Curtis Fuller: Motor City Messenger
“ I listened to everything walking with a trombone, from Tommy Dorsey on ... I listened to the instrument. Everybody that played it ”
Fuller downplays his early musical abilities evidenced at Cass: "I was trying to play. I wasn't in the band, the A band, I was in like the D band." Nevertheless it was there that he developed his love for his instrument. "There was a young guy that came up with Donald Byrd, his name was Claude Black," he recalls. "He came to the high school and played with some gentlemen, Roland Hanna... Gene Taylor was the bassist. That's the very first time, first guy I fell in love with. He didn't play anything like JJ. He played like himself."
But it was JJ Johnson who eventually became Fuller's greatest influence, providing the blueprint for him to develop his playing. "I heard JJ on the recording with Charlie Parker, 'Quasimodo' [hums the melody] and then I saw him later... I was in the orphanageI saw him coming out there playing with Illinois Jacquet," he says. Fuller became an earlier progenitor of the Johnson-based bebop trombone style, but quickly developed his own unique voice. "I was told coming up by Miles and everybody, 'Get off of JJ. Don't play his shit. Play your own shit.'" Fuller's influences go well beyond Johnson. In addition to hearing Frank Rosolino and Kiane Zawadi, the two most prominent trombonists on the Detroit scene during his youth, he checked out the instrument's history. "I listened to everything walking with a trombone, from Tommy Dorsey on," he says proudly. "I know guys you never heard ofFred Mergy, Tommy Turk, Trummy YoungI listened to the instrument. Everybody that played it, I listened to."
Miles was just one of the many jazz greats that Fuller worked with when he began his professional career in Detroit, which he admits did not really start until he returned home after a stint in the Army (where he played with Cannonball Adderley's dance band) and entered Wayne State University (where his roommate was saxophonist Joe Henderson). "Before that I mean, it wasn't what you would call working... I mean it was sittin' in. Most of that came as a little guy trying to sit in with Thad [Jones] and Billy Mitchell...just trying to sit in, sittin' in with people. I wasn't really working with anybody... I worked with lesser-known guys. Most of the guys would be more identified with Motown." When the trombonist did begin working, things took off rapidly. "The first was Kenny Burrell, he gave me my first job...at Klein's Showbox in 1955...he had Pepper Adams in the band, Tommy Flanagan," Fuller remembers.
"After Kenny left... to go with Oscar Peterson... Pepper Adams and I started the Bone and baritone band," Fuller says. The band gained some notoriety playing on Soupy Sales' television show. "He was very good to jazzthat brought the Bone and baritone to prominence. We used to play all Thad Jones shit. Pepper Adams...he literally made me play all that old hard shit."
Yusef Lateef was Fuller's next employer. While working with Lateef the trombonist left Detroit, headed to Boston to make his first recording, Jazz In Transition, with Adams and John Coltrane and then came to New York to record with Lateef for Prestige. While there he made it down to Birdland to sit in with Miles. After the gig Davis went across the street to the Alvin Hotel where Fuller was staying with Lateef and told him, "Look, I want you to join the band." Fuller said, "Well I have to ask Yusef because I'm working with him," to which Miles replied, "Well there he is, ask him." Lateef agreed, asking for two weeks notice, but unfortunately health problems forced Davis to disband a couple of weeks later.