Sessions in any genre of music are all too often described as "sublime," but seldom has that description been better deserved than with this relaxed hard bop classic. One looks to other catchalls such as "effortless" and "loose," but even those slight this amazing date by implying a lack of intensity - and intensity comes in all forms. For all intents and purposes, this is the first recorded meeting of what would become the famous Benny Golson/Art Farmer Jazztet (albeit without Farmer), a group most commonly associated with its 1960 Chess session, Meet the Jazztet. Curtis Fuller's next date, The Curtis Fuller Jazztet, and his appearance on the Chess date, only compound this point. Like perhaps Jimmy Smith's flagship, The Sermon, Blues-ette's brilliance manifests itself not only within the individual solos but also in the way the group functions as a collective…

This two-fer in Impulse's 2011 reissue series offers trombonist Curtis Fuller's first two releases for the label, both recorded in 1961; they are his 18th and 19th overall. The first, Soul Trombone, recorded in November, is aptly titled and places Fuller as the leader of a stellar band that includes pianist Cedar Walton, trumpeter Freddie Hubbard, tenor saxophonist Jimmy Heath, Granville T. Hogan on drums, and either Jimmy Cobb or Jymie Merritt on bass. Of the six track on the set, three are originals, and they include the stellar hard bop offering "The Clan," the swinging "Newdles," and the breezy "Ladies Night." Two standard ballads here, "In the Wee Small Hours of the Morning," and Stan Getz's arrangement of "Dear Old Stockholm," are also beautifully delivered…

The Opener is trombonist Curtis Fuller's first album for Blue Note and it is a thoroughly impressive affair. Working with a quintet featuring tenor saxophonist Hank Mobley, pianist Bobby Timmons, bassist Paul Chambers and drummer Art Taylor, Fuller runs through a set of three standards - "A Lovely Way to Spend an Evening," "Here's to My Lady," "Soon" - two originals and an Oscar Pettiford-penned calypso. The six songs give Fuller a chance to display his warm, fluid style in all of its variations. "A Lovely Way to Spend an Evening" illustrates that he can be seductive and lyrical on ballads, while the brassy "Hugore" and hard-swinging "Lizzy's Bounce" shows that he can play hard without getting sloppy. His backing musicians are equally impressive; in particular, Mobley's robust playing steals the show…

Known best as a member of Art Blakey's Jazz Messengers, American jazz trombonist Curtis Fuller also contributed to many classic jazz recordings, but, crucially, was a fine bandleader in his own right whose late 1950s and early 1960s output remains his best work. This four CD set features music from the era during which Curtis Fuller was at his musical prime, and when he released the strongest records of his career as leader or co-leader. Featuring eight such records in perfect re-mastered sound, this collection is an ideal starting place for newcomers to the great man's music and a fine reminder of his talent and creativity for everyone else.

The French horn has rarely been used in jazz as a solo instrument until recent times. Back in the 1950s, jazz's top French horn player was Julius Watkins, with David Amram certainly ranking in the top five. For this 1957 session, trombonist Curtis Fuller and his quintet with altoist Sahib Shihab, pianist Hampton Hawes (Teddy Charles, who contributed three originals, takes his place on one number), bassist Addison Farmer, and drummer Jerry Segal are joined by both Watkins and Amram. On originals by Charles, Amram, and Salvatore Zito, the colorful ensembles and the very adept soloing by the French horns make this a particularly memorable recording. Strange that this album has been obscure for so long. Only the brief playing time keeps this intriguing set from getting a higher rating.

Benny Golson and Curtis Fuller, who go back to their Jazztet days in the 1950s and 1960s, are reunited in this great bop-oriented album. Recorded in 1998, it features the quintet with Benny Green on piano, Dwayne Burno on bass, and Joe Farnsworth on drums. Plus, on the opening track, special guests Jimmy McGriff and Wayne Boyd play the Hammond B-3 and guitar, respectively. It is great to hear the two principals blow their horns with authority and age-defying power. The highlight of the CD is the medium-tempo blues "South Street Jam" with McGriff on the B-3. Drenched in the soulful essence of the blues, everybody shines!