Fats Navarro
Early Background
The story begins in Key West, Florida where Theodore "Fats" Navarro was born of mixed Cuban-Black-Chinese parentage on September 24, 1923. His musical training began early with piano lessons at age six, but he did not start taking music seriously until he took up the trumpet at age thirteen. He became good during his high school years. He also played tenor saxophone and played briefly with Walter Johnson's band in Miami. Apparently Fats did not care much for Key West. He was once quoted as saying "I didn't like Key West at all. I'll never go back." So, after graduating high school, he joined Sol Allbrights's band in Orlando, so Fats traveled with him to Cincinnati, and took further trumpet lessons from an Ohio teacher. He then went on the road with Snookum Russell's Indianapolis orchestra. Russell's group, a band well known in the area in the 1940s, proved to be very good for Fats. It was a place where he developed, experimented, and made mistakes that no one would remember before heading on to the national stage. Fats stayed with Russell for about two years (1941-42) and became their trumpet soloist. Fats worked next with Andy Kirk and his Kansas City "Clouds of Joy." Here he made a friendship with trumpeter Howard McGhee.
Fats role in the Andy Kirk band explains this story retold by Billy Eckstine describing how Fats moved over to his band.
Dizzy Gillespie left my band in Washington, D.C. He told me to go over to hear Andy Kirk, because there was a fellow with Kirk named Fats Navarro. 'Take a listen to him,' said Dizzy, 'he's wonderful!' So I went out to the club, and the only thing Fats had to blow was behind a chorus number. But he was wailing behind this number, and I said to myself, 'This is good enough this'll fit.' So I got Fats to come by and talk it over, and about two weeks after that he took Dizzy's chair, and take it from me, he came right in ... Great as Diz is ... Fats played his book and you would hardly know that Diz had left the band. 'Fat Girl' played Dizzy's solos, not note for note, but his ideas on Dizzy's parts and the feeling was the same and there was just as much swing.
Eckstine's band was very successful, due to Eckstine's romantic vocals, and the most musically advanced voice.
Buds mother never did directly tell Bud who his father was, but she did give him a lot of hints. She would always look at this blue flyer. Across the top of this flyer were the words "LIMITED ENGAGEMENT", then written below this in smaller letters it said, "Direct from an S.R.O. engagement in New York City". Under that in big letters again it said, "HERMAN E. CALLOWAY and the Dusky Devastators of the depression!!!!!!" Next it said, "Masters of the New Jazz". Then in the middle of the paper was a blurry picture of a man standing next to a giant fiddle. This man was thought to be Buds father, Herman E. Calloway.
The “king of Western swing,” Bob Wills, was a prominent figure from the 1930s through 1950s. At at a young age he learned to play the fiddle and he and his father performed at dances and other social gatherings. He was exposed to other genres of music as a young boy such a blues, conjunto and mariachi, but it was the new sounds of jazz that inspired him to experiment with traditional country music. In 1929 Wills moved to Fort Worth, Texas, were he formed a band, the Wills Fiddle Band, which would soon change to Light Crust Doughboys. Their music was played was played on the Fort Worth radio station, KFJZ radio, and their unique sound quickly spread which is what the radio advertisers needed during the economic downfall. However, in 1933 Wills left the band and formed a new one called Bob Wills and his Texas Playboys and they toured together over the next forty years. In 1945 Wills appeared at the Grand Ole Opry and insisted that there be a horn and drum section on stage. The audience was surprisingly pleased with this unwanted change by the directors. Despite his somewhat strained relationship with Nashville, the local country music establishment formally recognized Wills and his important overall impact on country music when the Country Music Association Hall of Fame inducted him in 1968 (Hartman, 146). Bob Wills died in 1975, but was still a major influence in up and coming young country artists like Merle Haggard, Waylon Jennings, Willie Nelson, George Strait and Lee Ann Womack.
