Fats Navarro on Trumpet at the Jazznote
(MPEG: time=1:32; 363 KB) ![First Blue Note session [Francis Wolff]](images/fatstitle.jpg)
(MPEG: time=1:32; 363 KB) One of the greatest jazz trumpeters of all time, Fats Navarro is today mostly unknown except to the diehard fans of bop and trumpet, having died too young and before bop and his place in it had come full swing into greater public awareness. Chief mentor to Clifford Brown who in turn affected Lee Morgan and Freddie Hubbard and those that would follow them, Navarro was himself a product of Howard McGhee, Roy Eldridge and Dizzy Gillespie, developing a sound fat, sweet, and swinging.
Born September 24, 1923 in faraway Key West, Florida, Navarro started on piano at 6, switching to trumpet at 13. Oddly, his first gigs, playing with Walter Johnson's band and various dance bands around Miami, were on tenor saxophone. After a short stint with Snookum Russell (1941-42) Navarro received some attention playing with Andy Kirk (whose featured trumpeter was Howard McGhee) during 1943-44. Real recognition only came when he was hired to replace Dizzy Gillespie in the Billy Eckstine big band on Gillespie's recommendation, where he remained for 18 months until 1946, working alongside such notables as Gene Ammons (ts), Leo Parker (bari), Art Blakey (d) and future collaborator Tadd Dameron who was Eckstine's arranger at the time. From there his reputation skyrocketed, ranked among his peers as second only to Dizzy Gillespie.
September 6, 1946--records with The Be-Bop Boys alongside Kenny Dorham (tp), Sonny Stitt (as), Morris Lane (ts), Eddie de Verteuill (bari), Bud Powell (p), Al Hall (b), Kenny Clarke (d) and Walter "Gil" Fuller (arr).
September 9, 1946--with Kenny Clarke and His 52nd Street Boys with same lineup as above b/w Ray Abrams (ts) replacing Morris Lane and the addition of John Collins (g). Early versions of Thelonious Monk's "Epistrophy" and "52nd Street Theme" are recorded.
December 18 & 20, 1946--with Eddie Davis And His Reboppers alongside Eddie "Lockjaw" Davis (ts - leader), Huey Long (g), Al Haig (p), Gene Ramey (b) and Denzil Best (d).
December, 1946--with Coleman Hawkins And His Orchestra alongside J.J. Johnson (tb), Porter Kilbert (as),
Coleman Hawkins (ts - leader), Milt Jackson (vbs), Hank Jones (p),
Curley Russell (b) and Max Roach (d). These versions "I Mean You" and "Bean and the Boys" under the leadership of Coleman Hawkins have been recently reissued as Coleman Hawkins with Fats Navarro and Thelonious Monk, a CD which collects a number of sessions with Hawkins keeping up with the new boppers (including an interesting quartet session with Thelonious Monk from 1944).
January 7, 1947--with Illinois Jacquet And His Orchestra (where he is listed as "Slim Romero" for contractual reasons) alongside Joe Newman, Miles Davis, Marion "Boonie" Hazel (tp), Gus Chapel, Fred "Eli" Robinson, Ted Kelly, Dickie Wells (tb), Jimmy Powell, Ray Perry (as), Illinois Jacquet (ts - leader), George Nicholas (bs), Bill Doggett (p), Leonard Feather, Al Lucas (b), Shadow Wilson (d), Tadd Dameron and Jimmy Mundy (arr).
On January 16, 1947 Navarro leads a group consisting of Leo Parker (bari & as), Tadd Dameron (d), Gene Ramey (b), and Denzil Best (d) under the nomer of Fats Navarro And His Thin Men, marking the first of many collaborations with Tadd Dameron. This is also the debut of his composition "Fat Girl", the title derived from his nickname.
February 2, 1947--Billie Stewart/Minton Bugg with Ray Abrams Orchestra alongside Leonard Lowry (as), Ray Abrams (bs), Cecil Payne (bs), Kenny Watts (p), Leonard Gaskins (b), Lee Abrams (d), Milt Bugg and Billie Stewart (vcl).
April 1, 1947--with Illinois Jacquet And His Orchestra alongside Joe Newman, Russell Jacquet (tp), J.J. Johnson (tb), Illinois Jacquet (ts - leader), Freddie Greene (g), Sir Charles Thompson (p), Al Lucas (b) and Shadow Wilson (d).
