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| The Fats Navarro Story |
| Fats Navarro |
| első megjelenés éve: 2001 |
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| (2001)
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4 x CD |
| 6.036 Ft
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| 1. CD tartalma: |
| 1. | Air Mail Special
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| 2. | Don't Blame Me
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| 3. | Opus X
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| 4. | Love Me or Leave Me
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| 5. | Long, Long Journey
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| 6. | Tell Me Pretty Baby
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| 7. | Second Balcony Jump
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| 8. | Without a Song
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| 9. | Epistrophy
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| 10. | 52nd Street Theme
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| 11. | Oo-Bop Sh'bam
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| 12. | Rue Chaptal
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| 13. | Boppin' a Riff
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| 14. | Fat Boy
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| 15. | Everything's Cool
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| 16. | Webb City
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| 17. | Calling Dr. Jazz
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| 18. | Fracture
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| 19. | Maternity
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| 20. | Stealin' Trash
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| 21. | I Mean You
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| 22. | Bean and the Boys
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| 2. CD tartalma: |
| 1. | Just a Mystery
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| 2. | Red Pepper
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| 3. | Spinal
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| 4. | Hollerin' and Screamin'
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| 5. | Fat Girl
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| 6. | Ice Freezes Red
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| 7. | Eb-Pob
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| 8. | Goin' to Minton's
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| 9. | Jivin' With Jack the Bellboy
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| 10. | High on an Open Mike
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| 11. | Sweet Georgia Brown
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| 12. | The Chase
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| 13. | The Squirrel
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| 14. | Our Delight
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| 15. | Dameronia
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| 16. | A Be-Bop Carol
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| 17. | The Tadd Walk
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| 18. | Gone With the Wind
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| 19. | That Someone Must Be You
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| 20. | Nostalgia
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| 21. | Barry's Bop
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| 22. | Be-Bop Romp
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| 23. | Fats Blows
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| 3. CD tartalma: |
| 1. | Half Step Down Please
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| 2. | Jumpin' Jane
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| 3. | Dextrose
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| 4. | Index
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| 5. | Dextivity
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| 6. | Good Bait, No. 1
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| 7. | Good Bait, No. 2
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| 8. | Anthropology
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| 9. | Oh, Lady Be Good
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| 10. | Symphonette
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| 11. | The Tadd Walk
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| 12. | The Squirrel
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| 13. | Dameronia
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| 14. | Our Delight
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| 15. | Eb-Pob
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| 16. | Jahbero
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| 17. | Lady Bird
