1943-1946, Vol. 1

1943-1946, Vol. 1

Track Listings

1. Wednesday Night Cap

2. Seven Come Eleven

3. Fare Thee Honey, Fare Thee Well

4. Speak Low

5. One O'Clock Jump

6. Peeping Through the Keyhole

7. Blowing the Blues Away

8. Air Mail Special

9. Opus X

10. Love Me or Leave Me

11. Long Long Journey

12. Long Long Journey

13. Doggin' Man Blues

14. Tell Me Pretty Baby

15. Epistrophy

16. 52nd Street Theme

17. Oop Bop SH-Bam

18. Rue Chaptal (Royal Roost)

Editorial Reviews
From Jazziz
Fats Navarro died in 1950 at the age of 26, but by that time he'd already established himself as a great trumpeter, a major influence on Clifford Brown, and, through Brown, many other trumpet players. On Fats Navarro, 1943-46, Fats is heard with Kirk, Eckstine, and an all-star bop group. Initially influenced by his cousin, Charlie Shavers, and by Roy Eldridge, Navarro was marked by Howard McGhee when he was with Kirk. McGhee's style was evolving from Eldridge-like to bop. His modern ideas impressed Fats, who began playing much like him, as is evident on their exchanges on "Basin Street Blues." On some of the Kirk titles, the annotator isn't sure who's soloing, but the producer decided to put everything in that might possibly contain a Fats solo. His better-safe-than-sorry attitude makes sense to me, and, anyway, the music's always fine. From Kirk, Navarro went with Billy Eckstine in '45. By that time, Fats had absorbed ideas from Gillespie and Parker into his style and soon would be a consummate artist. He used little vibrato a nd had everything: a big, bright tone, a tremendous range, technique, and power. Fats could eat up chord changes like Gillespie, but his playing was calm and somewhat less legato. Four Eckstine tracks here date from January and February 1945 Jubilee sessions. Fats is brilliant on "Love Me or Leave Me" and turns in impressive shorter spots on other tracks. Note also the laudable work by tenormen Ammons and Budd Johnson, and a lovely alto spot by John Jackson on "Opus X." From 1946 on, just about every solo Fats cut was a gem, despite his drug problems. He's heard in that year with Eckstine, with Kirk, and on a wonderful Kenny Clarke nonet date with Kenny Dorham, Sonny Stitt, and Bud Powell playing Gil Fuller arrangements. Navarro's solos are exciting, original, and impeccably constructed and executed.

1943-1946, Vol. 1,Fats Navarro,Masters of Jazz,Bop,Jazz,Pop

Jazz Music: 1943-1946, Vol. 1

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