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Getting' It Together

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Getting' It Together album cover
If I Were A Bell
But Beautiful
Do I Love You
The Court
Mr. L
Album Information

Total Tracks: 7   Total Length: 42:15

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"Boss of the Soul-Stream Trombone"


This appears to be the same set as Curtis Fuller's "Boss of the Soul-Stream Trombone". See that listing for more information.

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yusef who??


While I was living almost exclusively on a diet of Bee Bop and Progressive my friends were way in over their heads discussing the merits of "instant groups" and listening to The Doors, Electric Prunes and arguing about the significance of the White Album. Even the people at the Jazz Bar I worked serving the best good cocktails around. No one could tell me what fusion was. When I went home, I put on Yusef Lateef and let his lungs tell me about real troubles. There are more flautists and wind players on the jazz scene who may have been better or such. While I was listening to Lateef I really didn't give a. He had a way of making his sadness and pain wash mine away. Recently found him here. He still does.

They Say All Music Guide

While listed in trumpeter Freddie Hubbard’s discography, listening reveals this to be more accurately a Curtis Fuller and friends date. Beyond that, there is a conspicuous absence of information on these tracks from the 1960s. The liner notes only offer glib thumbnail bios of Hubbard, trombonist Fuller, and reed player Yusef Lateef. The standard reference sources are equally silent on the origins of the session or sessions documented here. Lack of background aside, this is engaging, earthy hard bop. No fresh ground is broken, but there are good solos throughout and effective contributions from the uncredited rhythm section — if it’s not the Red Garland or Wynton Kelly trio, it’s a group of that superior caliber. The three legendary horn players are only together on four tracks; two feature just Fuller and one just Fuller and Hubbard. Next to the trombonist, the bulk of the solo work actually falls to the very capable pianist. Lateef’s vibrato-rich flute on Fuller’s prosaically titled “Flutie” is a highlight, as is his incisive tenor on an up-tempo take of Cole Porter’s ” Do I Love You.” Hubbard is also in good form, but not as harmonically inventive as on his classic Blue Notes. As for Fuller, this is a solid date for the quintessential hard bop trombonist that showcases both his writing and his playing. His booming tone, though, sometimes gets the better of the microphone, resulting in occasional brittleness on the CD. – Jim Todd

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