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| 18. | Symphonette
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| 19. | I Think I'll Go Away
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| 20. | Stealin' Apples
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| 4. CD tartalma: |
| 1. | The Skunk
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| 2. | Boperation
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| 3. | Double Talk
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| 4. | Guilty
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| 5. | Yardbird Suite
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| 6. | A Stranger in Town
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| 7. | As Time Goes By
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| 8. | Move
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| 9. | Move
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| 10. | Overtime
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| 11. | Sid's Delight
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| 12. | Casbah
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| 13. | Bouncing with Bud
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| 14. | Wail
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| 15. | Dance of the Infidels
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| 16. | 52nd Street Theme
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| 17. | Wailing Wall
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| 18. | Go
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| 19. | Infatuation
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| 20. | Stop
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| 21. | A Night in Tunisia
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| 22. | Dizzy Atmosphere
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Jazz
Fats Navarro - Trumpet
Al Casey - Guitar
Al Haig - Piano
Al Hall - Bass
Al Lucas - Bass
Al Valente - Guitar
Allen Eager - Sax (Tenor)
Art Blakey - Drums
Art Mardigan - Drums
Arthur Simmons - Sax (Tenor)
Benny Goodman - Clarinet
Bill Doggett - Piano
Bill Frazier - Sax (Alto)
Bill Harris - Trombone
Bill McMahon - Bass
Billy Bauer - Guitar
Billy Eckstine - Vocals
Boonie Hazel - Trumpet
Bud Powell - Piano
Budd Johnson - Sax (Alto), Sax (Tenor)
Buddy DeFranco - Clarinet
Buddy Rich - Drums
Cecil Payne - Sax (Bass)
Chano Pozo - Bongos
Charlie Parker - Sax (Alto)
Charlie Rouse - Sax (Tenor)
Charlie Ventura - Sax (Tenor)
Chips Outcalt - Trombone
Chubby Jackson - Bass
Chuck Wayne - Guitar
Clyde Lombardi - Bass
Coleman Hawkins - Sax (Tenor)
Connie Wainwright - Guitar
Curly Russell - Bass
Denzil Best - Drums
Dexter Gordon - Sax (Tenor)
Dicky Wells - Trombone
Diego Ibarra - Bongos
Dizzy Gillespie - Trumpet
Don Lanphere - Sax (Tenor)
Earl Coleman - Vocals
Eddie "Lockjaw" Davis - Sax (Tenor)
Eddie de Verteuill - Sax (Bass)
Eddie Safranski - Bass
Eli Robinson - Trombone
Ernie Caceres - Sax (Bass)
Ernie Henry - Sax (Alto)
Gail Brockman - Trumpet
Gene Ammons - Sax (Tenor)
Gene DiNovi - Piano
Gene Ramey - Bass
George Nicholas - Sax (Tenor)
Gerald Valentine - Arranger, Trombone
Gus Chappell - Trombone
Hank Jones - Piano
Howard McGhee - Piano, Trumpet
Howard Scott - Trombone
Huey Long - Guitar
Illinois Jacquet - Sax (Tenor)
J.J. Johnson - Trombone
Jack Lesberg - Bass
Jim Golden - Piano
Jimmy Johnson - Bass
Jimmy Powell - Sax (Alto)
Joe Newman - Trumpet
John Cobbs - Sax (Alto)
John Collins - Guitar
John Jackson - Sax (Alto)
John Malachi - Arranger, Piano
Joost Visser - Compilation, Liner Notes, Producer
Josh Jackson - Sax (Tenor)
Kai Winding - Trombone
Kay Penton - Vocals
Kenny Clarke - Drums
Kenny Dorham - Trumpet
Lennie Tristano - Piano
Leo Parker - Sax (Bass)
Linton Garner - Piano
Marion Deveta - Sax (Bass)
Marion Hazel - Trumpet
Max Roach - Drums
Mel Zelnick - Drums
Miles Davis - Trumpet
Milt Jackson - Vibraphone
Morris Lane - Sax (Tenor)
Mundell Lowe - Guitar
Nelson Boyd - Bass
Norris Turney - Sax (Alto)
Pete Rugolo - Arranger
Peter Rynston - Digital Remastering
Porter Kilbert - Sax (Alto)
Ralph Burns - Piano
Ray Abrams - Sax (Tenor)
Ray Perry - Sax (Alto)
Raymond Orr - Trumpet
Richard Ellington - Piano
Roy Haynes - Drums
Rudy Williams - Sax (Alto)
Sahib Shihab - Sax (Alto)
Sarah Vaughan - Vocals
Shadow Wilson - Drums
Shelly Manne - Drums
Shibab Shibab - Sax (Alto)
Shorty McConnell - Trumpet
Sonny Rollins - Sax (Tenor)
Sonny Stitt - Sax (Alto)
Tadd Dameron - Arranger, Piano
Taswell Baird - Trombone
Ted Kelly - Trombone
TEddy Cypron - Sax (Bass)
Tommy Potter - Bass
Walter Fuller - Arranger
Walter Knox - Trombone
Wardell Gray - Sax (Tenor)
