Daily Dose Of Jazz…

Buell Neidlinger was born in New York City on March 2, 1936 and raised in Westport, Connecticut, where his father ran a cargo shipping business. He played cello in his youth and began studying double bass after a music teacher recommended it to strengthen his hands. He took lessons from jazz bassist Walter Page. In his teens, suffering from a nervous breakdown, which he attributed to the pressure of being perceived as a child prodigy on cello, while institutionalized, he met jazz pianist Joe Sullivan who was in treatment for alcoholism.

Dropping out of Yale University after one year, where he had been studying orchestral music, he moved to New York City and began playing in various jazz settings. He joined Cecil Taylor’s group in 1955 and recorded extensively with Taylor’s groups with Steve Lacy and with Archie Shepp among others until 1961. He played with Herbie Nichols and was also involved with new directions in classical music.

By 1971, Buell moved to California and became the principal bassist for the Los Angeles Chamber Orchestra and was also principal bassist in the Warner Bros. studio orchestra for 30 years. He worked extensively as an orchestral and as a session bassist before becoming a music educator at the New England Conservatory and CalArts. Together with Marty Krystall, he founded K2B2 Records. The sessions he performed on as a strings player included Tony Bennett’s I Left My Heart In San Francisco and the Eagles’ Hotel California.

In 1983, he performed on the Antilles Records release Swingrass ’83. In 1997, and moved to Whidbey Island, Washington State. There, he played in a band called Buellgrass, which included fiddler Richard Greene and featured their version of bluegrass music. Neidlinger’s fourth wife, Margaret Storer, was also a bass player. They played baroque music with friends where he played cello, while she played the violin.

His final recording was The Happenings, accompanied by Howard Alden on guitar and Marty Krystall on bass clarinet and flute, released in December 2017. Bassist and cellist Buell Neidlinger, who worked prominently with iconoclastic pianist Cecil Taylor in the 1950s and ’60s,  passed away on March 16, 2018.

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Daily Dose Of Jazz…

Eddie de Haas was born Edgar O. de Haas of Dutch descent on February 21, 1930 in Bandung, Java. His father was a flutist and played the ukulele and as a teenager, he became enthusiastic about jazz at the age of ten. A move from Java to the Netherlands in 1946 and it was while there he started playing bass in 1951.

He first accompanied Pia Beck, then Don Byas. He was on a European tour with Wally Bishop in 1952/53, accompanied Bill Coleman, 1954/55 Martial Solal, Zoot Sims/Henri Renaud, Dave Amram/Bobby Jaspar and Chet Baker on his European tours. In 1956 he played with Vera Auer and had his own trio. In 1957 he went to the United States.

In the United States, he initially played with Terry Gibbs, Miles Davis, Bernard Peiffer, Sal Salvador, Benny Goodman, Charlie Mariano/ Toshiko Akiyoshi, Blossom Dearie, Charlie Singleton, Chris Connor, Kenny Burrell, Roy Haynes, and Kai Winding, among others.

In 1962 he had his own quartet with Bobby Jaspar. In 1964/65 he was with Gene Krupa and in 1966/67 in Germany. He also spent a long time in France and other European countries, was in the backing band of Johnny Mathis in the early 1960s and accompanied Peter, Paul & Mary in the 1960s. 1964/65 worked in Gene Krupa’s big band and with Al Haig. Afterward, he worked as a freelance musician.

Since the 1960s he has been married to singer Geraldine Bey, who was then a member of the vocal group Andy & the Bey Sisters around her brother Andy Bey. 1968 saw him move to Chicago with his wife and later he regularly accompanied musicians in Chicago in the showcase. While living there he played with Von Freeman, with whom he also recorded, and Jodie Christian. In 1975 he performed at the Chicago Jazz Festival.

He is also on albums by Mezz Mezzrow, Dave Amram, Bob Wilber, Von Freeman, Chet Baker, Roy Haynes, Sonny Stitt, Louis Smith, Sir Charles Thompson and to hear Slide Hampton.

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Daily Dose Of Jazz…

Nelson Boyd was born on February 6, 1928 in Camden, New Jersey and played in local orchestras in Philadelphia, Pennsylvania around 1945. Two years later he moved to New York City in 1947 and played with Coleman Hawkins, Tadd Dameron, and Dexter Gordon, and later with Sarah Vaughan, Dizzy Gillespie, and Charlie Barnet in 1948.

In 1947, he recorded with Fats Navarro and Charlie Parker, later with Jay Jay Johnson on Miles Davis’ Birth of the Cool sessions in 1949. In addition, the Davis composition Half Nelson was named after Boyd because of his stature.

After 1949, he often played with Gillespie and toured the Middle East with him in 1956. Later, he recorded with Melba Liston in 1958 with her trombone ultimates on Melba Liston and Her ‘Bones. Boyd also did sessions with Max Roach and Thelonious Monk. His last recordings were in 1964. Bebop bassist Nelson Boyd passed away in October 1985 in his hometown of Camden.

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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

1. Complete ~ 5:51
2. How Deep Is the Ocean? (Irving Berlin) ~ 6:35
3. Too Close for Comfort (Jerry Bock, Larry Holofcener, George David Weiss) ~ 5:36
4. Mean to Me (Fred E. Ahlert, Roy Turk) ~ 4:31
5. Stranger in Paradise (Alexander Borodin, George Forrest, Robert Wright) ~ 7:03
6. Counceltation ~ 6:01
7. 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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Three Wishes

When asked what his three wishes would be, Paul Wheaton said:

1. “Good health.”
2. “To get close to myself.”
3. “To play whatever I feel.”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter

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