The Trombone, Curtis Fuller and Me...

I grew up in an orphanage in Detroit. As I got older, I was put in a boy's home in Inkster... I started playing trombone at Dwyer Elementary school. Back then, I was trying to play the violin, and a teacher told me, stop it. She said you guys (blacks) don't play that. The irony is we still don't. You know, the brothers got to have a beat. In those days, some music teachers were still hostile towards jazz. If they caught you trying to play some Charlie Parker licks, they would kick you out of class.
Curtis Fuller on his humble beginnings

Machito: With Flute To Boot (1958) signed by Curtis, Johnny Griffin, Herbie Mann — ***Machito: With Flute To Boot (1958)*** signed by Curtis, Johnny Griffin, Herbie Mann

He's definitely one of the biggest influences on me. 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.
trombonist Robin Eubanks on 'bone master Curtis Fuller

Blue Mitchell: Big 6 (1958) signed by Curtis, Johnny Griffin — ***Blue Mitchell: Big 6 (1958)*** signed by Curtis, Johnny Griffin

Meeting Trane was the greatest thing that ever happened to me. It was Miles Davis who took me to New York, and Coltrane was in the band, as well as Paul Chambers, Philly Jo Jones. Trane took me aside, and, of course, we did Blue Train, which was my first album—and that started everything. He had confidence that I didn’t have; he saw something that I didn’t see. A great man. Yes, he had a very spiritual quality—I wish God would reach down and touch me the same way one day. He tried to steer me the right way, but I was a little reckless; I didn’t comprehend at the time—I was still chasing girls, and the whole bit. Trane was giving me a message; unfortunately, I didn’t get it fast enough.
Curtis Fuller

The Curtis Fuller Jazztet (1959) signed by Curtis, Benny Golson — ***The Curtis Fuller Jazztet (1959)*** signed by Curtis, Benny Golson

John (Coltrane) was taking music another direction. You know, it wasn't just rhythm changes anymore, it was completely different. I made a comment on a record date: 'John, you put this music on us on a moment's notice. We got three hours to rehearse this music and we're gonna record?' And that became the title of the song, he wrote "Moment's Notice." It wasn't trombone-friendly at the time, and I walked up to him and told him once 'John, I'm uncomfortable, you know.' He said, 'Oh, you played it. I heard you, the way you played it.
Curtis Fuller

The Other Side (1958) signed by Curtis, Benny Golson, Barry Harris — ***The Other Side (1958)*** signed by Curtis, Benny Golson, Barry Harris

A lot of people don't understand my interpretation of freedom in playing. It takes intelligence to play freedom. Too many people talking freedom know nothing about their instruments. It takes a person who has studied harmony, who really knows all about chord changes, to know what to play and what not to play. It's a matter of knowing what the rules are first, so you can break them and still be there. Like Coltrane, sort of be there and not be there.
Curtis Fuller, liner notes,Crankin' (1973)

Groovin’ With Golson (1959) signed by Curtis,Benny, Ray Bryant — ***Groovin’ With Golson (1959)*** signed by Curtis,Benny, Ray Bryant

Born in Detroit, Curtis Fuller was raised in an orphanage when his Jamaican-born parents died when he was a child. Notwithstanding this unenviable beginning, Curtis became an influential jazz trombonist, arranger and composer during an enduring sixty year performing and recording career. He released over thirty albums as a leader, and appeared on hundreds more vinyl as a side man with Count Basie, Art Blakey, John Coltrane, Dizzy Gillespie, Benny Golson and Bud Powell, among many others. Curtis' introduction to the trombone happened while he was still in the orphanage when a nun took him to see the great Illinois Jacquet band with trombonist extraordinaire J.J. Johnson. Curtis described his concert experience: "There was something intellectual about the way he stood there; he was involved with the music. Illinois was involved with crowd-pleasing things: bitin' the reed and screamin' and layin' on his back. And J.J. just stood there and played the music. That to me showed such dignity. J.J. just seemed like he was the man, and I thought gee, that's what I want to do."

***Crankin’ (1973)*** signed by Curtis, George Cables, Lenny White, Stanley Clarke

In the 1940s and 1950s, Detroit was a thriving jazz scene which afforded an indelible impression and experience. Not only did Curtis go to high school with bassist Paul Chambers and trumpeter Donald Byrd, he was also exposed to other Detroit jazz legends Kenny Burrell, Tommy Flanagan, Milt Jackson, Hank Jones, Thad Jones, and Yusef Lateef. Curtis recalled his early gigs, "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. After Kenny left to go with Oscar Peterson, Pepper Adams and I started the Bone and Baritone band." They got additional exposure from an unlikely source, their appearances on Soupy Sales' television show in Detroit: "He was very good to jazz—that brought the Bone and Baritone to prominence. We used to play all Thad Jones shit. (Baritone saxophonist) Pepper Adams, he literally made me play all that old hard shit," Curtis ruefully recounted. And Curtis began to develop his own sound as Miles Davis and others had wisely counseled, "I was told coming up by Miles and everybody, 'Get off of J.J., don't play his shit, play your own shit.' " Words and truth from one master musician to another.