Bebop trumpet genius Fats Navarro only lived to the age of 26. During that time he left behind a slew of recordings with numerous bands and vocalists for a number of labels. Proper, a British compilation label, has attempted to assemble four CDs of music from what it perceives to be Navarro's four major periods, in order to reveal the trumpeter's development not only as a soloist, but as a bandleader. And Proper did it for little more than the price of one CD. Navarro was a force so pervasive and influential that his only equals during his lifetime were Dizzy Gillespie and Clifford Brown. The first disc, Bebop Boys, showcases Navarro's emerging place in the company of great bands such as the short-lived but ridiculously influential Billy Eckstine and His Orchestra, where he replaced Dizzy Gillespie. Some of the personnel on these sides include Sarah Vaughan, Art Blakey, Gene Ammons, and Tommy Potter; "Air Mail Special" and "Don't Blame Me" from these sessions were arranged by Tadd Dameron. The sound quality varies only slightly. By and large they sound better than the material issued by National or Blue Note. Later sessions include bands called the Bebop Boys with Kenny Dorham, Kenny Clarke, and Sonny Stitt. The set closes with a couple of tracks from Savoy with Eddie "Lockjaw" Davis as a leader and two from Sonora with Coleman Hawkins fronting the band. Literally, there isn't anything on this disc that is not first-rate. The second CD, Nostalgia, focuses on Navarro's work with Coleman Hawkins and Lockjaw Davis from sessions late in 1946 recorded for Savoy. Also represented are Navarro's first sessions as a leader with his Thin Men; a quartet with Ernie Henry, Tadd Dameron, and others; and Dameron's sextet. Most of the material is from Savoy, but there are also tracks cut for Alladin (with Illinois Jacquet & Big Band), Counterpoint, and Blue Note. So many name players are featured on this disc that it's impossible to mention them all, but some include Charlie Rouse, Shadow Wilson, Charlie Ventura, Allen Eager, and many more. The masters have been cleaned up considerably, and the sound, for the most part, is very good (better than any of this material has been presented previously). Discs three and four, entitled At the Royal Roost and Double Talk, respectively, pinpoint Navarro's emerging place -- despite a huge heroin habit -- in the new music of bebop, primarily in a band with Hawkins (that also included Max Roach and J.J. Johnson), a Benny Goodman sextet, and with Dameron. On disc three, all but four sides come from the Jazzland label; the rest are from Capitol and Blue Note. The final set is from primarily Navarro-led groups and were recorded for Dial, Blue Note, Victor, Capitol, and Prestige, with two single cuts being on fly-by-night labels like Ozone and Grotto. The material on all these sides is the canon from which bebop was created, including everything from Navarro's own unique read of "Night in Tunisia" to his blistering break on "52nd Street Theme," the glorious ostinato on "Bud's Bounce," and the dizzying glissando on "Yardbird Suite." Even the ballad playing and swing numbers, where Navarro is playing behind vocalists, are startling for their full tone and unusual phrasing for a soloist in swing bands. In sum, this is the Fats Navarro story, told through the sounds and styles of his era, a crucial time in the history of jazz. This is a box set with accurate, even voluminous documentation; it's a well-designed package for a deep budget price and is long overdue.
---Thom Jurek, All Music Guide
Fats Navarro
Active Decades: '40s and '50s
Born: Sep 24, 1923 in Key West, FL
Died: Jul 07, 1950 in New York, NY
Genre: Jazz
Styles: Bop
One of the greatest jazz trumpeters of all time, Fats Navarro had a tragically brief career yet his influence is still being felt. His fat sound combined aspects of Howard McGhee, Roy Eldridge, and Dizzy Gillespie, became the main inspiration for Clifford Brown, and through Brownie greatly affected the tones and styles of Lee Morgan, Freddie Hubbard, and Woody Shaw.
Navarro originally played piano and tenor before switching to trumpet. He started gigging with dance bands when he was 17, was with Andy Kirk during 1943-1944, and replaced Dizzy Gillespie with the Billy Eckstine big band during 1945-1946. During the next three years, Fats was second to only Dizzy among bop trumpeters. Navarro recorded with Kenny Clarke's Be Bop Boys, Coleman Hawkins, Eddie "Lockjaw" Davis, Illinois Jacquet, and most significantly Tadd Dameron during 1946-1947. He had short stints with the big bands of Lionel Hampton and Benny Goodman, continued working with Dameron, made classic recordings with Bud Powell (in a quintet with a young Sonny Rollins) and the Metronome All-Stars, and a 1950 Birdland appearance with Charlie Parker was privately recorded. However, Navarro was a heroin addict and that affliction certainly did not help him in what would be a fatal bout with tuberculosis that ended his life at age 26. He was well documented during the 1946-1949 period and most of his sessions are currently available on CD, but Fats Navarro (who would have turned 72 in 1995) could have done so much more.
---Scott Yanow, All Music Guide |
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