Miles Secret Greatness.....Time

Miles Dewey Davis III (May 26, 1926 – September 28, 1991)

Widely considered one of the most influential musicians of the 20th century, Miles Davis was with his groups at the forefront of several major developments in jazz music including cool jazz, hard bop, free jazz and fusion. Many well-known jazz musicians made their names as members of Davis' ensembles .Miles Davis was born to a relatively affluent family in Alton, Illinois. His father, Dr. Miles Henry Davis, was a dentist. In 1927, the family moved to East St. Louis. They also owned a substantial ranch in northern Arkansas, where Davis learned to ride horses as a boy.

Davis' mother, Cleota Mae (Henry) Davis, wanted her son to learn the piano; she was a capable blues pianist but kept this fact hidden from her son. His musical studies began at 13, when his father gave him a trumpet and arranged lessons with local musician Elwood Buchanan. Davis later suggested that his father's instrument choice was made largely to irk his wife, who disliked the instrument's sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato, and Davis would carry his clear signature tone throughout his career. Buchanan was said to slap Davis' knuckles every time he started using heavy vibrato.[1] Davis once remarked on the importance of this signature sound, saying, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much Baseline bass. Just right in the middle. If I can’t get that sound I can’t play anything.In 1944, the Billy Eckstine band visited East St. Louis. Dizzy Gillespie and Charlie Parker were members of the band, and Davis was taken on as third trumpet for a couple of weeks because Buddy Anderson was out sick. When Eckstine's band left Davis behind to complete the tour, the trumpeter's parents were still keen for him to continue formal academic studies
In the fall of 1944, following graduation from high school, Miles moved to New York City to study at the Juilliard School of Music.

Upon arriving in New York, Davis spent most of his first weeks in town trying to get in contact with Charlie Parker, despite being advised against doing so by several people he met during his quest, including the famous saxophonist Coleman Hawkins.[1]

Having finally succeeded in locating his idol, Davis became part of the milieu of musicians that centered around the jam sessions that were kept nightly in two of Harlem's night clubs, Minton's Playhouse and Monroe's, a group that at the time included many of the future protagonists of the bebop revolution, young musicians .

In the same period, he dropped out of Juilliard, having first asked permission from his father. In his autobiography, he criticized the Juilliard classes for centering too much on the classical European and "white" repertoire. He also did partly acknowledge that the Juilliard period contributed to the theoretical background, that he would rely greatly upon in later years.

He began playing professionally in many jazz combos, performing in several 52nd Street clubs with Coleman Hawkins and Eddie "Lockjaw" Davis. In 1945, he entered for the first time in a recording studio as a member of the group of Herbie Fields. This was the first of many recordings to which Davis participated in the following years, most of the time as a sideman. His first studio occasion as a leader came in 1946, with an occasional group called '"Miles Davis Sextet plus Earl Coleman and Ann Hathaway"', one of the rare occasions in which Davis - who was already a member of the Charlie Parker quintet - can be heard accompanying singers. Record dates in which Davis was featured as leader were the exception, rather than the rule, however: the next, isolated, date came around in 1947.Davis' influences included late 1960s acid rock and funk artists such as Sly and the Family Stone, James Brown and Jimi Hendrix, many of whom he met through Betty Mabry, a young model and songwriter Davis married in September 1968 and divorced a year later. The musical transition required that Davis and his band adapt to electric instruments in both live performances and the studio.
In March and April 1959, Davis re-entered the studio with his working sextet to record what is widely considered his magnum opus, Kind of Blue. He called back Bill Evans, months away from forming what would become his seminal trio, for the album sessions as the music had been planned around Evans' piano style.[19] Both Davis and Evans had direct familiarity with the ideas of pianist George Russell regarding modal jazz, Davis from discussions with Russell and others before what came to be known as the Birth of the Cool sessions, and Evans from study with Russell in 1956.
By the time In a Silent Way had been recorded in February 1969, Davis had augmented his standard quintet with additional players. At various times Hancock or Joe Zawinul were brought in to augment Corea on electric keyboards, and guitarist John McLaughlin made the first of his many appearances.