April 12, 1947--on WNEW Saturday Night Swing Session alongside Bill Harris (tb), Charles Ventura, Allen Eager (ts), Al Valente (g), Ralph Burns (p), Chubby Jackson (b) and Buddy Rich (d).
![Wardell Gray, Fats showing some leg, Allen Eager - Sept. 13, 1948 [Francis Wolff]](images/navarroleg.jpg)
More significant sessions were under the leadership of pianist composer Tadd Dameron who considered Navarro his star soloist. The first of these, on September 26, 1947, was a recording for Blue Note which included the pair along with Ernie Henry (as), Charlie Rouse (ts), Nelson Boyd (b), and Shadow Wilson (d). This was followed up nearly a year later on September 13, 1948 with a session recorded just after Dameron began a long engagement at the newly opened Royal Roost. The house band formed the core of this ensemble including Allen Eager and Wardell Gray (ts), Curly Russell (b), Kenny Clarke (d), and Chino Pozo (bongos). Their final collaboration on January 18, 1949 was for Capital Records (a "Roost to Capital Record" session preceding Miles Davis' Birth of the Cool by three days) which included the all-star lineup of Kai Winding (tb), Sahib Shihab (as), Dexter Gordon (ts), Cecil Payne (bari), along with the above rhythm section supplemented by a pair of percussionists. By this time Navarro had fallen into the clutches of heroin addiction and proved too difficult to manage. Insisting on exorbitant fees to maintain his habit, Dameron employed a young Miles Davis for his next session.
Late August/early September 1947--with Tadd Dameron and His Group alongside Doug Mettome (tp), Ernie Henry (as), Allen Eager (ts), Terry Gibbs (vib), Tadd Dameron (p & arr), Nelson Boyd (b), Kenny Clarke (d) and Kay Penton (vcl).
September 26, 1947--with Tadd Dameron Sextet alongside Ernie Henry (as), Charlie Rouse (ts), Tadd Dameron (p - leader), Nelson Boyd (b) and Shadow Wilson (d). Session available on Blue Note's compilation, The Complete Blue Note and Capitol Recordings of Fats Navarro and Tadd Dameron, reviewed below.
Fats Navarro And His Band consisting of Ernie Henry (as), Tadd Dameron (p), Curley Russell (b), Kenny Clarke (d) and Kay Penton (vcl) record "The Tadd Walk", "A Bebop Carol", "Gone With The Wind", and "That Someone Must Be You".
November 8, 1947--with Barry Ulanov And His All Star Metronome Jazzmen including Charlie Parker (as), Allen Eager (ts), John LaPorta (cl), Billy Bauer (g), Lennie Tristano (p), Tommy Potter (b), Buddy Rich (d) and Sarah Vaughan (vcl). Notable for being one of only two studio recording with Fats and Bird together. Staged as a "battle of the bands" contest between classical jazz and modern, the latter won.
On December 5, 1947 Fats Navarro And His Band consisting of Charlie Rouse (ts), Tadd Dameron (p), Nelson Boyd (b) and Art Blakey (d) make further inroads into the realm of bop. Finally Fats is allowed to shine in the context of a smaller band.
December 11, 1947--with Coleman Hawkins And His Orchestra along with J.J. Johnson (tb), Budd Johnson (as), Marion DeVeta (bs), Coleman Hawkins (ts), Chuck Wayne (g), Hank Jones (p), Jack Lesberg (b) and Max Roach (d).
December 22, 1947--with Dexter Gordon And His Boys alongside Dexter Gordon (ts - leader), Tadd Dameron (p), Nelson Boyd (b) and Art Mardigan (d).
April 10, 11, 17 & 24, 1948--with Lionel Hampton And His Orchestra along with Teddy Buckner, Wendell Culley, Leo Shepherd, Duke Garrette (tp), Britt Woodman, James Wormich, Andrew Penn or Sonny
Craven (tb), Ben Kynard, Bobby Plater (as), Morris Lane, John Sparrow
(ts), Charlie Fowlkes (bs), Milt Buckner (p), Charlie Harris or Charles
Mingus (b), Earl Walker (d), Lionel Hampton (vbs,p,d).
