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Blues-ette plus bonus tracks Extra tracks

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Product details

  • Audio CD (8 Jun. 2009)
  • Number of Discs: 1
  • Format: Extra tracks
  • Label: Jazz Beat
  • ASIN: B002689ATG
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 431,437 in Music (See Top 100 in Music)

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

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By Steve on 18 April 2013
Format: Audio CD
I have loved this session for many years. Highly recommended.

I'm mainly commenting in order to correct an error by "crispy critter". Blue Note always had the musicians rehearse for a few days before the tapes rolled. This is very well-known. Prestige and Savoy did not rehearse their sessions, so unless a working group was involved (e.g. Miles's quintet with Trane, recorded by Prestige in 1955-56), each session tended to be a jam session. I've seldom found that to be a problem, because the musicians were mainly of very high caliber. It is generally agreed that Blue Note albums were on the whole superior to those of Prestige or Savoy, because of the rehearsals, and also because Alfred Lion was a superior producer who knew his jazz and got the best out of the musicians. The musicians knew how good Blue Note was, and played their best for Alfred.

All three labels used Rudy Van Gelder as engineer, so you might think that sonically there was no difference. Sadly, that's not true. Rudy did an excellent job for all labels, but Blue Note was his favorite, and he rather perversely made those albums sound better than for other labels. (George Braith recorded three albums for Blue Note in the 1960s and later did one for Prestige. At the Prestige session, he asked Rudy to get the sound that he obtained for Blue Note, and, George says, Rudy flatly refused.)

None of this affects this superb album by Curtis. The musicians on this session all knew each other well, and no doubt Benny Golson, who is an excellent arranger, was influential. It would be a safe guess that the guys privately rehearsed these tracks before the session.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 3 reviews
4 of 4 people found the following review helpful
The Greatest Album By A Great Musician, Plus Unreleased Tracks and Alternate Takes 1 Dec. 2010
By Gregory M. Wasson - Published on Amazon.com
Format: Audio CD
Curtis Fuller was one of the greatest trombone players of the 1950s. He made a sizable number of recordings, many of which included members, current and former, of the well-known "Jazztet," including saxophonist Benny Golson and Art Farmer. Fuller and the other players on Blues-ette were solid, creative musicians who played a somewhat lighter, blues-based version of the hard bop school associated with Sonny Rollins, J.J. Johnson, Hank Mobley, and John Coltrane.

As time passed the number of recordings by players like Fuller still in print dwindled down to a precious few. It wasn't until the advent of MP3 technology and the widespread use of downloads as an economical and efficient way to acquire recordings that record companies began rereleasing the back catalogs of players who had been nearly forgotten.

But even before the explosion of re-issues in the last few years, there was always at least one Curtis Fuller album that could be found in any record store with a decent sized jazz section. That album was and is "Blues--ette." It has stayed in print, with occasional exceptions, because it is Curtis Fuller's greatest recording, and one of the finest jazz recordings of the 1950's.

From the first riff of "Five Spot After Dark" you can tell that the band is well rehearsed, inventive, and deeply swinging. An old chestnut like "Undecided" becomes the perfect vehicle for the short staccato lines that characterize Fuller's approach to the trombone. The phrasing of Fuller and Golson is wonderfully matched to the material.

From start to finish, "Blues-ette" never disappoints; it should be in the catalog of any serious jazz collector. This edition is the most complete version available, with the added bonus of alternate takes of "Five Spot After Dark" and "Love Your Spell is Everywhere" as well as three new tunes that never made it on the record as originally released.

This album is a treasure. It is also a great place for those who are stocked up on Miles, Coltrane, Rollins, etc., to begin to explore the great "second tier" of players who populated what is often described as the greatest decade in jazz history.

Highly recommended.
1 of 1 people found the following review helpful
Will the Real Curtis Fuller Please Stand Up? 6 Aug. 2012
By Jerlaw - Published on Amazon.com
Format: Audio CD
This recording was made under the Savoy label (remastered) & features the likes of the man himself on trombone; Benny Golson on tenor sax; Tommy Flanagan, piano, Jimmy Garrison on bass & Al Harewood on drums. I mention the Savoy label because they have produced tons of great jazz over the years.

In "Five Spot After Dark" the gang takes out the tune for a couple of choruses, Fuller takes the first solo which is beautiful in its' simplicity, then Benny Golson does pretty much the same in his improv, Tommy Flanagan goes next on piano, nothing fancy; just bop at its' best. Then the guys take it out with the melody.

If you like this album, you'll love "The Curtis Fuller Jazztet with Benny Golson." Look it over; I review it there. I have a lot of Curtis Fuller offerings, & he never fails to disappoint. Highly recommended!
1 of 2 people found the following review helpful
Simply the Finest 21 Oct. 2011
By crispy critter - Published on Amazon.com
Format: Audio CD Verified Purchase
Simply one one of the finest post war jazz recordings period. Wondeful compositions that swing like mad, Savoy 1959. I have so many hard bop blowing sessions probably at least 150 Blue Note 1500 series where post Sidewinder, every album had one catchy tune to start , a couple covers, then some impromtu blowing sessions. Blue Note was an American treasure certainly, and there are many brilliant moments put to wax... it is astonishing. Frances Wolf & Alfred Lion at Blue Note apparently (edit) paid for rehersal time, yet, on some of the non classic Blue Notes there can be found weaker compositions, and a bit of the old truism arises that every bebop jam is based on the "I Got Rhythm" changes..Thier saving grace was such in house pianists such as the fabulous Duke Pearson or Horace Parlan or Tenor man Ike Quebec produced many fine sides., Possibly due to Golson's compositional skills this group arrived in the studio with a fully formed set of compositions some of which are classics to this day. .What it boils down to is, it is wonderful to hear an album in the lat 50's, a period of hard bop when sophistication and swing and compositional skill was valued,as much as improvisational skill. Golson and Fuller togehether are of one mind, yet play with Joy. This record to me is what jazz is about. Stay away if 100% hard bop and challenging music of the time is your thing, or if you found music's sway back to sweet soul jazz in the 60s was commercial travesty. For me albums like this and bands like the Jazztet are heaven. This was on Savoy and had it been released on another label (like Blue Note or other more high profile labels) It certainly would be a mainstay of any half serious jazz collectors collection. The groups next album went on to greater fame as "the Jazztet"and their following album "Meet the Jazztet" landed them on Argo, where they did some fantastic records with the addition of Art Farmer.My wife who doesnt even like much jazz loves this record! (edit) it is a treasure, with probably more plays than any jazz record of mine as of late.
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