Customer Reviews

You Get More Bounce

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Another "sacred" trace by an exceptional group whose brief existence in the late fifties was largely overlooked due to all the attention given to the East Coast "Hard Bop" scene. But the Counce group was inimitable, a transcendent example of the art of modern jazz, exemplary in its collective cohesiveness, inspired solo statements, and the warm, deep sound captured on their recordings. Many of the well-known East Coast recordings of that time sound obvious, cliched, commercially funky by comparison with the Counce group, which manages to be "robust" while adhering to a lyric mode of expression.

But under no circumstances should this album be purchased ahead of "Landslide," the earlier album by the same group, a session that clearly belongs on any short list of greatest jazz recordings available. Start with that one before deciding on the remaining precious recordings by this musical assembly.

Lately I've noticed all sorts of qualifiers on behalf of products deemed politically incorrect if not morally objectionable. It certainly is cheering to know that we're so morally superior to the likes of Bing Crosby (who errored by singing an earlier lyric to "Ole Man River") or the artist who designed the "sexist" cover for "More Bounce to the Ounce." On the other hand, it never occurred to me that I should view this 1950s cover art as offensive until a previous reviewer pointed it out. If we're so insistent on viewing the cover dispassionately, humorlessly, and without irony, then why not give the subject credit for her medical acumen (I wouldn't even know how to use a stethoscope let alone read one).

[On second thought, yes, the cover is sexist as well as licentious, salacious, and sinful. If that helps bring more listeners to the Curtis Counce Group and an awareness of the quality of music they represent, I'm willing to concede the cover to Satan many times over.]

. . . just take listen to the start of "Stranger in Paradise". What you'll hear is a signature trumpet sound that's everybody bit as distinctive and recognizable as that of Miles; Diz; Lee Morgan; Chet Baker - you name 'em. "Councellation" is a slighty weird, yet interesting and totally listenable little ditty, with C.C. himself filling in lots of interesting plucking on his bass. The rest of the tunes examplify the perfect balance of tension (east coast) and laidback-ness (west coast) that the Curtis Counce Group captured far better than most. If I had a time machine, I'd walk in on a gig that this bunch were playing in some L.A. dive someplace. But until such a device exists, CDs like this will have to do.

You get more bounce with Curtis Counce. Like the companion album "Landslide," this recording features Harold Land on tenor saxophone, Jack Sheldon on trumpet, and Carl Perkins on piano--some of the best jazz musicians in the west. (California isn't exactly as obscure as New Yorkers think.) There are gems on this disc, and the group's strength and balance are exemplary of the best jazz. The close interplay between Land, Sheldon, and Perkins on "How Deep is the Ocean" introduces Land's solo which is among the best recorded treatments of the song. "Too Close for Comfort" features Perkins, Sheldon's open trumpet, and a probing, lyrical solo by Land. The up tempo "Mean to Me" demonstrates the groups tight ensemble work and allows Land and Sheldon strong solos. Curtis Counce contributes two originals. "Complete" is a straight ahead number that could have come from any Miles Davis session of the period. "Counceltation" is a 12-tone modal experiment. The disc is rounded out with Sheldon's version of "Stranger in Paradise," a period piece. (Yeah, the album cover and title are sexist, but they're almost 50 years old!!) The group's renditions of Charlie Parker's "Big Foot" and Gillespie's "Woody'n You" bridge the coasts--bop standards played in original ways. And listen to Counce on "Big Foot." Again--excellent forgotten jazz from the far west.

Decided to comment after I saw the comments about the "offensive" cover - this is what offends people these days? Go figure...I own the LP so the beautiful girl and her luscious open mouth are even bigger and even more tantalizing - the newer Acoustech audiophile pressing in Stereo. The sound is spectacular - recorded by Roy DuNann in '56 and '57, as good as any Jazz from that era, and better than much of today. Performances are also great, as would be expected from this line-up. I find myself coming back to the record quite often. It's fairly straight-ahead and a wonderful introductory record to spin for those just getting familiar with the genre.

If you are a great fan of the west coast lable of jazz, then this is for you. If you just like great music, then this is for you as well. Great tunes, great soloists, great intepretations and great sound. This is one for the dessert island, one of the many classics from Contemporary Records

The Curtis Counce Group is one of those rare bands that knew how to deliver a range of compositions defining the best of the fifties whilst remaining timeless. The material chosen always sits comfortably together whether it is standards, originals often including the blues, bebop or popular pieces like Stranger in Paradise that immediately becomes exalted to a different plane once passed through their hands.

Always fresh, harmelodic (to borrow Ornette Coleman's term) and potently delivered; Jack Sheldon's warm, mellow trumpet alongside Harold Land's stiff and aching reed sound that is full of the most extraordinary articulations, has to be one of the most compelling couplings in all jazz. Backed up by a rhythm section containing a pearl among piano players, Carl Perkins matches the inventiveness of Land's tenor sax providing a swinging balance and anchor, while Counce and Butler on bass and drums are alert to the slightest of harmonic shifts and supply plenty of their own ideas (the two Counce originals here, Complete and Counceltaton, are fabulous).

It's a pity the Miles Davis band of the same period continues to absorb all the attention of those casually interested in jazz as The Curtis Counce Group is easily their match yet inversely neglected.

As for the cover, I don't see it as sexist. As with the music, it looks like she's having fun providing just the right touch!

Listening to this album would lead you to believe that the star is the sax man and it, in a way, is. Harold Land lends such feeling to this group that Counce, the leader, seems like a sideman. Together, they make for great listening.

Don't judge this book by its cover! Despite its sexist, offensive album art, "You Get More Bounce With Curtis Counce" is actually a pretty good jazz disc. While the "West Coast Jazz" style is well-known, what most people don't know is there was a thriving and original hard bop scene in Los Angeles in the mid and late 1950s as well. According to the Contemporary/OJC label, Counce was one of the most underrated bassists in the LA circuit, with Red Mitchell and Leroy Vinnegar being higher profile and more in demand players. But listening to this album, one would never question Counce's ability as a player or a bandleader. "You Get More Bounce," recorded during five sessions from October 1956 to September 1957, is Counce's sophomore effort and features a stellar cast of Pacific coast players, including Harold Land on tenor sax, Jack Sheldon on trumpet, Carl Perkins on piano and Frank Butler on drums. With the bass intro and muted trumpet on the disc's opening track, "Complete," you initially think you are listening to Variations on Miles Davis' "The Theme." But quickly the album settles into its own distinct sound -- a mix of Counce originals, Parker-Gillespie tunes and standards. I resisted buying this disc for a time because of the cover, but now I look forward to checking out more Counce.