May 1 & 8, 1948--again with Lionel Hampton And His Orchestra b/w Teddy Buckner, Wendell Culley, Leo Shepherd, Duke Garette, Jimmy Nottingham (tp), Britt Woodman, Jimmy Wormick, Andrew Penn, Sonny Craven (tb), Ben Kynard, Bobby Plater (as), Billy "Smallwood" Williams, John Sparrow (ts), Charlie Fowlkes (bari), Lionel Hampton (vbs,p,d), Milt Bukcner (p), Charlie Harris, Charlie Mingus (b) and Earl Walker (d) on the first date. That latter date same lineup except Jimmy Nottingham (ts), Lester Bass (tb), Herman McCoy (d) replace Penn (tb) and Earl Walker (d).
August 29, 1948--with Tadd Dameron Sextet along with Allan Eager (ts), Tadd Dameron (p & arr), Curley Russell (b), Kenny Clarke (d) and Kenny Hagood (vcl).
September 4, 1948--with Tadd Dameron Sextet along with Allan Eager (ts), Milt Jackson (vbs), Tadd Dameron (p & arr), Curley Russell (b) and Kenny Clarke (d).
September 9, 1948--a very surprising session with Benny Goodman Sextet along with Benny Goodman (cl - leader), Wardell Gray (ts), Mundell Lowe (g), Gene DiNovi (p), Clyde Lombardi (b) and Mel Zelnick (d). Sadly, they only recorded one number, "Stealin' Apples", on which Fats provides a very tasteful muted solo. Wardell Grey had been working for much of 1948 with Goodman. This track is fortunately available on Blue Note's compilation, The Complete Blue Note and Capitol Recordings of Fats Navarro and Tadd Dameron, reviewed below.
September 13, 1948--with Tadd Dameron Sextet along with Wardell Gray, Allen Eager (ts), Tadd Dameron (p), Russell (b), Kenny Clarke (d), Chano Pozo (bongos) and a single lackluster performance by vocalist Kenny Hagood. Dameron's second session for Blue Note, this session is available on Blue Note's compilation, The Complete Blue Note and Capitol Recordings of Fats Navarro and Tadd Dameron, reviewed below.
October 2 & 10, 1948--again with Tadd Dameron Sextet along with Rudy Williams (as), Allen Eager (ts), Tadd Dameron (p & arr), Curley Russell (b) and Kenny Clarke (d).
![Phalanx of Fats, Howard McGhee, and a young Milt Jackson at the piano [Francis Wolff]](images/fatsmcghee.jpg)
Despite having such a short career, the impact of Navarro's stature amongst his peers is most evident in his "trumpet battles" with the elite blowers of the time, such as Miles Davis, Dizzy Gillespie, and the following session for Blue Note. This October 11, 1948 session is with former Andy Kirk-days colleague Howard McGhee, known by Fats as "the influence". Sadly, McGhee has slipped into obscurity, which makes this session all the more valuable. This exciting session produced two takes each of "The Skunk", "Boperation", and the trumpet duel, "Double Talk", 5+ minutes of high-intensity exchanges between these two early legends.
Check out the dueling trumpets of Fats and Howard McGhee in "Double Talk"
Also present were Ernie Henry (as), Milt Jackson (p,vbs), Curley Russell (b) and Kenny Clarke (d). Session available on Blue Note's compilation, The Complete Blue Note and Capitol Recordings of Fats Navarro and Tadd Dameron, reviewed below.
October 16, 1948--with Tadd Dameron Sextet along with Ernie Henry (as), Allen Eager (ts), Tadd Dameron (p & arr), Curley Russell (b) and Max Roach (d).
October 23, 1948--with Tadd Dameron Sextet along with Rudy Williams (as), Allen Eager (ts), Tadd Dameron (p & arr), Curley Russell (b), Kenny Clarke (d) and Chano Pozo (bongos).
On November 29, 1948 vocalist Earl Coleman joined up with Fats Navarro's Quintet which at the time included Navarro's obscure discovery, Don Lanphere (ts), Linton Garner (p,cel), Jimmy Johnton (b) and Max Roach (d). Together they record five pieces with Coleman's vocals, including a daring take on Parker's "Yardbird Suite". The Quintet also struck it out alone on a couple of takes of Denzil Best's "Move".
