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| 1. | A Lovely Way to Spend an Evening
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| 2. | Hugore
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| 3. | Oscalypso
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| 4. | Here's to My Lady
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| 5. | Lizzy's Bounce
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| 6. | Soon
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Jazz / Hard Bop
Originally recorded: June 16, 1957, Van Gelder Recording Studio, Hackensack, New Jersey
Remastered: 2008, Rudy Van Gelder
Curtis Fuller - Trombone
Art Taylor - Drums
Bobby Timmons - Piano
Hank Mobley - Sax (Tenor)
Paul Chambers - Bass
* Alfred Lion - Producer
* Amanda Wray - Reissue Design
* Bob Blumenthal - Liner Notes
* Francis Wolff - Cover Photo, Photography
* Gordon Jee - Reissue Director
* Michael Cuscuna - Reissue Producer
* Rudy Van Gelder - Engineer, Remastering
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. In all, The Opener, along with his three earlier sessions for Prestige and New Jazz, establishes Fuller as one of the most distinctive and original hard bop trombonists of the late '50s.
--- Stephen Thomas Erlewine, All Music Guide
Curtis Fuller
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Dec 15, 1934 in Detroit, MI
Genre: Jazz
Styles: Hard Bop, Mainstream Jazz
Curtis Fuller belongs in the select circle with J.J. Johnson, Kai Winding and a few others who make the trombone sound fluid and inviting rather than awkward. His ability to make wide octave leaps and play whiplash phrases in a relaxed, casual manner is a testament to his skill. Fuller's solos and phrases are often ambitious and creative, and he's worked in several fine bands and participated in numerous great sessions. Fuller studied music in high school, then began developing his skills in an army band, where he played with Cannonball Adderley. He worked in Detroit with Kenny Burrell and Yusef Lateef, then moved to New York. Fuller made his recording debut as a leader on Transition in 1955, and recorded in the late '50s for Blue Note, Prestige, United Artists and Savoy. He was a charter member of The Jazztet with Benny Golson and Art Farmer in 1959, then played in Art Blakey's Jazz Messengers from 1961 to 1965. There were additional recording dates for Warwick, Smash/Trip, Epic, and Impulse in the '60s. Fuller toured Europe with Dizzy Gillespie's big band in 1968, then did several sessions in New York. During the '70s, he experimented for a time playing hard bop arrangements in a band featuring electronic instruments, heading a group with guitarist Bill Washer and Stanley Clarke. He concluded that phase with the '73 album Crankin.' Fuller toured with the Count Basie band from 1975 to 1977, and did dates for Mainstream, Timeless, and Bee Hive. He co-led the quintet Giant Bones with Winding in 1979 and 1980, and played with Art Blakey, Cedar Walton and Benny Golson in the late '70s and early '80s. During the '80s, Fuller toured Europe regularly with the Timeless All-Stars, and performed and recorded with the revamped Jazztet in addtion to leading a fine session for Savoy in 1993.
---Ron Wynn, All Music Guide |
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