Having first taken part in the Artists United Against Apartheid recording, Davis signed with Warner Brothers records and reunited with Marcus Miller. The resulting record, Tutu (1986), would be his first to use modern studio tools — programmed synthesizers, samples and drum loops — to create an entirely new setting for Davis' playing. Ecstatically reviewed on its release, the album would frequently be described as the modern counterpart of Sketches of Spain and won a Grammy in 1987.

Freddie the Player

Frederick Dewayne Hubbard

April 1938 December 2008) . He was known

for playing hard bop and post bop styles from the early
60s and on. His unmistakable and influential tone contributed to new
perspectives for modern jazz and bebop.

Hubbard started playing the and trumpet in his school band, studying at the Jordan Conservatory with the principal trumpeter of the Indianapolis Symphony Orchestra. In 1958, at the age of 20, he moved to New York, and began playing with some of the best jazz players of the era. In June 1960 Hubbard made his first record as a leader, Open Sesame, with saxophonist Tina Brooks, pianist McCoy Tyner, bassist Sam Jones, and drummer Clifford Jarvis

In August 1961, Hubbard made one of his famous records, Ready for Freddie, which
was also his first collaboration with saxophonist Wayne Shorter. Hubbard would
join Shorter later in 1961 when he replaced Lee Morgan in Art Blakey's Jazz
Messengers. He played on several Blakey recordings.
It was during this time
that he began to develop his own sound, distancing himself from the early
influences of Clifford Brown and Morgan, and won the Downbeat jazz magazine "New Star" award on trumpet.Although his early 1970s jazz albums Red Clay, First
Light, Straight Life, and Sky Dive were particularly well received and
considered among his best work, the albums he recorded later in the decade were rated high and open his talents to a non-jazz listening audience.

First Light won a 1972 Grammy Award and included pianists Herbie Hancock and Richard Wyands, guitarists Eric Gale and George Benson, bassist Ron Carter, drummer Jack DeJohnette, and percussionist Airto Moreira. In 1994, Freddie, collaborating with Chicago jazz vocalist/co-writer Catherine Whitney, had lyrics set to the music of First Light.

Then Came Louis the Great

Louis Armstrong was the greatest of all Jazz musicians. Armstrong defined what it was to play Jazz. His amazing technical abilities, the joy and spontaneity, and amazingly quick, inventive musical mind still dominate Jazz to this day. Only
Like almost all early Jazz musicians, Louis was from New Orleans. He was from a very poor family and was sent to reform school when he was twelve after firing a gun in the air on New Year's Eve. At the school he learned to play cornet. After being released at age fourteen, he worked selling papers, unloading boats, and selling coal from a cart. He didn't own an instrument at this time, but continued to listen to bands at clubs. Joe "King" Oliver was his favorite and the older man acted as a father to Louis, even giving him his first real cornet, and instructing him on the instrument. By 1917 he played in an group at bars in New Orleans
In 1919 he left New Orleans for the first time to join a band in St. Louis. When the boats left from New Orleans Armstrong also played regular gigs in parades with brass bands. When King Oliver left the city in 1919 to go to Chicago, Louis took his place in from time to time. In 1922 Louis received a telegram from his mentor Joe Oliver, asking him to join his in Chicago. This was a dream come true for Armstrong and his amazing playing in the band soon made him a sensation among other musicians in Chicago. The New Orleans style of music took the town by storm and soon many other bands from down south made their way north to Chicago. While playing in Oliver's Creole Jazz Band, Armstrong met Lillian Hardin, a piano player and arranger for the band. In February of 1924 they were married. Lil was a very intelligent and ambitious woman who felt that Louis was wasting himself playing in Oliver's band. By the end of 1924 she pressured Armstrong to reluctantly leave his mentor's band and move to New York to play in Fletcher Henderson's Orchestra for 13 months. During that time he also did dozens of recording sessions with numerous Blues singers, including Bessie Smith's 1925 classic recording of "St. Louis Blues". He also recorded with the Red Onion Jazz Babies.

