Curtis Fuller: Motor City Messenger
There were also stints with Dizzy Gillespie, Lester Young, James Moody and Quincy Jones, but it was with Art Blakey and the Jazz Messengers that Fuller would reach the pinnacle of his career. "I ran into him all the time. He was always there checking, because Lee Morgan had put the bug in his ear," he recalls with obvious pride. "Miles, everybody had told him, JJ, everybody ...He just came to me one night, 'I want you in the band...You got any music? Tell me you write. Write a song, we're going into the studio next week." Fuller joined the group in June of 1961 and appeared on the Impulse Art Blakey!!!!! Jazz Messengers!!!!! record with Lee Morgan, Wayne Shorter, Bobby Timmons and Jymie Merritt, contributing the first of several classic compositions, "A la Mode," to the band's book. "Art gave me the chance; that was Art."
Fuller left the next day for a State Department tour. Blakey, in a rare example of leadership latitude, gave Fuller a short leave of absence, but when the trombonist tried to make the Russian leg of the excursion the drummer told him, "Well if you go, goddammit, don't come back here. You want to play with them motherfuckers, go!" Fuller wisely chose to rejoin the group, which would soon feature Freddie Hubbard, Cedar Walton and Reggie Workman, going on to become one of the greatest, most celebrated bands in jazz history. The trombonist would be the last man to leave in 1965 and would frequently rejoin the group in the '70s for European tours and allstar reunions.
In the ensuing years he would lend his huge talents to many great groups, including tenures with Jimmy Heath and Count Basie. In the '80s he toured extensively with the Timeless All Stars (featuring old band mate Cedar Walton, along with Harold Land, Bobby Hutcherson, Buster Williams and Billy Higgins) of which he says, "That was beautiful, that was my next best thing." At the same time he worked with the Paris Reunion Band and co-led a band, Giant Bones, with Kai Winding. After moving to Massachusetts in the late '80s he began teaching at Hartt College and the New England Conservatory. Serious health problems threatened his career in 1994, but through hard work he managed to regain his considerable abilities and continue his contributions to the music.
While he is still going strong, Fuller's legacy as one of the most influential trombonists in the history of jazz is already well established. "He's definitely one of the biggest influences on me," says Robin Eubanks, a fellow Jazz Messenger. "He has a lot of technique for sure; he plays fast... for trombone you're always wondering how cats can do that since it's usually seen as a limited instrument in terms of velocity and intensity... He was one of the people that proved you can get around the horn well and because he was on so many recordings he was one of the people that put the sound of the trombone in people's ears, in terms of people putting a band together what kind of instrumentation they're going to use."
Steve Turre, another former Messenger, remembers, "I met Curtis when I first came to New York with Art Blakey and the Jazz Messengers. Opening night he was there and he was very encouraging... We ended up becoming friends and he showed me a lot of little keys that opened the door in ways to flow on the horn. I don't know anyone who can swing the way that Curtis swings. His phrasing and rhythmic concept is the ultimate."
Steve Davis, the final trombonist in the Messenger lineage concurs. "From a trombonistic standpoint, just the sheer velocity with which he phrases is pretty much unparalleled by anybody. The way he combines technical acumen on the instrument with his natural feeling for the music and for improvisation is just incredible... when you hear Curtis play it's all heart and soul."