This 1958 release marks a period in Lou Donaldson's development prior to a stylistic shift away from bop and toward a stronger rhythm and blues emphasis. Three uptempo tunes here are pure bebop; the remaining number is a medium blues piece, quite characteristic of the hard bop period. The front line on this set includes Donald Byrd and Curtis Fuller with the rhythm section of Sonny Clark, George Joyner and Art Taylor.

The influence of Charlie Parker can be heard in virtually every modern jazz musician, particularly players of the alto saxophone. Although considered to be one of "Bird's Children", Lou Donaldson absorbed and synthesized other pre-Parker influences, such as Johnny Hodges and Benny Carter. This recording marks a period in his development prior to a stylistic shift away from bop and toward a stronger rhythm and blues emphasis.

"The Opener" is Curtis Fuller’s remarkable debut on Blue Note Records. The trombonist delivers a fine set that features the tunes, “A Lovely Way To Spend An Evening”, “Here's To My Lady” and “Soon”. Fuller is joined by Hank Mobley, Bobby Timmons, Paul Chambers and Art Taylor.

Blues-ette is an album by American trombonist Curtis Fuller recorded in 1959 and originally released on the Savoy label. The Allmusic website awarded the album 4½ stars stating "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. Any serious jazz collection is incomplete without this record".

Tenor saxophonist John Coltrane was one of the most innovative, influential and respected figures in jazz history. In 1957, Coltrane created a masterpiece with the release of "Blue Train". The album has been widely regarded by both fans and critics as one of the greatest jazz records of all time.

"Free for All" is the 1964 masterpiece by Art Blakey & The Jazz Messengers. The album features a stellar lineup, which includes Freddie Hubbard, Wayne Shorter, Curtis Fuller, Cedar Walton and Reggie Workman. The musicians display their undeniable chemistry and unmatched artistic powers. This seminal classical features the stellar tunes “The Core”, “Free for All” and “Pensativa”. "Free for All" is a historic outing that is essential for any collection.

A celebrated 1961 session recorded by drummer Art Blakey accompanied by one of the most impressive versions of his Jazz Messengers: Freddie Hubbard on trumpet, Wayne Shorter on tenor sax, Curtis Fuller on trombone, Cedar Walton on piano and Jymie Merritt on bass. The band members contribute all the material here: Hubbard gets two songs; Fuller, Shorter and Walton a song each.

Highly regarded amongst critics, Art Blakey revolutionized the jazz scene, paving the way for those he mentored. Captured at a pivotal moment in the ensemble’s history, Art Blakey & The Jazz Messengers is a full display of the group’s undeniable chemistry. Blakey is joined by jazz legends, Wayne Shorter (tenor saxophone), Lee Morgan (trumpet), Curtis Fuller (trombone), Bobby Timmons (piano) and Jymie Merritt (bass). With Blakey’s prominent drumming, the group performs classics including the hard swinging number “Alamode”, the standard “Invitation” and the lively “Circus”. This is essential listening for any music fan.

Tenor saxophonist John Coltrane was one of the most innovative, influential and respected figures in jazz history. In 1957, Coltrane created a masterpiece with the release of "Blue Train". The album has been widely regarded by both fans and critics as one of the greatest jazz records of all time. It was his second album as a band leader and found him accompanied by greats including Lee Morgan, Curtis Fuller, Kenny Drew, Paul Chambers and “Philly” Joe Jones. The album is a scintillating display of Coltrane’s innate leadership abilities. The stunning horn arrangements add a unique distinction symbolic of Coltrane and his band. A showcase of his versatility, Coltrane soars through tunes including “I’m Old Fashioned” and “Lazy Bird”.

One of the 60’s greatest live jazz recordings, "Ugetsu" documents a blistering 1963 live set by the legendary Jazz Messengers at Birdland. Blakey is joined by an allstar team of jazz legends: Wayne Shorter, Cedar Walton, Curtis Fuller, Freddie Hubbard, and Reggie Workman.

Gary McFarland was an influential composer, arranger, vibraphonist and vocalist, prominent on Verve and Impulse! Records during the 1960s, when he made "one of the more significant contributors to orchestral jazz". This album, recorded in September 1969, features Top-of-the-pops instrumental covers of "My Cherie Amour", "Everybody's Talking", some background bossa nova and a criminally wasted cast of all-stars: Hubert Laws, Curtis Fuller, Sam Brown, Ron Carter, Grady Tate and Airto. McFarland's cover of the Beatles' "Get Back" is excellent though.

Anna Marie Wooldridge, known professionally as Abbey Lincoln, was an American jazz vocalist, songwriter, and actress. She was a civil rights activist beginning in the 1960s. Lincoln made a career not only out of delivering deeply felt presentations of standards but writing and singing her own material. "It's Magic" is her third album featuring tracks recorded in 1958 for the Riverside label.

John Coltrane's only recording for the Blue Note label, Blue Train is considered one of the greatest jazz albums of all time. Coltrane is featured here in his debut as bandleader and composer, backed by Lee Morgan on trumpet, Curtis Fuller on trombone, Kenny Drew on piano, Paul Chambers on bass and Philly Joe Jones on drums.

"Mode For Joe" is the influential saxophonist’s 1966 gem. It was his final Blue Note studio recording as a bandleader. Henderson is joined by trumpeter Lee Morgan, trombonist Curtis Fuller, vibraphonist Bobby Hutcherson, pianist Cedar Walton, double bassist Ron Carter and drummer Joe Chambers. The challenging repertoire showcases the unmatched talents of the ensemble. It features the standouts “Mode For Joe” and “Caribbean Fire Dance”.

The second of trumpeter Freddie Hubbard's two Impulse albums features the 25-year old in three separate settings. He is heard along with a tenor-saxophonist backed by strings ("Skylark," "I Got It Bad" and "Chocolate Shake" are all given beautiful treatments), with a 16-piece band and in a septet with Eric Dolphy and Wayne Shorter. This well-rounded and highly recommended showcase shows why Freddie Hubbard was considered the top trumpeter to emerge during the early '60s.