Carlos Santana Ryan Conroy All the world knows the special magic of Carlos Santana. Since 1966, he has led the group that bears his name, selling over 30 million albums and performing before an estimated 13 million people. In every performance, Carlos shares with his audience a personal communication that crosses all boundaries and differences. Carlos was introduced to traditional music by his father, Jose. An accomplished mariachi violinist and experienced musician, he taught Carlos the basics of music theory and gave him an understanding of the value of a note. Although Carlos' excitement for music would be sparked by his first experience, he quickly discovered the limits of its traditional form and wanted more. Carlos wanted to play the kind of music that was filling the radio waves and making people dance. Tijuana, 1955 the drastic change of moving from the small, quiet town of Autlan to the humming, thriving boom town of Tijuana brought a renewed hope and opportunity for a new life. Both for Carlos and his family. The eight-year old Carlos quickly left the violin for the guitar, studying and emulating the sounds of B.B. King, T-Bone Walker and John Lee Hooker. Soon he was being asked to join local bands like the T.J.'s, where he added a unique touch and feel to his own renditions of all the great songs of the 1950's. As he continued to play with different bands along the busy Tijuana Strip, he not Page Two only started to perfect his style and sound, but actually started bringing home enough money to really help his family.
Throughout the autobiographical narrative written by Gary Soto, many different literary elements are used to recreate the experience of his guilty six-year old self. Different elements such as contrast, repetition, pacing, diction, and imagery. Soto narrates this story as a young boy at a time when he seems to be young and foolish, Soto foolmaking mistakes, but at the same time hoping to learn from them. Soto uses each of these devices to convey different occurrences in the narrative.
In 1991 assemblyman Del Toro stated that, "The point of this conference is to say to you that you can do it too... You can influence how the government and how society goes on. And that's very important." Angelo Del Toro is a very good example that everything is possible in this world, if you believe in yourself that you can do it. However, for Angelo Del Toro it wasn't easy to become the leader that he became. It took him a lot of steps to get where he got. First, he started influencing people in his community, he moved to the city level, and later to the state level becoming an assemblyman for 20 years.
They were making music at the same time as other extremely successful musicians like the Rolling Stones, the Beatles, and Pink Floyd.
David Belasco was born in San Fransisco, California, on July 25,1853. Hisparents had come to California from London in the gold rush. Belasco grew upin San Fransisco and Victoria, British Columbia. His early education in a RomanCatholic monastery influenced his simple mode of dress and helped earn him the nickname Bishop of Broadway. He had some experience as a child actor, and from 1873 to 1879 worked in a number of San Fransisco theaters as everything from call boy and script copier to actor, stage manager, and playwright. He paid further theatrical dues in the time he spent as a "theatrical vagabond" (Belasco's term), acting in small theatrical companies trouping through the mining camps and frontier settlements of the Pacific Slope. He recited poetry, sang, danced, painted and built scenery, and played everything from Hamlet to Fagin in Oliver Twist and Topsy in Uncle Tom's Cabin. In 1879, with James A. Herne, his first important collaborator, he wrote the popular melodrama Hearts of Oak.
Freddie Fry is a walking encyclopedia of hard knocks, famous friends, and the good the bad, and the ugly that makes up this industry. He’s had the outrageous fortune to back legendary players such as Otis Rush and James Cotton while his live gigging alongside credits run the heavy gamut from Elvis Costello to B.B. King and A.C. Read.
Kenton was born in Wichita, Kansas on December 11, 1911, although he spent most of his youth in the Los Angeles area. He began studying piano and composition early with his mother and eventually with bandleader and pianist Earl "Fatha" Hines. Kenton was influenced by many different kinds of music other than jazz, including twentieth century composers Claude Debussy, Igor Stravinsky, and Bela Bartok. Once he was a little older, Kenton began playing around in the Los Angeles and San Diego areas, and formed his first band in 1941, beginning his career as a bandleader. Kenton's music is best organized into the different "eras" of the Kenton bands: Artistry in Rhythm (mid-1940s), Progressive Jazz (mid- to late 1940s), Innovations in Modern Music (early 1950s), New Concepts in Artistry in Rhythm (Contemporary Jazz) (early to mid-1950s), Orchestra in Residence (late 1950s), New Era in Modern Music (Mellophoniums) (early 1960s), Neophonic (mid-1960s), and Fusion (early 1970s). Each era had different elements which made it unique while still maintaining the inimitable Kenton sound. Kenton a...