By 1929 Louis was becoming a very big star. He toured with the show "Hot Chocolates" and appeared occasionally with Fletcher Henderson. Armstrong moved to Los Angeles in 1930 where he fronted a band called the New Cotton Club Orchestra. In 1931 he returned to Chicago and assembled his own band for touring purposes. In June of that year he returned to New Orleans for the first time since he left in 1922 to join King Oliver's Creole Jazz Band. Armstrong was greeted as a hero, but racism marred his return when a White radio announcer refused to mention Armstrong on the air and a free concert that Louis was going to give to the cities' African-American population was cancelled at the last minute. In 1932 he went on tour to England where he was a great success. For the next three years Armstrong was always on tour. He crisscrossed the U.S. dozens of times and returned to Europe playing in Denmark, Sweden, Norway, Holland and England. In 1935 he returned to the home for Armstrong to work with a band made up of predominantly New Orleans musicians, many of whom had also played with King Oliver. The band was named Louis Armstrong and his Orchestra and was one of the most popular acts of the Swing era. During the next ten years Armstrong became one of the most famous men in America. The Dixieland Jazz revival was just beginning to end and the Be Bop age had begun. So, in 1947 the orchestra and replaced them with a small group that became one of the greatest and most popular bands in Jazz history. The group was called the Louis Armstrong Allstars and over the years featured exceptional musicians . The band went through a number of personnel changes over the years but remained extremely popular worldwide. They toured extensively travelling to Africa, Asia, Europe and South America for the next twenty years until Louis' failing health caused them to disband. Armstrong became known as America's Ambassador. In 1963 Armstrong scored a huge international hit with his version of "Hello Dolly". . In 1968 he recorded another number one hit with the touchingly optimistic "What A Wonderful World". Armstrong's health began to fail him and he was hospitalized several times over the remaining three years of his life, but he continued playing and recording. On July 6th 1971 the world's greatest Jazz musician died in his sleep at his home in Queens, New York.
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THE ROAD TO JAZZ IS THUR PHILLY

Lee Morgan was born July 10 1938
in Philadelphia, Pennsylvania, Morgan was a jazz prodigy, joining the Dizzy Gillespie big band at 18, remaining a member for two years. In 1956 he began recording as a leader, mainly for the Blue Note label; eventually he recorded twenty-five albums for the company. Morgan’s principal influence as a player was Clifford Brown, having had direct contact with him before Brown’ death.
He was featured trumpeter on several early Hank Mobley records, and John Coltrane’s Blue Train. Joining Art Blakey’s Jazz Messengers in 1958 further developed his talent as a soloist and writer. He toured with Blakey for a few years, and was featured on Moanin, which is probably Blakey’s best known recording. When Benny Golson left the Jazz Messengers, Morgan persuaded Blakey to hire Wayne Shorter, a young tenor saxophonist, to fill the chair. This classic version of the Jazz Messengers, The Freedom Rider album was then recorded.

Morgan left the Jazz Messengers in 1961, struggling with heroin addiction, managing to kick his habit in his hometown. He returned to the music scene after a two-year absence, playing on Grachan Moncur III’s essentially avant-garde Evolution album, and experimenting on some of his own recordings such as the title track of Search for the New Land (1964), but the popularity of his famous album, The Sidewinder, featuring Joe Henderson precluded his career developing in this way.
The title track of that record cracked the pop charts in 1964 and served as the background theme for Chrysler commercials during the World Series. In 1964 Morgan rejoined the Jazz Messengers, after his successor Freddie Hubbard departed, which had now become a sextet with the addition of Curtis Fuller to the group.

Alongside this commercial success, Morgan continued to record thur prolifically, producing such works as Search For the New Land which reached the top 20 of the R&B charts. His work became increasingly more modal and free towards the end of the sixties. He had begun to lead his own group, featuring Bernie Maupin as a multi-reedist.

Lee Morgan was murdered by his common-law wife, following an argument between sets at Slug’s, a popular New York City jazz club.

