Requisites

Blues-ette ~ Curtis Fuller Quintet | By Eddie Carter

Curtis Fuller is widely regarded as one of the top jazz trombonists. A few nights ago, I enjoyed listening to this morning’s album from the library, and that’s what inspired this discussion of his 1959 release, Blues-ette (Savoy MG-12141/SST-13006). Throughout his more than 65 years in music, Fuller built an impressive catalog of recordings, both as a band leader and as a sideman, including work with Joe Henderson, Lee Morgan, Bud Powell, Wayne Shorter, Jimmy Smith, the Jazz Messengers, and the Jazztet. On this album, he’s joined by fellow Jazztet member Benny Golson on tenor saxophone, Tommy Flanagan on piano, Jimmy Garrison on bass, and Al Harewood on drums. The copy of this album I own is the 1973 U.S. stereo reissue, which shares the original catalog number.

Five Spot After Dark by Benny Golson opens the album. It’s a delightful medium-tempo tune that the front line brings to life with the melody. Curtis begins with a relaxing, welcoming solo. Benny blends each note of the following reading with a joyful energy. Tommy keeps the beat alive in the third interpretation. Jimmy joins the front line for the closing statement, leading to the ending theme and climax. Undecided by Sydney Robin and Charlie Shavers is a catchy tune that opens with the quintet laying down a gorgeous mid-tempo beat on the theme. Fuller takes center stage next with an impressive interpretation. Golson comes right behind him with an irresistible improvisation. Harewood provides a concise, impactful solo alongside both horns, building up to a lively reprise and a satisfying ending.

The title tune, Blues-ette by Curtis Fuller, wraps up the first side with Tommy’s sprightly introduction to the melody’s theme. Curtis sets the mood in the opening statement, delivering an understated and moving narrative. Benny effortlessly rises to the occasion in the following performance. Tommy follows with a dazzling display, then Jimmy caps the solos with a short walk to the ensemble’s close. Benny Golson’s Minor Vamp is anything but, as the second side unfolds, beginning with Garrison and Harewood’s introduction to the lively melody. Golson kicks off the solos, pouring his heart into each note. Fuller gives a captivating performance of lively verses next. Flanagan gets the last word with an energetic solo, ahead of the ensemble’s closing chorus and fadeout.

Love Your Spell Is Everywhere by Edmund Goulding and Elsie Janis begins with the quintet’s medium-tempo theme. Benny takes the lead with an exquisitely crafted performance. Next, Curtis gets into the groove with an exceptional reading that’s cool, smooth, and polished. Tommy executes the closing statement with meticulous execution ahead of the ensemble’s end theme and close. Garrison and Harewood open the door to the quintet’s easygoing unison melody to Curtis Fuller’s Twelve-Inch. Golson takes the stage first with a sweet and tasty reading. Fuller makes his case next with a captivating contribution. Flanagan moves sprightly along in the third solo, and Garrison puts the exclamation point on the song before the quintet comes back together to wrap things up.

“Blues-ette” was supervised by Oscar “Ozzie” Cadena, and Rudy Van Gelder managed the recording controls. The sound quality of this reissue is exemplary. The instruments deliver a vibrant soundstage that places the listener’s sweet spot in the studio with the musicians. If you’re a longtime fan of Curtis Fuller or are just discovering his discography, I invite you to check out “Blues-ette” on your next trip to your favorite record store. It’s a terrific album and is highly recommended for anyone’s library who enjoys hard-bop or lively “blowing sessions.”

~ Love Your Spell Is Everywhere – Source: Wikipedia.org © 2025 by Edward Thomas Carter

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