David Newman spent his career as a jazz musician saddled
with the nickname “Fathead.” Early on, he did an album or two as “David Newman”
and found out that no one knew who he was, so it was back to “Fathead” for the
balance of his life. For me (and I suspect other listeners as well), the most
detrimental aspect of the name is that it puts Neman into the groove/funk/soul
category, which doesn’t really convey the breadth and depth of his artistry.
That’s not to say he wasn’t a wailing Texas tenor (and alto and flute) player—all
of the years he spent in the Ray Charles orchestra can testify to that. Personal
note: I saw Ray Charles when Fathead was with him, so I actually got to hear
him play, although without any memory of his playing.
Take Davey Blue, for instance. It’s got bluesy
swingers (Cellar Groove), gorgeous ballads (A Child Is Born),
Afro-Caribbean sounds (Amandla), jazz standards (Freedom Jazz Dance,
and dig the vibes and piano solos!), and a stunning version of Duke Pearson’s Cristo
Redentor. Newman is at home regardless of what he plays. The fine vibraphonist
Bryan Carrott (I’ve got to listen to more of him!), the great pianist Cedar Walton,
bassist David Williams, and drummer Kenny Washington all sound terrific, both
individually and collectively. I’m already on the lookout for more David
Newman, and you should be, too, Fathead or not.
Here's Cristo Redentor:
Freedom Jazz Dance:
