Taking off from 2004's Up Jumped Spring, trombonist Curtis Fuller once again reunites with a former Art Blakey's Jazz Messengers alum for a set of standards and original compositions. Joining Fuller this time is tenor saxophonist Javon Jackson, who played with Blakey from the late '80s until the drummer's death in 1990. Together they reignite the fiery, soulful Jazz Messenger aesthetic on such standout Fuller tunes as the John Coltrane-influenced "Maze" and the swinging hard boppish "A La Mode." Backing Fuller here is pianist Doug Carn, bassist Rodney Jordan, and drummer Fritz Wise.
Reissue with latest 2014 remastering. Comes with liner notes.Curtis Fuller cooks it up nicely on this rare date for Epic from the 60s – a chance to hear the trombonist open up and move in a style that's a bit different than his work for Blue Note! The set's got a great undercurrent of soul – one that comes not just from Fuller's smoking solos, but also from the rhythm group – which features Les Spann on guitar, Walter Bishop Jr on piano, Jimmy Garrison on bass, and Buddy Catlett on drums. There's a few rough around the edges moments – the kind that are a great surprise in these early 60s Epic jazz sessions – and titles include "Teabags", "I'll Be Around", "Mixed Emotions", and "Playpen".
Reissue with the latest remastering. Features original cover artwork. An overlooked 80s session from trombonist Curtis Fuller – and a great one too – a record that really returns the player to the powerful presence we first loved in his albums of the late 50s and early 60s! Fuller's the leadoff solo instrument throughout – working here with backing from the Roma Trio of Danilo Rea on piano, Enzo Pietropaoli on bass, and Roberto Gatto on drums – all playing with that careful, classic vibe that maybe made the Italian scene in the 80s one of the richest on the continent. Curtis blows boldly, even at mellower moments – often phrasing more like a trumpet than a typical trombonist – and serving up lots of soulful sounds in the process. The set features a sublime reading of "Naima", plus "Blue Bossa", "Afternoon In Paris", "Red's Delights", and "Impressions".
Trombonist Curtis Fuller's recordings for Savoy in the 1950s, like those of labelmates Hank Mobley, Milt Jackson, Wilbur Harden, Donald Byrd, and others, were prototypes in the development of hard bop. The next stage would come with the subsequent work of many of the same artists for Blue Note, where improved recording technique, greater attention to writing and arranging, and a more generous policy with respect to preparation and rehearsal time helped bring in the classic hard bop era of the late '50s and early '60s. On Fuller's Jazz…It's Magic, the hard bop prototype is still under refinement, but it's easy to enjoy the music in its essential elements: elegant, bluesy melodies; earthy, yet sophisticated, solo work; and fresh treatments of standards.
One of the best non-Blue Note albums from the early years of trombone giant Curtis Fuller – a definite cooker that more than lives up to its title! At his best, Fully often played his instrument with a style that was more like a trumpet than trombone – isolated notes, sharp sense of rhythm, and an ability to match energy of all his top-shelf contemporaries – which is a key thing here, as the lineup includes Freddie Hubbard on trumpet, Jimmy Heath on tenor, and Cedar Walton on drums – almost like a Jazz Messengers album from the time that Fuller was in the group, but without Art Blakey. The whole album's wonderful – and titles include "The Clan", "Newdles", and "Ladies Night" – plus a hard hitting rendition of "Dear Old Stockholm" which runs for 9 minutes.
Reissue with latest remastering. Comes with liner notes. Not Curtis Fuller in South America, but a record that picks up a very slight Latin vibe in the rhythm – which makes for a nice change from Fuller's sessions for Blue Note! The date was recorded during that great short run of soul jazz cookers on early 60s Epic Records – and is a perfect talent for the well-voiced solo talents of Fuller – which really take great fire in a group that also includes Zoot Sims on tenor, Tommy Flanagan on piano, and Dave Bailey on drums. The record's got some of the gutbuckety energy of Bailey's classic sets for Epic at the same time – a strong recommendation from us – and titles include "One Note Samba", "Besame Mucho", and "Wee Dot".
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. An explosive late 70s moment of brilliance from trombonist Curtis Fuller – and one of his greatest albums of the time! The set's got Fuller working with an unusual group – Pepper Adams on baritone sax, making for a nice "bottom" alongside Fuller's trombone, plus James Williams, borrowed from Art Blakey's group of the time – and really stepping out here with some great soaring piano lines. The rest of the quintet features Dennis Irwin on bass and John Yarling on drums – but the real boss of the set is clearly Fuller, who's contributed some wonderful originals to the session, and is clearly working with a re-kindled spirit at this point in his career. Titles include "Four On The Outside", "Suite Kathy", "Little Dreams", "Ballad For Gabe-Wells", and "Corrida Del Torro".
After a successful partnership with J.J. Johnson during the 1950s (with a few more meetings in the 1960s), it's not surprising that Kai Winding enjoyed hooking up with another trombonist from time to time. This meeting with Curtis Fuller, made for Sonet in 1979, rekindles the magic Winding experienced with Johnson, even with different material and musicians (Horace Parlan, Mads Vinding, and Ed Thigpen). The opener, "Love 4 Rent," is Winding's barely disguised reworking of Cole Porter's "Love for Sale," but the hot blowing by both horn players gets the album off to a fast start.
Reissue. Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). One of the hippest Curtis Fuller albums for Blue Note – and one of the rarest too – a set that was recorded in 1958, but only ever issued on vinyl in this rare Japanese pressing from the 80s! The date's quite unique – as it features "two bones", that is, two trombonists – both Curtis Fuller and Slide Hampton, the latter of whom makes a rare Blue Note appearance with a hard, heavy, soulful groove. Rhythm is from the trio of Sonny Clark on piano, George Tucker on bass, and Al Harewood on drums – and the quality of the record is all super-high – another one of those Blue Note mysteries as to why the label never issued the set at the time. Titles include "Pajama Tops", "Fuss Budget", "Oatmeal Cookie", "Da-Baby", and "Loquacious Lady".