THE YOUNG MASTER

Clifford Brown was born October 30 1930 in Wilmington, Delaware. The teen-aged trumpeter began playing gigs in Philadelphia on graduating in 1948. That same year, he entered the University of Delaware on a music scholarship, but there was one slight snag: the college happened to be momentarily short of a music department.

Brownie remained there a year anyway, majoring in mathematics, and taking up a little spare time by playing some Philadelphia dates with such preeminent bop figures as Kenny Dorham, Max Roach, J.J. Johnson and Fats Navarro. He acquired considerable inspiration and encouragement from Navarro, who was greatly impressed with the youngster's potentialities.

After the year at the University of Delaware, Brownie had a chance to enter a college that did boast a good music department, namely Maryland State. They also had a good 16-piece band, and he learned a lot about both playing and arranging until one evil evening in June 1950 when, on his way home from a gig, he was involved in the first of three automobile accidents, the last of which was to prove fatal.

For a whole year in 1950-51, Clifford Brown had plenty of opportunity for contemplation but precious little for improving his lip. It took just about a year, plus some verbal encouragement from Dizzy Gillespie, to set him back on the path from which he had been so rudely sideswiped.

He had his own group in Philly for a while, then joined the Chris Powell combo, with which he was working at Cafe Society when his first date with Lou Donaldson was cut. There followed a stint with Tadd Dameron in Atlantic city, after which he joined Lionel Hampton, touring Europe with him in the fall of 1953. In 1954 Brownie won the Down Beat critics' poll as the new star of the year. Moving out to California, he formed an alliance with Max Roach .


His style was influenced by Fats Navarro, sharing Navarro's virtuosic technique and brilliance of invention. His sound was warm and round, and notably consistent across the full range of the instrument. He could articulate every note, even at the high tempos which seemed to present no difficulty to him; this served to enhance the impression of his speed of execution. His sense of harmony was highly developed, enabling him to deliver bold statements through complex harmonic progressions (chord changes), and embodying the linear, "algebraic" terms of bebop harmony. As well as his up-tempo prowess, he could express himself deeply in a ballad performance. Clifford Brown was and still is one of the greatest trumpet players of all time !

SMOOTH AND COOL

Chesney Henry "Chet" Baker Jr. born Yale, Oklahoma, December 23, 1929 played trumpet, flugelhorn and did a little singing as well. At the age of 12 he learn to play trumpet. He played trumpet through junior high school, and on through college.

In 1946 he was drafted into the Army, and played in the Army band in Berlin.
After returning home, Baker continued his music education at El Camino College.
In 1952 he won an audition with Charlie Parker, then went on to join Gerry
Mulligan's pianoless quartet. The group performed regularly at
Hollywood. In

1953, Baker formed his own band featuring Russ Freeman on piano. The Chet Baker Quartet toured and recorded with great success. As the decade came to a close, Chet was addicted to heroin and his life was filled with arrests and scandals.

Baker's prominence rose during the cool jazz of the 50's. But his success was
badly hampered by drug addiction, particularly in the 1960s, he was
imprisoned for a short period of time.In 1966, Baker was severely beaten after a
gig in San Francisco, sustaining severe cuts on the lips and broken front teeth,
which ruined his embouchure. Accounts of the incident vary from that point on
Baker had to learn to play all over again with dentures.

Between 1966 and 1974, Baker mostly played flugelhorn and recorded music that could mostly be classified as early smooth jazz or mood music.

After developing a new embouchure Baker returned to the straight-ahead jazz that began his career, relocating to New York City and began performing and recording again, notably with guitarist Jim Hall. Later in the seventies, Baker returned to Europe where he was assisted by his friend Diane Vavra who took care of his personal needs and otherwise helped him during his recording and performance dates.

From 1978 until his death, Baker resided and played almost exclusively in Europe, returning to the USA roughly once per year for a few performance dates.

From 1978 to 1988 was Baker's most prolific era as a recording artist. However, as his extensive output is strewn across numerous, mostly small European labels, none of these recordings ever reached a wider audience, even though many of them were well-received by critics, who maintain that this was probably Baker's most mature and most rewarding phase.

Kenny's Flavor's

Kenny Dorham was born August 30,1924 in Fairfield.Texas one of the most active bebop trumpeter.

