The Curtis FULLER Jazztet with Benny Golson 1959

The Curtis FULLER Jazztet with Benny Golson 1959
1994 Issue

Jazz

Like the other Savoy recordings of Curtis Fuller, The Curtis Fuller Jazztet is a relaxed hard bop set featuring many of the young stars of the day. The more famous Blues-ette, from earlier in 1959, featured Tommy Flanagan, Jimmy Garrison, and Al Harewood. This time, however, the Fuller/Golson combination included Lee Morgan, Wynton Kelly, Paul Chambers, and the percussive talents of drummer Charlie Persip. Listeners already acquainted with Blues-ette (or other comparable dates) should find this session to be familiar territory. Similarly, it is also very much in the same vein as another classic, Meet the Jazztet, upon which Fuller and Golson were again paired. Even though the compositions may not be as strong as those on Blues-ette (and how could they be?), there are a number of highly engaging solos by all and perhaps a bit more diversity with regard to both tempo and arrangement. Where Blues-ette's sublime grace stems from the collective understanding displayed by the group, the greatness of The Curtis Fuller Jazztet is to be found in the individual talents of the soloists. Of particular note are Golson's flights on up-tempo numbers such as the album's opener, "It's Alright With Me," and absolutely every soloist's take on the ballad "I'll Walk Alone." Let this highly recommended set also be a testament to the sparkling, Roy Haynes-like "snap-crackle" style of the underappreciated Charlie Persip.
By Brandon Burke. AMG.
**
Curtis Fuller was a well-established hard bop trombone player in New York when he made these excellent sides for Savoy in 1959. Going into the studio with an all-star lineup (Lee Morgan [tp] Benny Golson [ts] Wynton Kelly [p] Paul Chamber [b] Charlie Persip [d]), the results reveal a propensity for coming up with superb original compositions and the talent to play them well.

The CD wastes no time heating up: the first track (IT'S ALL RIGHT WITH ME) is very much on fire already, especially Benny Golson. On another up-tempo tune, Fuller's blues piece JUDY'S DILEMMA, Golson has his Coltrane hat on, as the sheets of sound come pouring out of his horn. Lee Morgan is muted on this tune and plays a handsome solo. The highlight track for me is WHEATLEIGH HALL, a Dizzy Gillespie composition that has a KILLER JOE riff behind it - a most infectious tune (the kind you can't get out of your head hours after you've finished listening to it). Morgan plays muted trumpet again and is beautiful on the theme. This is a great CD with no false moves, just straight ahead, solid hard bop jazz. Definitely worth checking out.
By Bomojaz.
**
The latter version of "Arabia" is unleashed by the Blakey band as it swings with confidence and poise, while the original version shows only glimpses of this song's potential. And that in a nutshell is the problem with "The Curtis Fuller Jazztet" on the whole, it has great promise but it never quite reaches the classic status that was seemingly its birthright. Maybe the Savoy trademark the unrehearsed jam session has struck again after all. With a bit more preparation, "The Curtis Fuller Jazztet" would have been a masterpiece...
**
Curtis Fuller- (Trombone),
Wynton Kelly- (Piano),
Lee Morgan- (Trumpet),
Paul Chambers- (Bass),
Benny Golson- (Tenor Sax),
Charlie Persip- (Drums)
**
01.It's All Right With Me -Cole Porter (7:35)
02.Wheatleigh Hall -Dizzy Gillespie (14:00)
03.I'll Walk Alone -Sammy Cahn, Jule Styne (6:45)
04.Arabia -Curtis Fuller  (6:30)
05.Judy's Dilemma -Curtis Fuller (5:30)
**

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Curtis FULLER - Curtis Fuller with Red Garland 1957

Curtis FULLER - Curtis Fuller with Red Garland 1957
Label: Ojc
Audio CD: (April 28, 1995)

Jazz

This CD reissue features trombonist Curtis Fuller in a quintet with altoist Sonny Red, pianist Red Garland, bassist Paul Chambers and drummer Louis Hayes performing a pair of originals, two blues and a couple of ballad features. Red is outstanding on "Moonlight Becomes You" (one of his finest recordings) while Fuller does a fine job on "Stormy Weather." Even with the new material, this set has a feel of a jam session; the blend between the trombone and the alto is particularly appealing. Despite the overly critical liner notes (written in 1962), this is an excellent hard-bop oriented date.
By Scott Yanow, All Music Guide..
**
This album took me by surprize, but it's an excelent show of what makes Curtis Fuller the master that he is. Listen to his playing on "Seeing Red" and "Rock and Troll" to hear why this album is something to pick up. (You'll need to by the album to hear what I refer to because the audio clips don't get too far into his soloing.) His ideas are simple, fun, and I haven't heard a trombonist who can play as clean as Curtis Fuller while playing so fast!
If you're a trombonist this album is a must have!
Fuller plays well on the whole album, but the 2 tracks mentioned above make this album somthing to get. Red Garland plays well also. By the way... Seeing Red is almost exacly the same chord changes as Charlie Parker's "Blues for Alice".
By  Terry L. Greene.
**
CURTIS FULLER WITH RED GARLAND, recorded in 1957, is filled with remarkable performances by Fuller and his quintet. The opening track, "Seeing Red," immediately sets the scene, showing off the improvisational prowess of this lauded trombonist. Fuller's playing is smooth and articulate, and his tone is dark and breathy; these qualities are enhanced by the stunning support of pianist Red Garland.

There are only two standards on this record--the reflective and picturesque ballads "Stormy Weather" and "Moonlight Becomes You." Teddy Charles's tune "Roc & Troll" is also exceptional; it swings hard, and features fine solos from Fuller, Garland, and alto saxophonist Sonny Red Kyner (credited here as just "Sonny Red"). Interestingly, on this tune, Kyner briefly quotes the melody from the Rodgers & Hart composition "Bewitched" in his solo. An inspired set, CURTIS FULLER WITH RED GARLAND is one of the best neo-bop albums of the '50s
From CD Universe.
**
CURTIS FULLER WITH RED GARLAND, recorded in 1957, is filled with remarkable performances by Fuller and his quintet. The opening track, "Seeing Red," immediately sets the scene, showing off the improvisational prowess of this lauded trombonist. Fuller's playing is smooth and articulate, and his tone is dark and breathy; these qualities are enhanced by the stunning support of pianist Red Garland. There are only two standards on this record--the reflective and picturesque ballads "Stormy Weather" and "Moonlight Becomes You." Teddy Charles's tune "Roc & Troll" is also exceptional; it swings hard, and features fine solos from Fuller, Garland, and alto saxophonist Sonny Red Kyner (credited here as just "Sonny Red"). Interestingly, on this tune, Kyner briefly quotes the melody from the Rodgers & Hart composition "Bewitched" in his solo. An inspired set, CURTIS FULLER WITH RED GARLAND is one of the best neo-bop albums of the '50s.
**
Paul Chambers Bass
Curtis Fuller Trombone
Red Garland Piano
Louis Hayes Drums
Sonny Red Sax (Alto)
**
01. Stormy Weather (7:00)
02. Cashmere (7:17)
03. Slenderella (6:45)
04. Moonlight Becomes You (7:43)
05. Seeing Red (7:35)
06. Roc and Troll (7:42)
**
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