Turns out this reviewer was at the same show. Guess I'd never make it as a reviewer 'cause lines like "carefully modulated emotional arc" just don't roll off that 'ol tongue of mine.
The Washington Post
Monday Jan. 24, 2005
Curtis Fuller Sextet
Drummer Jimmy Cobb, a Washington native whose extraordinary résumé includes a landmark alliance with trumpeter Miles Davis in the late '50s, received a horn-powered 76th birthday salute from his band mates when he stepped onstage at Blues Alley on Friday night. But soon Cobb was back at work, balancing hard bop propulsion and finesse for the latest edition of the Curtis Fuller Sextet.
The lighthearted bandleader and trombonist, who turned 70 last month, reminisced throughout the opening set and frequently alluded to some of his former employers (Art Blakey and Count Basie) and associates (Freddie Hubbard and Milt Jackson). Basie's legacy was celebrated with an effortlessly swinging version of "Good Bait," crisply driven by Cobb's ride cymbal and neatly punctuated by pianist John Hicks. Hubbard's "Up Jumped Spring," proved as buoyant as its title suggests -- a jazz waltz vibrantly colored by Fuller's trombone, Javon Jackson's tenor sax and Donvante McCoy's trumpet. The arrangements were often dotted with solos that contrasted Fuller's slippery phrasing with Jackson's imposing tone and McCoy's darting melodicism. Two of the highlights, however, were designed as showcases for members of the ensemble. Playing in a quartet setting, Jackson turned "Body and Soul" into a carefully modulated emotional arc, the tension slowly building and tapering off. Then Hicks, during a solo interlude, saluted Billy Strayhorn with a lovely and impressionistic medley of "Chelsea Bridge" and "Star-Crossed Lovers."
McCoy and bassist Corcoran Holt, the youngsters in the band, were generously featured as well, and their input frequently jacked up the energy level and brought a big smile to Fuller's still youthful face.
-- Mike Joyce