He played in the big bands of Billy Eckstine, Dizzy Gillespie, Lionel Hampton
and Mercer Ellington and the quintet of Charlie Parker. He was a charter member
of the original cooperative Jazz Messengers. He also recorded as a sideman with
Thelonious Monk and Sonny Rollins, and he replaced Clifford Brown in the Max
Roach Quintet after Brown’s death in 1956.

In addition to sideman work, he led his own groups, including the Jazz Prophets
(formed shortly after Art Blakey took over the Jazz Messengers name). The Jazz
Prophets can be heard on the 1956 Blue Note live album Round About Midnight at
the Cafe Bohemia.

Dorham’s style was on of smooth melodic full of warm tones and
expression. His technical skill where impeccable and delightfully
tasty. Some say he did not receive the respect he was due however i
believe maybe the media did not show him respect he was due but considering that he
preformed with the greatest jazz musicians of his time and of ours i
serious believe that many musicians did respect his talent and
musicianship. Kenny Dorham is one of those secrets of jazz
once you become a serious jazz aficionado you will discover the pearl inside the
clam and one of those names belong to a trumpet player
called
"Kenny Dorham" .

Clark Terry wasborn December 14, 1920 in St. Louis, Missouri nicknamed Mumbles, is an American swing and bop trumpeter, a pioneer of the fluegelhorn in jazz, educator, and NEA Jazz Master.

Clark Terry began his professional career in St. Louis in the early 1940s by playing in local clubs before joining a Navy band during World War II. Afterwards, he played with , Count Basie , Duke Ellington , and Quincy Jones . He also performed and recorded regularly both as a leader and sideman. In all, his career in jazz spans more than sixty years.

His years with Count Basie and Duke Ellington in the late 1940s and 1950s established him as a world-class jazz artist. Blending the St. Louis tone of his youth with contemporary styles, Terry’s sound influenced a generation. During this period, Terry took part in many of Ellington’s suites and acquired a lasting reputation for his wide range of styles (from swing to hard bop), technical proficiency, and infectious good humor. In addition to his outstanding musical contribution to these bands, Terry exerted a positive influence on musicians such as Miles Davis and Quincy Jones, both of whom credit Clark as a formidable influence during the early stages of their careers.

After leaving Ellington, Clark’s international recognition soared when he accepted an offer from the National Broadcasting Company (NBC) to become its first African-American staff musician. He appeared regularly for ten years on the Tonight Show sitting in with the Tonight Show Band led by Doc Severinsen, where his unique “mumbling” scat singing became famous when he scored a smash hit as a singer with his irrepressible “Mumbles.”.


Clark Terry album “Having Fun”, a perfect example of his humor. He also continued to play jazz with musicians such as J. J. Johnson and Oscar Peterson, and led a group with Bob Brookmeyer that achieved some popularity in the early 1960s. In the 1970s, Terry began to concentrate increasingly on the flugelhorn, from which he obtains a full, ringing tone. In addition to his studio work and teaching at jazz workshops, Terry toured regularly in the 1980s with small groups and performed as the leader of his Big B-A-D Band . His command of jazz trumpet styles are impressiven muted or unmuted.

From the 70’s through the 90’s, Clark performed at Carnegie Hall, Town Hall, and Lincoln Center, toured with the Newport Jazz All Stars and Jazz at the Philharmonic, and he was featured with Skitch Henderson’s New York Pops Orchestra.

WHEN THE WORLD DIZZY BOPPED

John Birks “Dizzy” Gillespie WAS born October 21, 1917 in Cheraw, South Carolina. He was a jazz trumpeter, bandleader, singer, and composer. he was one of the a major figures in the development of bebop. Nicknamed "Dizzy" because of his zany on-stage antics, Gillespie, a brass virtuoso, set new standards for trumpet players with his innovative, "jolting rhythmic shifts and ceaseless harmonic explorations" on the instrument during the 1940's period, which ushered in a definitive change in American Jazz music from swing to bebop.

