David "Fathead" NEWMAN - Newmanism 1974
Jazz
Newmanism (1974)-3: One of Newman's best and most distinctive albums - and the second following Lonely Avenue (1972) featuring vibes master Roy Ayers, his star clearly in the ascendant at the time - includes Newman originals "Baby Rae," a blues very much in the Ray Charles "Genius After Hours" mode that pre-dates Newman's later "For Buster" (from Heads Up), "Newmanism" and "Brandy."
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As a teenager, David Newman played professionally around Dallas and Fort Worth with Charlie Parker's mentor, Buster Smith, and also with Ornette Coleman in a band led by tenor saxophonist Red Connors. In the early '50s, Newman worked locally with such R&B musicians as Lowell Fulson and T-Bone Walker. In 1952, Newman formed his longest-lasting and most important musical association with Ray Charles, who had played piano in Fulson's group. Newman stayed with Charles' band from 1954-1964, while concurrently recording as a leader and a sideman with, among others, his hometown associate, tenor saxophonist James Clay. Upon leaving Charles, Newman stayed in Dallas for two years. He then moved to New York, where he recorded under King Curtis and Eddie Harris; he also played many commercial and soul dates. Newman returned to Charles for a brief time in 1970-1971; from 1972-1974 he played with Red Garland and Herbie Mann. Newman parlayed the renown he gained from his experience with Charles into a fairly successful recording career. In the '60s and '70s, he recorded a series of heavily orchestrated, pop-oriented sides for Atlantic and in the '80s he led the occasional hard bop session, but Newman's métier was as an ace accompanist. Throughout his career, he recorded with a variety of non-jazz artists; Newman's brawny, arrogant tenor sound graced the albums of Aretha Franklin, Dr. John, and many others. It is, in fact, Newman's terse, earthy improvisations with Charles that remain his most characteristic work. Newman began a productive relationship with HighNote Records at the close of the 1990s, releasing an impressive series of albums, including Chillin' (1999), Keep the Spirits Singing (2001), Davey Blue (2001), The Gift (2003), Song for the New Man (2004), I Remember Brother Ray (a moving tribute to Ray Charles released in 2005), Cityscape (2006), and Life (2007). Diamondhead followed in 2008. Newman passed on January 20, 2009,
from pancreatic cancer.
By Chris Kelsey, All Music Guide.
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These two sessions from reed player David Newman -- originally issued by Atlantic in 1972 and 1974 -- accomplish the tough job of retaining musical integrity in the midst of clearly commercial leanings. The result is performances, which, at their best, are definitive R&B-driven soul-jazz from this era. Unlike too many of their contemporaries working this vein, Newman and producer Joel Dorn eschew the easy temptation to bolt on backup singers, canned string sections, and static, ersatz grooves. Instead, the music builds on lean, articulate rhythm sections to support accessible, melodic tunes, a few of which drift by in a forgettable haze, but an equal number of which have staying power and sustain interest. On tenor, Newman plays with an incisive, no-nonsense delivery that is tailor-made for these settings. On flute, he calls to mind the work of Yusef Lateef and Rahsaan Roland Kirk, both of whom were labelmates with Newman at Atlantic during this period. Vibist Roy Ayers is prominent both as an arranger and player. While he adds useful colors and textures to the rhythm section, as a soloist his work is busy. There are some classic, cavernous, chiming Fender Rhodes sounds from Pat Rebillot, along with rubbery, in-the-pocket electric bass from Ron Carter. Cornell Dupree's wah-wahed rhythm guitar is another welcome ingredient in the mix. The highlights include the intense funk of Ayers' Fire Weaver and his strutting Foxy Brown; Rebillot's Song for the New Man, a flute feature; and Newman's own Newmanism, the most straight-ahead track on the set. It is on this track that Newman's commercial appeal and musical integrity are in perfect equilibrium, a state attained by only a few of his contemporaries, Grover Washington, Jr. and Stanley Turrentine being the two most notable.
By Jim Todd, All Music Guide
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David Newman- Flute, Sax (Alto, Tenor),
Roy Ayers- Vibes
Pat Rebillot- Organ
Ron Carter- Bass
Andrew Smith- Drums
Roy Brooks,Armen Halburian- Percussion
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01. Baby Rae (06:50)
02. Song for the New Man (04:59)
03. Violet Don't Be Blue (05:00)
04. Foxy Brown (04:58)
05. Newmanism (05:36)
06. Sweet Tears (05:25)
07. Let Me Know (05:52)
08. Brandy (06:05)
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