January 3, 1949--with Metronome All Stars along with Dizzy Gillespie, Miles Davis (tp), J.J. Johnson, Kai Winding (tb), Buddy DeFranco (cl), Charlie Parker (as), Charlie Ventura (ts), Ernie Caceres (bs), Billy Bauer (g), Lennie Tristano (p), Eddie Safranski (b) and Shelly Manne (d). Outstanding collection of 1948's poll winners and worthy of a listen if for no other reason than that it includes bop's "BIG THREE" of trumpet in a trumpet battle on one of the two takes of "Overtime".
January 18, 1949--with Tadd Dameron And His Orchestra along with Kai Winding (tb), Edmond Gregory (Sahib Shihab) (as), Dexter Gordon (ts), Cecil Payne (bs), Tadd Dameron (p - leader), Curley Russell (b), Kenny Clarke (d), Diego Ibarra (bongos), Vidal Bolado (congas) and Rae Pearl (vcl). Session available on Blue Note's compilation, The Complete Blue Note and Capitol Recordings of Fats Navarro and Tadd Dameron, listed below.
 August 8, 1949--with Bud Powell's Modernists along with Sonny Rollins (ts); Bud Powell (p - leader), Tommy Porter (b) and Roy Haynes (d). Check out Sonny Rollins weeks short of his ninteenth birthday. Session available on Blue Note's compilation, The Complete Blue Note and Capitol Recordings of Fats Navarro and Tadd Dameron, reviewed below. |
This session of the Fats Navarro Quintet (September 20, 1949) would unfortunately be his last studio session. Sadly, the young tenorist, Don Lanphere, steals a majority of the solo space. Also present is the rhythm section of Al Haig (p), Tommy Potter (b) and Max Roach (d). The session also features Navarro's closest attempt at a ballad, "Infatuation".
On May 17, 1950 Fats Navarro, already in the late stages of his illness stepped upon the stage for what would be "the first of his last performances" (May 17 - 21). The place: Birdland. The cast: none other than Charlie Parker on alto backed with the rhythm support of the Bud Powell Trio (pianist Bud Powell along with Curley Russell on bass and legendary drummer Art Blakey). These concerts spanned the up-to-then short history of bebop jazz, with rallying performances of "52nd Street Theme", "Move", "Ornithology", "Round About Midnight", "Eronel", "Hot House", and many others.
May 18, 1950 included an all-star orchestra. Along with Fats were Miles Davis (tp), J.J. Johnson (tb), Charlie Parker (as), Brew Moore (ts), Tadd Dameron or Walter Bishop, Jr. (p), Curley Russell (b) and Art Blakey (d).
Though in good form musically, an Ebony article from 1951 states that the larger than life Fats Navarro was down to a meagre 100 pounds by the time of the above sessions. Fats Navarro finally succumbed to tuburculosis compounded by his addiction to heroin on July 7, 1950. He was only 26.
The Short Recording Legacy of Fats Navarro
Most of Navarro's important recordings made between January 29, 1947 and November 29, 1948 (included the above sessions for Blue Note) were eventually collected in 1956 as Blue Note's Fabulous Fats Navarro, Vol. I and II (BN 1531, 1532) 12-inch LPs, sessions that included Dameron, Bud Powell, Kenny Clarke, Wardell Grey, Milt Jackson, and the up-and-coming Sonny Rollins.
Today, however, little remains on CD aside from lone titles thrown to the wind on various compilations and shoddy packages assembled on the Savoy lable. But, fortunately, Blue Note has come along with a fine 2-CD set focusing on the dynamic musical partnership of Fats Navarro and Tadd Dameron. Entitled (surprisingly enough), The Complete Blue Note and Capitol Recordings of Fats Navarro and Tadd Dameron, this pair of CDs covers the sessions from the Blue Note compilation and throws in some titles from the Capital catalogue, most notably the curio session led by Benny Goodman ("Stealin Apples") along with Wardell Gray, another Capitol session from January 18, 1949 with Dexter Gordon and others, as well as a Capitol session with an understated Miles Davis replacing Navarro from April 21, 1949. Other notables are the above-mentioned Howard McGhee-Fats Navarro Sextet recordings (which include the compilations only "previously unreleased alternate take", of "Boperation") as well as the legendary session with Bud Powell from 1949, including a young Sonny Rollins. Another highlight of this fine and tight package is the collection of photography from the Mosaic archives of Blue Note photographer Francis Wolff (examples of which can be seen above). This collection is a must for bop fans, trumpeters, and anyone interested in the lesser-known elements of bop history.