The youngest of nine children, Dizzy's father was a pianist and band leader .
Dizzy's father kept all the instruments from his band in the family home and so
the future trumpet great was around trumpets, saxophones, guitars and his
father's large upright piano most of his young life. Dizzy's father died when he
was ten and never heard his youngest son play trumpet, although he did get the
chance to hear him playing around on the piano at a very early age.

In 1933, after graduating from a secondary school, Gillespie received a music scholarship to attend Laurinburg Institute, in North Carolina. He stayed there for two years, studying harmony and theory until his family moved to Philadelphia, Pennsylvania, in 1935. In Philadelphia, Gillespie began playing trumpet with local bands, learning Roy Eldridge's solos from records and radio broadcasts: it was in Philadelphia that he picked up his nickname of "Dizzy.". In 1937, "Dizzy" moved to New York and replaced Eldridge in Teddy Hill's Orchestra. After a couple of years Gillespie moved on to Cab Calloway's band in 1939.

In 1937, Gillespie met his future wife, Lorraine, a chorus dancer at the famed Apollo Theater: they were married in 1940 and remained together until his death. Gillespie worked with many bands during the early 1940's (Chick Webb, Fletcher Henderson, Benny Carter, "Fatha" Hines and Billy Eckstine's seminal band ) before teaming up with Charlie Parker in 1945. Their revolutionary band ushered in the bebop era and was one of the greatest small bands of the 20th century. An arranger and composer, Gillespie wrote some of the greatest jazz tunes of his era: songs such as "Groovin' High", "A Night in Tunisia" and "Manteca" are considered jazz classics today..

With his trumpet and its upturned, golden bell, goatee, black horn rim glasses and beret, Gillespie became a symbol of both jazz and a rebellious, independent spirit during the 1940's and 50's. His interest in Cuban and African music helped to introduce those music's to a mainstream American audience. When he died he was famous and beloved everywhere and had influenced entire generations of trumpet players all over the world who loved and emulated his playing and his always positive, upbeat, optimistic attitude.

THE LITTLE MAN WITH A BIG SOUND

When i was young learning to play there where many names i hear my father take about one that always mystified me was the name of "BIX" this was a unusual name i had never hear of and still haven't hear many people call that today Bix Beiderbecke here is a brief description of one of the early jazz great trumpeters.

Bix Beiderbecke was one of the great jazz musicians of the 1920's he was also a
child of the Jazz Age who drank himself to an early grave with illegal
prohibition liquor. His hard drinking and beautiful tone on the cornet made him
a legend among musicians during his life. The legend of Bix grew even larger
after he died. Bix never learned to read music very well, but he had an amazing
ear even as a child. His parents disapproved of his playing music and sent him
to a military school outside of Chicago in 1921 In 1923 Beiderbecke joined the
Wolverine Orchestra and recorded with them the following year.

Bix was influenced a great deal by the Original Dixieland Jass Band. In late 1924 Bix left the Wolverines to join Jean Goldkette's Orchestra, but his inability to read music eventually resulted in him losing the job.

In 1926 he spent some time with Frankie Trumbauer's Orchestra where he recorded
his solo piano masterpiece "In a Mist". He also recorded some of his best work
with Trumbauer and guitarist, Eddie Lang, under the name of Tram, Bix, and
Eddie. Bix was able to bone up on his sight-reading enough to re-join Jean
Goldkette's Orchestra briefly,before signing up as a soloist with Paul
Whiteman's Orchestra. Whiteman's Orchestra was one of the popular bands of the

1920's and Bix enjoyed the prestige and money of playing with such a successful band. In 1929 Bix's drinking began to catch up with him. His trumpet playing suffered and then he had a nervous breakdown while playing. Thena eventually went back to Davenport, Iowa to recover. He kept paying long after his breakdown.

Bix was never the same again. He returned to New York in 1930 and made a few
more records with a friend and under the name of Bix
Beiderbecke and his Orchestra. He move into a rooming house in Queens, New York
where he worked on his beautiful solo piano pieces "Candlelight", "Flashes", and
"In The Dark" Bix never recorded them). He died at age 28 in 1931 during an
alcoholic seizure. The official cause of death was pneumonia .

