it with a photo of the artist and his bass in an outdoor setting. The quintet returns to hard-bop on the album’s closer, Big Foot by Charlie Parker which gives everyone a chance to speak their piece on a lively joyride.
If you already own this album you know what to do. If you’re adding it to your collection, place the record on the turntable, drop the stylus, or slide the cd in the drive, crack open your favorite beverage, sit back and settle in to enjoy seven of the best sounding jazz cuts by The Curtis Counce Group that are spontaneous, soulful swinging at its best!
Source: Jazztracks by Eddie Carter | Excerpt: 1/2019 | atlantaaudioclub.org
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Allen Eager was born in New York City on January 10, 1927 and grew up in the Bronx. He could read at the age of three, learned to drive at the age of 9 with the help of his mother after she caught him driving a garbage truck near the hotels that his parents owned in the Catskill Mountains. He took clarinet lessons with David Weber of the New York Philharmonic at the age of 13. He briefly played with Woody Herman at the age of 15, and at the same age, he took heroin for the first time.
By sixteen he was playing in Bobby Sherwood band, then went on to play with Sonny Dunham, Shorty Sherock, and Hal McIntyre. Eager was then with Herman again for a year in 1943, Tommy Dorsey, and Johnny Bothwell in 1945. After World War II he became a regular on the 52nd Street in New York City leading his own ensemble from 1945–47. His recording debut as a leader was for Savoy Records in 1946 with pianist Ed Finckel, bassist Bob Carter, and drummer Max Roach.
Influenced by Lester Young, his playing style on tenor saxophone was, along with contemporary saxophonists Zoot Sims, Stan Getz, Al Cohn and others. Adopting the musical forms pioneered in bebop, he also adopted the drug dependency of a lot of the bebop players in the 1940s. Allen was a member of several bands led by black musicians including Coleman Hawkins, Fats Navarro, Tadd Dameron and Charlie Parker and recorded with trumpeter Red Rodney for Keynote Records in 1947.
He would go on to play with Gerry Mulligan, Terry Gibbs in 1952, and shortly after with Buddy Rich. He then briefly abandoned music and drugs, becoming a ski and horse riding instructor. In the Fifties, he returned to again led his own ensemble as a saxophonist, frequently playing with Howard McGhee. He lived in Paris for a couple of years, then returned to the U.S. in 1957, Eager recorded The Gerry Mulligan Songbook under Mulligan’s leadership, which was his last recording for 25 years.
After this, he essentially retired from jazz, pursuing skiing, competitive auto racing, and LSD experiments with Timothy Leary. In the late Sixties he settled in Florida with his family, played with Frank Zappa in the 1970s, and in 1982 Eager made a comeback with an album for Uptown Records, entitled Renaissance. He toured with Dizzy Gillespie in 1983, and with Chet Baker. Tenor and alto saxophonist Allen Eager passed away from liver cancer on April 13, 2003 in Daytona Beach, Florida.
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Barry Altschul was born on January 6, 1943 in New York City and having initially taught himself to play drums, studied with Charlie Persip during the 1960s. The free jazz and hard bop drummer first came to notice in the late 1960s when he performed with pianists Paul Bley and then he joined Chick Corea in 1969 with Dave Holland and Anthony Braxton to form the group Circle. At the time, he made use of a high-pitched Gretsch kit with add-on drums and percussion instruments.
By the 1970s, Altschul worked extensively with Anthony Braxton’s quartet featuring Kenny Wheeler, Dave Holland, and George Lewis. Braxton, signed to Arista Records, was able to secure a large enough budget to tour with a collection of dozens of percussion instruments, strings, and winds. In addition to his participation in ensembles featuring avant-garde musicians, Altschul performed with Lee Konitz, Art Pepper and other straight-ahead jazz performers.
Barry recorded thirteen albums from 1967 to 2015 but by the mid-Eighties, he spent most of his time in Europe, not becoming visible until 2000, performing with Billy Bang and Joe Fonda billing themselves as The FAB Trio. He also performed with the Jon Irabagon Trio, Adam Lane, Roswell Rudd, Dave Liebman, Barre Phillips, Denis Levaillant, Andrew Hill, Sonny Criss, Hampton Hawes, Annette Peacock, Sam Rivers, Julius Hemphill, Lee Konitz and numerous others in both the avant-garde and straight-ahead genres. The free jazz and hard bop drummer continues to perform and record.
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Joe Harris was born on December 23, 1926 in Pittsburgh, Pennsylvania, growing up in the Manchester neighborhood. He learned to play the drums by taking lessons at an early age from Pittsburgh’s Bill Hammond, who taught his the rudiments of drumming. His musical education included symphonic percussion such as tympani and xylophone and by age 18 he was playing in big bands and touring the country.
As a young man in 1946 he moved to New York City, where he played with Dizzy Gillespie over the next two years, helped pioneer Latin jazz, and anchored the house band at the famed Apollo Theater. Balancing jazz with the heavier R&B sounds of tenor saxophonist Arnett Cobb in the late ’40s, Harris gigged with singer Billy Eckstine in 1950, and worked with Erroll Garner, Jimmy Heath, Ella Fitzgerald, Sarah Vaughan, Sonny Rollins, Stan Getz, Billie Holiday and James Moody.
Following a decade as one of the early bebop drummers, Joe took off for Sweden with his first tour in the summer of 1956 with trumpeter Rolf Ericson. His subsequent expatriate status put him in the company of other transplanted instrumentalists including trumpeter Benny Bailey, with whom he recorded from 1957 – 59, and pianist Freddie Redd. He taught himself to speak Swedish fluently and learned a fair amount of German and Japanese, eventually moved to Sweden, married and had a daughter before living in Germany and Japan for a time.
Harris eventually returned to the States for TV work in Los Angeles, California among other things. The drummer would later study music in the Far East, Egypt, Africa and Latin America prior to settling back in his native Manchester, scaling back his performance schedule with local musicians. He continued to practice daily, mentor students and teaching jazz history and drums for years at the University of Pittsburgh until his death on January 27, 2016 at age 89.
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Daily Dose Of Jazz…
Joseph Alison Harris was born on December 23, 1926 in Pittsburgh, Pennsylvania and took lessons at an early age from Pittsburgh native Bill Hammond, an acclaimed master of traditional rudimental drumming. The training gave him the ability to sit in with a band or orchestra and quickly sight-read almost any style of music. While still in his teens he hit the road playing in big-band ensembles for a globe-trotting career as one of the most versatile jazz drummers of his time, one of the last survivors of the golden era of bebop.
A former Pittsburgh band mate, bassist Ray Brown who had joined Dizzy Gillespie’s pioneering bebop band, arranged for Joe to audition for the drum chair, leading to be a member of the group. Fired for demanding overtime pay for a rehearsal, they later reconciled.
Remaining in high demand throughout his career, he married, lived and played in Sweden for five years during the Fifties, welcoming the contrast from the racial prejudices of the United States. Harris toured Europe with a band led by Quincy Jones, joined a state-run band at Radio Free Berlin and accompanied Charlie Parker, Ella Fitzgerald, Sarah Vaughan, Sonny Rollins, Stan Getz, Billie Holiday and many other greats.
He spent his last decades at his Manchester home, teaching jazz history and drums for years at the University of Pittsburgh, tapered back his performing schedule and mentored younger jazz musicians. Drummer and educator Joe Harris passed away on January 27, 2016 at age of 89.
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