A biography paper of theodore fats navarro

It re-united Fats with his old section-mate from the Andy Kirk band, Howard McGhee, a fine bop trumpeter from Oklahoma who cut his teeth in the big bands of Charlie Barnet and Kirk, then gigged with Coleman Hawkins before forming his own small band in Los Angeles in In his sleeve note for the album, Stanley Crouch quotes drummer Roy Haynes's succinct appraisal of Navarro's qualities, which seems worth reiterating here.

The band also featured Leo Parker on baritone saxophone rather than the standard alto or tenor, providing a conspicuous contrast of styles as well as sonority in the front line. And every note meant something. He also was a Metronome jazz poll winner for which led to an appearance on a Metronome All Stars recording date Session His mother was Miriam nee Fernandez and there were two daughters, Elisabeth and Delores.

The September session already mentioned was followed by another on 13 Septemberand a third on 18 January Gil Fuller, best known for his work with the Dizzy Gillespie big band, was included as arranger on both sessions, working with nine and eight-piece bands respectively, and his influence is clearly apparent in the well-groomed charts.

Brief careers are sometimes difficult to characterize, but since Fats Navarro was such a key figure in bridging the gap between the original bebop musicians-Gillespie, Parker, Monk, Powell-and the so-called hard bop school, his brief career deserves examination.

It was on the saxophone that his first professional dates, with the Walter Johnson band in Miami, were noted. He missed, thank God, but the strength in the blow was enough to buckle the horn against the piano; Fats had to borrow a trumpet to play the set.

Cerra, copyright protected; all rights reserved. Mingus wrote, "Fats laughed, grabbed the musician's part, eyed it and said, 'Schitt, you ain't got nothin' to read here. Andy Kirk and His 12 Clouds of Joy was a popular traveling and recording band dating back to Tiring of the road life after touring with many bands and gaining valuable experience, including influencing a young J.

Although he spiced up his work with a sprinkling of accents borrowed from the examples of Charlie Parker and Dizzy Gillespie, in general he takes something of a conservative approach to rhythmic accentuation, flowing easily and smoothly along the beat at any tempo.

The trumpeter features on about three-quarters of the material on the album, and while the music-making and the recorded sound is not quite as finely focused as in the studio recordings, it has the benefit of on-stage spontaneity and longer playing time, and anyone interested in either musician should seek it out alongside the Blue Note material.

After nearly two years with Kirk, Navarro enjoyed his first major exposure to the movers and shakers of the early bop movement. His recorded legacy came entirely from the days of 78 rpm releases, and from a variety of preserved broadcasts which make up around a third of the surviving recordings on which he is heard.

Dameron had a good ear for a memorable, catchy theme, and his compositions provided plenty of scope for his soloists to develop their conceptions.

A biography paper of theodore fats navarro

Fats role in the Andy Kirk band explains this story retold by Billy Eckstine describing how Fats moved over to his band. Due to the economics of the big band and the change from a mainly dancing to a listening music, big band jazz gave way to the small jazz combo format consisting usually of a rhythm section of piano, bass and drums, and from one to three "front line" feature soloists.

Besides Charlie Parker and Dizzy Gillespie, the band included at one time or other during a four year span a lineup of future stars that is very well known in all of jazz: At this stage, Davis was a hard-blowing, stereotypical middle-rank tenorman steeped in the honking Harlem jump-band tradition, and his riff-based compositions all eight titles are credited to him, most of them built on the 'I Got Rhythm' changes are functional rather than memorable.

Navarro was hospitalized on July 1 and died in the evening of July 7, That consistency has led some to wonder whether the trumpeter may actually have pre-planned his improvisations before going into the studio.

Essay, Research Paper: Fats By Navarro

Having heard Navarro, he recommended the younger trumpeter to Eckstine as his eventual replacement. Originally an admirer of the trumpet style of Roy Eldridge, McGhee had, sincebecome one of the foremost practitioners of the bebop style.

He began playing piano at age six, but did not become serious about music until he began playing trumpet at the age of thirteen.

Fats Navarro : biography

Navarro eventually fell into a trap that caught so many of the jazz musicians of the s. In an interview with Barry Ulanov for Metronome in he claimed to be uncomfortable with describing his music as bebop, a term he disliked, but set out both his artistic creed and affiliation: Unfortunately, the original acetates have never been found, which means the re-mastered versions now available also have to preserve the fade in the middle, made to accommodate the change of side.

The Dameron - Navarro studio sessions for both Savoy and Blue Note represent an important continuum in the development of bebop, as well as in the respective careers of both players. The End Comes Somewhere along the way, Fats contracted tuberculosis, which is usually a slow developing malady.

It was on the saxophone that his first professional dates, with the Walter Johnson band in Miami, were noted. The trumpeter features on about three-quarters of the material on the album, and while the music-making and the recorded sound is not quite as finely focused as in the studio recordings, it has the benefit of on-stage spontaneity and longer playing time, and anyone interested in either musician should seek it out alongside the Blue Note material.

You know there are those kinds of guys who just play a lot of notes, some good, some bad. He also developed a heroin addiction, which, coupled with tuberculosis and a weight problem he was nicknamed "Fat Girl" led to a slow decline in his health and death at the age of twenty-six. The diverse musical influences meet in a half-way house between swing and bop, territory in which the trumpeter is entirely at home.

Fats Navarro. African-American jazz trumpet virtuoso Fats Navarro was one of the founders of bebop. He struggled with a heroin addiction and tuberculosis. Born Theodore Navarro on September 24,in Key West, Florida, Fats Navarro was one of the best jazz trumpeters of the 20th schmidt-grafikdesign.com: Sep 24, Theodore "Fats" Navarro died on July 6, at Metropolitan Hospital on Welfare Island, New York (now Roosevelt Island).

Fats Navarro life and biography

The funeral took place in Harlem of July. Fats Navarro Biography and Discography. Theodore "Fats" Navarro (September 24, – July 6, ) was an American jazz trumpet player. He was a pioneer of. Find A Grave, database and images (schmidt-grafikdesign.com: accessed), memorial page for Theodore “Fats” Navarro, Jr (23 Sep –6 Jul ), Find A Grave Memorial no.citing Rosedale and Rosehill Cemetery, Linden, Union County, New Jersey, USA ; Maintained by Find A schmidt-grafikdesign.com Of Birth: Key West, Monroe County, Florida, USA.

Essay, Research Paper: Fats By Navarro

Theodore “Fats” Navarro (trumpet) was born on September 24, in Key West, Florida and passed away on July 6, in NYC, New York at the age of Navarro was born in Key West, Florida, to Cuban-Black-Chinese parentage.

A biography paper of theodore fats navarro
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"A Study of the Improvisational Style of Theodore "Fats" Navarro, " by Russell C. Zimmer