Curtis Fuller - Blues-ette Part1 (1959) & Part2 (1993)
MP3|160-192KBPS|114MB

Volume 1
Curtis Fuller, trombone;
Benny Golson, tenor sax;
Tommy Flanagan, piano;
Jimmy Garrison, bass;
Al Harewood, drums.

01. Five Spot After Dark
02. Undecided
03. Blues-Ette
04. Minor Vamp
05. Love, Your Spell Is Everywhere
06. Twelve-Inch

Produced by OZZIE CADENA
Cover Photo by HANK SCHNEIDER
Cover Design by LEVY
Recording by RUDY VAN GELDER
Recorded on May 21, 1959

Although leadership on this album falls to Curtis Fuller, and his excitement-provoking new thoughts on trombone, perhaps the major influence in its total performance lies with Benny Golson, composer of 2 tracks, and major young jazz influence today. Fuller's 2 charts, "Blues-ette" and "Twelve-Inch" share the lean, long, spare lines of Benny's "Five Spot After Dark" and "Minor Vamp." In fact, perhaps the conception-keynote of the date is reflected in the writing.

It is refreshing to note the skilled use of the sketch arrangements to provide a full-time base upon which the date was performed. Too often, of late, jazzmen write a set of skimpy lines, run into the studio, bellow the theme and then into patterns of 12-bar blues for their solo efforts. Here, in contrast, the charts written for only a 2-man front line, reflect throughout, and support throughout, a total performance, including the 2 standard tunes, "Undecided" and "Love Your Spell Is Everywhere."

A major delight is the use of softer dynamics almost throughout. Much as I like Art Taylor, et al, it's a pleasure to hear bass and drums just pulsing and not melodizing! When Al Harewood solos, he blows, and when the theme calls for it, ("Blues-ette"), he cooks! When Jimmy Garrison solos, he goes . . . and at other times, he wails in the concept of the theme, (2-beat into "Twelve-Inch," melody on "Minor Vamp").

Solo chores on every track follow the continuity provided by the concept in chart. Fuller, following the change in approach apparent in his recent work, is slowly braking from the bursting, rhythmic staccato style he first greeted New York with 2 years ago, and has developed a style midway between Miles Davis and J.J. Johnson. His opening statements are usually spare, simple, and uncluttered, and his developing choruses bring back the best elements of the staccato triplets and dramatic rhythmic bursts that encircle his style.

Golson, a warm-bodied tenor sax of great feeling, expresses himself sparingly and as a composer, not-blower, in his opening solo speech on each track. In the development choruses, his work now reflects more of the influence of John Coltrane, Johnny Griffin, and Coleman Hawkins. This provides an oft time confusing total impression, but adds to the drama that is so much a part of his solo approach.

Tommy Flanagan, an underrated soloist of great feeling, most often utilizes the middle and upper registers in a soft-touch Bud Powell line, and gives a bonus of great rapport with the horns in this date with his introductory statements of each solo, building from the preceeding soloist's line. This, too, is further evidence of the cohesiveness that permeates the album, in contrast to the free-for-all blowing date so often encountered these days.


_http://rapidshare.com/files/100525117/CF-BP1.rar

--------------------------------------------------------------------------------

Volume 2

Curtis Fuller (trombone);
Benny Golson (tenor saxophone);
Tommy Flanagan (piano);
Ray Drummond (bass);
Al Harewood (drums).

01.: Love Your Spell Is Everywhere
02.: Sis
03.: Bluesette
04.: Is It All A Game
05.: Captain Kidd
06.: Five Spot After Dark
07.: How Am I To Know
08.: Along Came Betty
09.: Autumn In New York
10.: Manhattan Serenade

Recorded at Sound On Sound Studio, New York, New York from January 4-6, 1993.

The original Blues-ette album was a quintet session from 1959 featuring trombonist Curtis Fuller , tenor saxophonist Benny Golson , pianist Tommy Flanagan , bassist Jimmy Garrison and drummer Al Harewood . Thirty-four years later, the same musicians (with bassist Ray Drummond filling in for the deceased Garrison ) had a reunion for this Savoy CD. Three of the songs from the original session are given new versions and there are also performances of several recent compositions by both Golson and Fuller in addition to four standards . Although Golson 's sound on tenor has evolved since the earlier date, the appealing blend of the two horns remain unchanged as do the styles of Fuller and Flanagan , making Blues-ette, Pt. 2 an excellent example of swinging hard bop . ~ Scott Yanow, All Music Guide

_http://rapidshare.com/files/100531471/CF-BP2.rar

Curtis Fuller Sextet - Imagination (1959)
MP3|VBR160|30MB

Curtis Fuller belongs in the select circle with J.J. Johnson, Kai Winding and a few others who make the trombone sound fluid and inviting rather than awkward.

1. Kachin
2. Bang Bang
3. Imagination
4. Blues De Funk
5. Lido Road


Curtis Fuller (trombone);
Benny Golson (tenor saxophone);
Thad Jones (trumpet);
McCoy Tyner (piano);
Jimmy Garrison (bass);
Dave Bailey (drums).


Prior to the official formation of the Jazztet with trumpeter Art Farmer, trombonist Curtis Fuller and tenorman Benny Golson made several albums together, usually with other trumpeters. This somewhat rare date has trumpeter Thad Jones, bassist Jimmy Garrison, drummer Dave Bailey, and, most significantly, pianist McCoy Tyner in his recording debut completing the sextet. Fuller arranged all five of the songs, four of which were his originals. Although the material (other than the lone standard "Imagination") is unfamiliar, the chord changes inspire the players to create some fine solos. Easily recommended to hard bop fans lucky enough to find this album.
- Scott Yanow, All Music Guide

_http://rapidshare.com/files/100534007/CF-I.rar