Search - Curtis Counce :: You Get More Bounce

Critical, though not canonical (nor controversial).

Samuel Chell | Kenosha,, WI United States | 08/06/2001

(5 out of 5 stars)

"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.]"

Stop staring at the cover.

George H. Soule | Edwardsville, Illinois United States | 02/04/2005

(5 out of 5 stars)

"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."

Great cover and content

J. Aiken | 09/26/2005

(5 out of 5 stars)

"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."