Jazz For The Thinker (1957) signed by Curtis, Louis Hayes — ***Jazz For The Thinker (1957)*** signed by Curtis, Louis Hayes

After moving to New York City, Curtis recorded Jazz For The Thinker in 1957, an album of five original Yusef Lateef compositions, with other transplanted Detroiters, drummer Louis Hayes, pianist Hugh Lawson, and multi-instrumentalist Lateef. Then John Coltrane came calling. They recorded the brilliant Blue Train which marked the only time Coltrane recorded with trombone and is Coltrane's sole recording as a leader for the Blue Note label. The opening bars to the title track showcase the magnificent trombone of Curtis, an earthy growl stunning in its simplicity and soul which sets the tone for the ten-minute blues which follows. It is a masterpiece, and John Coltrane cited it as his own favorite recording in a 1960 interview. More studio work followed for Curtis and then a two year stint with The Jazztet, featuring the formidable front line of Art Farmer on trumpet, Benny Golson on tenor saxophone, and Fuller on trombone. Their initial recording, Meet The Jazztet, also marked the recording debut of McCoy Tyner, a twenty-one year old piano wunderkind.

Meet The Jazztet (1960) signed by Curtis, Benny, Art Farmer, McCoy Tyner — ***Meet The Jazztet (1960)*** signed by Curtis, Benny, Art Farmer, McCoy Tyner

Art Blakey was next to enlist Curtis in 1961 as he joined Art's Jazz Messengers, and they would record eleven albums over the next four years. Curtis remembered, "I ran into him all the time. He was always there checking, because Lee Morgan had put the bug in his ear. Miles, everybody had told him, J.J., 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.' Art gave me the chance; that was Art." The song Curtis wrote,"A La Mode", was the first track on Jazz Messengers!!!! and the only original song on the 1961 album along with the jazz standards "Gee Baby, Ain't I Good To You", "I Hear A Rhapsody" and "You Don't Know What Love Is." "A La Mode" would remain a featured song and staple in the Jazz Messenger songbook until Art's death in 1990.

Ugetsu (1963) signed by Curtis, Freddie Hubbard, Cedar Walton, Reggie Workman — ***Ugetsu (1963)*** signed by Curtis, Freddie Hubbard, Cedar Walton, Reggie Workman

As Curtis' reputation and skills grew, he was solicited by Trummy Young to replace him as Louis Armstrong's trombonist in 1964. After twelve years on the road with the Armstrong band, Trummy decided to leave and become a Jehovah's Witnesses' priest in Hawaii. It was not entirely a bad decision, there are probably worse places to proselytize than in Hawaii! Curtis explained, "Trummy told me he got $1,500 a week. I started spending the money in my mind. Those were the early days. If you had $300 or $400 a week, you thought you were rich. Trummy was a mainstay with the group, and he was telling Pops about me — I got a little man, you gotta hear him. He took me to rehearse for him, and I heard Pops talking, and he said, 'Nah, too much bebop. I don't like that stuff.' I started crying. Louis Armstrong, my hero, didn't like me. My whole world crashed down on me. But he didn't like Dizzy (Gillespie), either, so I don't feel bad." No, Louis Armstrong's loss was bebop's gain!

A Long Drink Of The Blues (1961) signed by Jackie McLean, Louis Hayes, Curtis Fuller — ***A Long Drink Of The Blues (1961)*** signed by Jackie McLean, Louis Hayes, Curtis Fuller

The first time Erin and I saw Curtis, he was performing with a reunited Jazztet in 1985, with Art Farmer on trumpet and Benny Golson on tenor saxophone, at Charlie's Georgetown in Washington, DC, an elegant supper club named after guitarist Charlie Byrd. Curtis and The Jazztet played an exquisite set, flawlessly executed including "Along Came Betty", "Killer Joe", and "I Remember Clifford", a beautiful, elegiac ballad written by Golson as a tribute to Clifford Brown, a trumpet prodigy whose life was cut short tragically at age twenty-five in a car accident.(Interestingly, the only known live footage that exists of Clifford Brown comes from a Soupy Sales episode, circa 1953/54!). After the show, Curtis was quiet and humble as he signed some vinyl.

Back To The City (1986) signed by Curtis, Benny Golson,, Art Farmer — ***Back To The City (1986)*** signed by Curtis, Benny Golson,, Art Farmer

Over the next twenty-five years, I saw Curtis many times at jazz clubs in New York City, and I was always struck by how large a sound came from a rather diminutive man. In his capable hands, the trombone slide glided effortlessly and his tone could be as lyrical and lovely on ballads as it was guttural and gruff on blues. One night after a gig at the Jazz Standard, I asked him where he lived, he seemed to be such a regular in New York City clubs. "I live in a small town in Massachusetts, Millbury, you've probably never heard of it," came his response. 'Oh, I knew it very well,' I told him, 'my mother was born there and my cousins still live there.' Curtis seemed as surprised as I was at our common bond. "It's really beautiful there and quiet, far away from New York City, which I like and need," he added with a smile. Yes, I didn't think that many of his neighbors knew that they lived next door to a bebop jazz giant, and he probably reveled in the anonymity. 'You know, my Mom loves John Coltrane. She always asks me to make her mixtapes,' I confided. "Well, I love John Coltrane too," Curtis said with a laugh. As he signed more vinyl, I thanked him for his generosity and his music. He signed most albums “Peace + Love” and you could tell that he meant it.

The Magnificent Trombone Of Curtis Fuller (1961) signed by Curtis — ***The Magnificent Trombone Of Curtis Fuller (1961)*** signed by Curtis

In a recent interview, Curtis revealed, "God took my parents, but He gave me a wonderful musical life and He breathed life into my soul. The other day, I was sitting at home looking out at the lake thinking about how blessed I am." A beautiful sentiment filled with gratitude from a beautiful man. Thank you Curtis, for breathing life through your music into all of our souls. I guess there must be something in the water in Millbury.