At one point during the fighting there were 39 band leaders in the army. Glen Miller, whose infectious hits like “In the Mood” epitomized the war years, disbanded his own hugely successful [jazz] orchestra, enlisted, and formed an all-star air force unit that some believe was the best band he ever had – and died in 1944 when his airplane disappeared over the English channel.” With the capitol of many bandleaders declining It became inevitable that in order to progress, the jazz ensemble would have to become smaller. Musicians that were not enlisted, but out of work, began to meet up at local clubs and perform, and were often unpaid, but happy to at least be able to play with other musicians. By this time a major change in jazz was afoot, and a young trumpet player named Dizzy Gillespie formed his own small prototype group at the Onyx Club in New York.
Mariano Escobedo was a healthy man he was my Grandparents great great grandparent. He was a Mexican General from Mexico. He wanted to govern Mexico, he fought against dynasty and he won. Escobedo fought against the French Invasion in Mexico to govern Mexico. He became a great general who fought against Napoleon III (French.) In Mexico City airport and in Monterey his name is printed and also in some streets of difference parts of Mexico. Mexico had borrowed money from England, France and Spain. In 1861 representatives from this countries got together in London to find a way to get Mexico to pay this countries. Troops from this three countries went to Veracruz in 1862. They were welcomed from representative from Mexico. The general Juan Prim, from Spain accepted the way Mexico was going to pay little by little so as England. The representative from France is not accepted he wanted the money and ordered his troops to prepare to fight. The government of Benito Juarez organize the defense. He made in charge the general Ignazio Zaragoza to get to Puebla and fight with the French. They attacked each other in the " Fuertes de Loreto y Guadalupe. The troops of Zaragoza, helped from the Indians Zacapoaxtla. In 1862of Mat 5 they won against the French. The emperor from France, Luis Napoleon Bonaparte, wanted to extend his powers in America and in Asia. He dreamed to form a great empire. Mexico took advantage of that situation to peek an European emperor to govern Mexico and to stop the politic anarchy. Luis Napoleon made them recommend Fernando Maximiliano de Habsurgo, brother of the emperor Francisco Jose. Maximiliano accepted his embarkation to Mexico but with her wife, the princess Carlota Amalia de Belgica. Luis Napoleon send his army to wish napoleon luck. Austria and Belgica also send troops. The emperors arrived to Mexico at the end of 1864. In Veracruz, Puebla were great big welcomes. To confront the invaders, to the president Juarez formed a government itinerante, who traveled from the capital to the north border. From this places it continue the position of the millitar action from the armies from the North, West, command from
Many to this day aspire to be as good of players as the jazz legends of the 20’s and 30’s. Artists would take off in popularity and be known world wide, and often travel to different countries to spread their influence. Some of these jazz players were publicly recognized by such things as “Metronome Magazine” and other such outlets that increased their fame (“Berry Chu.” 2). Players who experienced such things would become huge celebrity icons and would create a large gathering of fans. It was also quintessential that they had this fame increase as every ounce of exposure aided them in the long run. However not all of those who played were as lucky. Some people’s skills with business would have “difficulties” which would limit the “band’s success” (“Berry Chu.” 2). It was not easy being a player or running a band;Ill planned actions would have dire consequences. Band leaders and even the players had to be smart with their money and their opportunities. Frequently many of the jazz players came from different backgrounds, in which they could of done a different profession. Players like Berry Chu, who was a “talented enough college football player”, could have gone through a different and much financially reassuring path (“Berry Chu.” 1). Being a Swing players was a risky endeavor; if you did not attract a large crowd with your playing, you were dead
enough to feed his growing desire for kinky sex. He was content to just watch
McLeese, Don. “The Spirit of a Rocker.” New York Times. 18 October 1987. Web. 11
at age four, and then eventually he was the lead singer and front man of the family band.