Theodore "Fats"Navarro

I often wonder where did Clifford Brown get his influence, after doing some research i discover that Fats Navarro was one of his biggest influences and if you listen to "Fats" you can hear Clifford playing thur him. Here is a brief look at Fats Navarro.

Fats Navarro was born Theodore Navarro in Key West, Florida on September 24th, 1923. his father was Cuban, African-American, and . As a child, Navarro had piano lessons, but then switched to
trumpet and tenor saxophone. While still in high school in Key West he
began to play professionally on the tenor saxophone, before switching
definitively to trumpet in 1941, A band on the road traveling north to
Cincinnati His main influences on trumpet until that time had been his
third cousin Charlie Shavers and then, more significantly, Roy
Eldridge, the harmonic link between Louis Armstrong and the beboppers of
he 1940s.In late 1943 Navarro joined Andy Kirk's band, and the presence of
Howard McGhee in the trumpet section brought a bebop influence to his
playing. His first recordings were In 1944, while the Kirk band was in
New York, Navarro sat in at Minton's (sometimes referred to as "the bebop
laboratory") In January 1945 he replaced Dizzy Gillespie, who was by
then a significant influence on him, in Billy Eckstine's band. At that
time this was the most modern and influential big band, having had
several notable members besides Gillespie, including Charlie Parker,
Dexter Gordon, and Art Blakey. In June 1946 Navarro left Eckstine,
choosing to work with Lionel Hampton in 1948) primarily in the New York
area. He acquired the nickname "Fats" because of his weight,
cherubic face, and high voice. Navarro married Rena Clark sometime
in the late 1940s and had one daughter. He died in New York City,
A few recorded solos with the Eckstine band exist, but most of
Navarro's work is in the small-band format favored by the beboppers; he
made more than 100 recordings primarily as a sideman with groups
led by Bud Powell, Charlie Parker, Tadd Dameron, Kenny Clarke, Coleman
Hawkins, and Dexter Gordon, among others. A small number of these
recordings are compositions by Navarro himself.
Navarro had a highly individual style, and was, along with
Gillespie, one of the leading bebop trumpeters of the 1940s. He had a
big, beautiful sound, quite different from Gillespie's, and
though he had a wide range (concert Fs above high C appear regularly in
his solos), he exploited the upper
register less than Gillespie. Very
long, clearly articulated phrases and a strong sense of swing
characterize his style. In these respects and in his general fluency
Navarro was a significant influence
on, most importantly, Clifford Brown, among many others. According
to Gillespie himself quoted in an
obituary by George Simon in Metronome (Oct. 1950), Navarro was
"the best all-around trumpeter of them all. He had everything a
trumpeter should have: tone, ideas, execution, and reading ability."

The Beginning

In the early days there was a trumpet player named Joe Oliver who is one of the most important figures in early Jazz. Joe had an array of improvisational styling that made him a great soloist that lead him to becoming a leader of his own band. He was the mentor and teacher of Louis Armstrong. Louis idolized him and called him Papa Joe. Oliver even gave Armstrong the first cornet that Louis was to own. Joe was famous for his using mutes, derbies, bottles and cups to alter the sound of his cornet. He was able to get a wild array of sounds out of his horn with this arsenal of home made mutes. Oliver started playing in
New Orleans around 1908 He often worked in bands around town and in 1917 he was being called the "King" . In 1919 he moved to Chicago and played in The Original Creole Orchestra He toured with the band, but when he returned to Chicago in 1922 he started the King Oliver's Creole Jazz Band . Oliver imported his protégé Louis Armstrong from New Orleans. The band first sessions around 1923 were a milestone in Jazz, introducing the playing of Louis Armstrong to the world. Unfortunately the Creole Jazz Band gradually fell apart in 1924. Oliver went on to record a pair of duets with the great pianist Jelly Roll Morton . In 1925 he became the leader of the Dave Peyton's band and moved the band to New York City in 1927. Oliver continued to record until 1931 he continued to tour the South with various groups, and settled in Georgia where he worked in a pool hall up until his death in 1938.