It was hard times for the jazz trombonist after the war when the big bands started to wane. But one voice stayed strong in the hard bop years, that of Curtis Fuller (b. Dec. 15, 1934, Detroit). Following in the bebop style of J. J. Johnson, Fuller's technique enabled him to play fleet footed solos equal to that of sax and trumpet. He participated in several important ensembles and recording sessions in the fifties and sixties and created many great jazz compositions.

Fuller was born and raised in Detroit, the spawning ground of many a great jazz musician of the day. He took up baritone sax as a high school senior and switched to the trombone. His first important gig was in 1953-55 in an Army band led by Cannonball Adderley which also included Junior Mance. He then played with many of the fine musicians in the area including Kenny Burrell and Yusef Lateef.

Moving to New York in 1957, he quickly became known for his quick and strong style. In that same year he recorded as sideman for Bud Powell and Cliff Jordan as well putting out a few albums as a leader. John Coltrane also included him in his now classic "Blue Train" recording for which his powerful rich tone and quick agility gained him wider public approval. Listen to his nice articulation on "Moment's Notice." In 1958 he began a long and fruitful partnership with Benny Golson which has continued up until the present, participating as sidemen in each other's recording projects in either a sextet or quintet setting. The full and rich tone they produce from their respective horns compliment each other beautifully as can be heard on the two horn arrangements of "I'll Walk Alone" on "The Curtis Fuller Jazztet" album and on an up tempo rendition of "Yesterday" on Benny Golson's "Groovin' with Golson." They continued their relationship as The Jazztet from 1959 to 1960 with the addition of Art Farmer (which was then called the Art Farmer-Benny Golson Jazztet for reason's unknown to me.) This group is considered one of the great hard bop ensembles.

The turning of 1961 saw the beginning of Fuller's fruitful five year stand with Art Blakey's Jazz Messengers, now a sextet with his inclusion. Although he wrote many of his own compositions on his earlier albums as leader it was under the great nurturer of young talent that his writing style matured. Though still often blues inspired, the melodies are much more majestic such as on "The Egyptian" on the album "Indestructible!" Or on "Sortie" on the same recording with its rolling minor 6/8 theme. There is also the anthemic "Bu's Delight" on "Buhaina's Delight" showing a rather unique approach to a jazz tune. These all show a more modal approach to composition which makes sense since Fuller cites Miles Davis as an inspiration to his harmonic concept.

However his composition isn't the only thing that matured with Blakey. His articulation is even more precise and his melodic ideas are even more adventurous as can be heard on his solo on "Caravan" on the album of the same name. He also gained a larger dramatic sense with the addition of greater tension filled passages with longer held tones during his solos.

After leaving Blakey, Fuller freelanced in New York and toured with Dizzy Gillespie in 1968. In the mid seventies he worked with younger musicians including Stanley Clarke and Bill Washer on music that employed electric and electronic instruments though still coming from his bop background. A good album from this period is "Crankin'" from 1973. He also toured with Count Basie from 1975-77, recorded with Blakey again from 1978-79 and led group with fellow trombonist Kai Winding called Giant Bones which recorded "Giant 'Bones '80" in 1979.

In the eighties Fuller would periodically continue his collaboration with Benny Golson and The Jazztet participating in a particularly fine album of a 1986 performance with The Jazztet called "Real Time." He also was a member of The Timeless All-Stars with Harold Land, Bobby Hutcherson, Cedar Walton and Billy Higgins who recorded a couple albums in the mid-Eighties. These days Fuller continues to tour Europe and the US, record as a leader and teach.

Curtis Fuller's voice is a strong and rich sound in the landscape of jazz. His virtuosity enabled him to be one of the lone trombonists in the post bebop years. He is an indispensable instrumentalist and turned the classic hard bop quintet into the hard bop sextet. He is deserving of the being called one of the finest trombonist in jazz music.

Selected Recordings

as leader

• Blues-ette - 1959 - Savoy - SV 0127
• The Curtis Fuller Jazztet - 1959 - Savoy - SV 0134
• Imagination - 1959 -Savoy - SV 0128
• Crankin' - 1973 - Mstr. 333
• Fire and Filigree - 1978 - BH 7007 (with Kai Winding) Giant 'Bones '80 - 1979 - Sonnet - 834

as sideman

• John Coltrane - Blue Train - 1957 - Blue Note - CDP 7 46095 2
• Benny Golson - Groovin' with Golson - Prestige - OJCCD-226-2
• Farmer/Golson Jazztet - Meet the Jazztet -1960 - Chess - CHD-91550
• Farmer/Golson Jazztet - Real Time - 1986 - Contemporary - CCD-14034-2
• Art Blakey and the Jazz Messengers - Caravan - 1962 - Riverside - OJC 038
• Art Blakey and the Jazz Messengers - Indestructable - 1964 - Blue Note - CDP 7 464292