johnnystaccata | Stranger in Paradise - Curtis Counce Group @johnnystaccata | Uploaded August 2024 | Updated October 2024, 15 hours ago.
Curtis Counce (b)
Jack Sheldon (tpt)
Harold Land (ts)
Carl Perkins (p)
Frank Butler (d)
1956/10/8&15
カーティス・カウンス (b)
ジャック・シェルドン (tpt)
ハロルド・ランド (ts)
カール・パーキンス (p)
フランク・バトラー (d)
@johnnystaccata
Biographical data on the members of the group is contained
in the first album's liner. Briefly, leader Counce was born in
Kansas City, Missouri, January 27, 1926, has worked with
Shorty Rogers and Stan Kenton, and started recording with
Lester Young in 1946. He has been most influenced on his
instrument by the late Jimmy Blanton, and is currently study-
ing arranging and composing with Lyle • 'Spud" Murphy (Gone
With Che Woodwinds, Contemporary C 3506) ,
Jack Sheldon was born in Jacksonville, Florida, November
30, 1931, has worked with Howard Rumsey's Lighthouse AII-
tars, was on Jimmy Giuffre's Tangents album, and to poach
from my review of the first Counce album, "Sheldon has stead-
ily developed, adding bones to his essentially lyrical, deftly
robing style and some flesh to his tone."
Harold Land, an assertively emotional tenor, was born
December 18, 1926, in Houston, Texas. He became nationally
seasoned during over a year Of touring with the Max Roach-
Clifford Brown group in 195455. His conception is rooted
in Charlie Parker; his early models on tenor were Coleman
Hawkins and Lucky Thompson; and as is logical of a Hawkins-
Parker ear, he likes among his contemporaries Sonny Rollins
and John Coltrane.
Pianist Carl Perkins, in Indianaplis, Indiana, August
16, 1928 is a particular favorite of Miles Davis with whom he
has worked as well as with Max Roach and other units. He
is a pianist who dcrsn•t have to worry about whether he's
playing "funky"; all the currently favorable definitions of that
word are instantly and naturally apparent in his work,
Drummer Frank Butler, born in Wichita, Kansas, February
18, 1928, had never recorded before his appearance on the
first Counce set, a fact that surprised me in view of his un-
usually arresting taste, firm time and the further advantage
that he makes his set sound crisply and attractively over a
stimulating range of colors.
The songs are, with three exceptions, familiar and self-
explanatory. Curtis' inviting Complete provides a rewarding
forum for all in the group to indicate their blues strength and
individuality. Counceltation, also by Curtis, was named by
Bill Davis, conductor of the only jazz program in Denver as
of this writing. It is Curtis' first compsition in the Lyle
Murphy 12•Tone system. The stretching Big Foot is by the late
Charlie Parker.
The Curtis Counce Group has already traveled an impres-
Sive distance in achieving a group identity through, not in
spite of, the clear individuality of each of its players. The
whole, in so far as creative jazz comExys are concerned, is not
so much greater than the sum Of its parts but is a further
entity and extension of expression in addition to its parts.
By NAT HENTOFF
September 19, 1957
Mr. Hentof, one of the most widely red and respected
of jazz critics, is also co-editor of Hear Me Talkin• to Ya and
The Jazz Makers, both books published by Rinehart.
Curtis Counce (b)
Jack Sheldon (tpt)
Harold Land (ts)
Carl Perkins (p)
Frank Butler (d)
1956/10/8&15
カーティス・カウンス (b)
ジャック・シェルドン (tpt)
ハロルド・ランド (ts)
カール・パーキンス (p)
フランク・バトラー (d)
@johnnystaccata
Biographical data on the members of the group is contained
in the first album's liner. Briefly, leader Counce was born in
Kansas City, Missouri, January 27, 1926, has worked with
Shorty Rogers and Stan Kenton, and started recording with
Lester Young in 1946. He has been most influenced on his
instrument by the late Jimmy Blanton, and is currently study-
ing arranging and composing with Lyle • 'Spud" Murphy (Gone
With Che Woodwinds, Contemporary C 3506) ,
Jack Sheldon was born in Jacksonville, Florida, November
30, 1931, has worked with Howard Rumsey's Lighthouse AII-
tars, was on Jimmy Giuffre's Tangents album, and to poach
from my review of the first Counce album, "Sheldon has stead-
ily developed, adding bones to his essentially lyrical, deftly
robing style and some flesh to his tone."
Harold Land, an assertively emotional tenor, was born
December 18, 1926, in Houston, Texas. He became nationally
seasoned during over a year Of touring with the Max Roach-
Clifford Brown group in 195455. His conception is rooted
in Charlie Parker; his early models on tenor were Coleman
Hawkins and Lucky Thompson; and as is logical of a Hawkins-
Parker ear, he likes among his contemporaries Sonny Rollins
and John Coltrane.
Pianist Carl Perkins, in Indianaplis, Indiana, August
16, 1928 is a particular favorite of Miles Davis with whom he
has worked as well as with Max Roach and other units. He
is a pianist who dcrsn•t have to worry about whether he's
playing "funky"; all the currently favorable definitions of that
word are instantly and naturally apparent in his work,
Drummer Frank Butler, born in Wichita, Kansas, February
18, 1928, had never recorded before his appearance on the
first Counce set, a fact that surprised me in view of his un-
usually arresting taste, firm time and the further advantage
that he makes his set sound crisply and attractively over a
stimulating range of colors.
The songs are, with three exceptions, familiar and self-
explanatory. Curtis' inviting Complete provides a rewarding
forum for all in the group to indicate their blues strength and
individuality. Counceltation, also by Curtis, was named by
Bill Davis, conductor of the only jazz program in Denver as
of this writing. It is Curtis' first compsition in the Lyle
Murphy 12•Tone system. The stretching Big Foot is by the late
Charlie Parker.
The Curtis Counce Group has already traveled an impres-
Sive distance in achieving a group identity through, not in
spite of, the clear individuality of each of its players. The
whole, in so far as creative jazz comExys are concerned, is not
so much greater than the sum Of its parts but is a further
entity and extension of expression in addition to its parts.
By NAT HENTOFF
September 19, 1957
Mr. Hentof, one of the most widely red and respected
of jazz critics, is also co-editor of Hear Me Talkin• to Ya and
The Jazz Makers, both books published by Rinehart.
