McGhee-Navarro Boptet – October 11 1948
Richard Cook - Blue Note Records: The Biography – Secker and Warburg 2001
The session by the McGhee-Navarro Boptet was cut 11 October 1948. Although there is an almost-novelty element to the two-trumpet front line, an instrumentation which has often been resolved into mere acrobatics in post-swing small groups, the pyrotechnics are actually quite contained, and driven by the adeptness of the two players. 'Boperation' is a typically convoluted bebop line which the trumpets swoop through, and is perhaps the least convincing thing on the date, but the two takes of 'Double Talk', each split over two sides of a ten-inch 78 for release, are superbly buoyant. The two horns amiably run rings round each other, especially in three choruses where they execute sixteen-, eight- and four-bar trades as the climax of what was effectively Part Two. If Navarro probably tops McGhee (they had earlier worked together in the brass section of the Andy Kirk Band), there's little in it, a spirited but basically friendly fracas.
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| Fats Navarro, Howard McGhee, Milt Jackson |
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| Fats Navarro, Howard McGhee at the 11 October session |
The Record Changer April 1949
The old cutting session as such is a thing of the past, but in its place comes a little thing called a chase, partly derived from the famous Dexter Gordon-Wardell Gray Dial record; it involves much the same thing, actually, as the jazz battle idea, but there's a curious calm, old-school-tie diffidence about the way it's done these (lays. Nobody sashays up to the bandstand muttering: "Man, I'm gonna blow this guy off the stand," but the end result is the same, even if it's done with a gesture saying: "'Well, top that, old chap." Cool jazz, this is. At least 40 half-hipped devotees will chuckle appreciatively at your every fluff, anyway, even if your face is stone-cold. your feet tap not a lick, and your horn is aimed demurely at the floorboards. So a chase may include four or five men laconically linking four-bar phrases together, with a detachment wonderful to see, even though in their cool way they are carving each other to ribbons. And much can be said in four bars, enough to dishearten the hardiest egomaniac alive.
What I haven't exactly been leading up to is the fact that, while it is fairly common to see two or more tenors chasing each other. a couple of trumpet players so disposed are a genuine rarity. We have such right here. Fats Navarro and Howard McGhee are two of the best, and they are in top form on this date, which also features the exceptionally tasty alto of Ernie Henry (buried and practically unheard in Dizzy's band) and the oddity of Milt Jackson's being on piano. The best word to describe this record is "expert." McGhee and Navarro embroider each other's efforts with infinite skill, and to hear so much horn played on one disc, with so few lapses of technique or taste. is a real pleasure. Fats' tone is appropriately the fatter, but their styles are surprisingly similar, sometimes fusing into one, with Henry's alto solo an excellent contrast in sound and conception. This is a hell of a good record. even for tenor lovers. (Blue Note 557) (P.B.)
The Record Changer July 1949 Volume 8 No. 7
It has become difficult to find a record not featuring Curley Russell on bass, so the fact that he's aboard all three of these is almost altogether fitting and proper.
This is the mate to the very successful Double Talk by the same group; the boys were in fine fettle that day, without a doubt, especially trumpeters McGhee and Navarro. By way of casually demonstrating their virtuosity, on Boperation they play a fantastically intricate unison part—toss it off like peeling a grape. There's something about the confidence and dash with which these men go about their work that makes me wonder where they're going to be two years from now (l may wonder idly where I'll be two years from now, too, but it's not the same thing), because the possibilities are pretty limited; the fact that, right now, McGhee plays specialties in front of the Machito band may be the handwriting on the wall. Fats took a fling at a big band (Goodman), which was hardly a triumphant experience for him, and he has gone about as far as he can go with what's around him.; it must be a bit disconcerting to stand on top of a heap and not find God waiting for you with outstretched hand.
I don't think either one has the instinctive savvy to make a go of his own group, as Dizzy did—neither is salesman enough to do it right. Maybe Bop City will give fellowships one of these days.
Back to the record: neither side is as exciting as Double Talk, but it's still a good job; The Skunk offers a really unique piano effort by Milt Jackson, and very cool, melodic solos by the aforementioned Messrs. McGhee and Navarro, who have some delightful breaks on the other side, as well. Just as was the case on Double Talk, it's sometimes hard to tell them apart. (Blue Note 558) (P.B. [Paul Bacon])
Ira Gitler – Fats Navarro Prime Source Liner Notes BN-LA-507-H2 1975
Although recorded for 78rpm there is a "battle" of the trumpets in the October 1948 date which brings the old Andy Kirk section-mates, Navarro and Howard McGhee, together. Russell and Clarke are again on hand, as is Ernie Henry, with Milt Jackson doubling piano and vibes. Milt had arrived in New York from Detroit with Dizzy Gillespie's group and, after playing with his big band, had worked with McGhee, Dameron and Monk, all as a vibist. Before joining the Modern Jazz Quartet in 1953, he again played with Dizzy, on piano as well as vibes. His piano style is deliberate and percussive, not unlike his vibes work but with some Monkish touches.
McGhee, after Kirk, had furthered his reputation with Coleman Hawkins, led his own group and starred with Jazz at the Philharmonic. Although capable of high-note technics, he stays more in the middle range in these performances, Maggie, like Jackson and Clarke, is one of the bebop survivors, not a small accomplishment.
Double Talk opens with a vamp figure that leads into a bright line and opening choruses by Fats and Howard in that order. Then each takes 16 bars, Jackson and Henry solo before the co-authors return for more 16s, 8s and 4s with Fats again the lead-off. They end with the vamp figure but no theme.
The alternate Double Talk has the same format except they use eight bars of theme before the vamp in the out chorus. The rapport between the trumpets is marvelous. Listen to the way Maggie answers Fats' screams in the second 8 of the last round of 4s.
Carl Woideck - The Complete Blue Note And Capitol Recordings Of Fats Navarro And Tadd Dameron
One unusual aspect of Fats Navarro’s career is the fact that he managed to record as co-soloist with nearly every important bebop-era trumpeter, a sign of how respected and sought-after he was. In 1946, Navarro recorded twice with a small group that also included trumpeter Kenny Dorham. In 1949, Fats, Miles Davis and Dizzy Gillespie all soloed on a Metronome All-Stars date, an excellent opportunity for the listener to hear Gillespie, the source of modern trumpet style, and two of his disciples. But by far the most substantial recorded collaboration between Fats and another trumpeter was the “McGhee/Navarro Boptet” session for Blue Note (October 11, 1948). Since their days together in the Andy Kirk big band, both trumpeters had found their own styles. McGhee retained more traces of Roy Eldridge (especially in the broadness of his tone and more rapid vibrato in the lower register), but it was more independent of Dizzy Gillespie in style. Navarro was more influenced by Gillespie (and of course Charlie Parker) and had developed a more compact tone and a crisp articulation which were particularly agile in fast passages.
The group recorded three selections, two of conventional three-minute length and one of double length to fill both sides of a 78 r.p.m. record. Joining McGhee and Navarro were alto saxophonist Ernie Henry, pianist/vibraphonist Milt Jackson, and two musicians drawn from Tadd Dameron’s Royal Roost group, bassist Curly Russell and drummer Kenny Clarke. “The Skunk” (probably a reference to “The Squirrel”) is a 12-bar riff blues in Db by McGhee and Navarro. Fats solos before Milt Jackson’s piano solo, and McGhee solos after. It would be difficult to say whether the LP master (track one on this CD) or the 78 master (track four) is superior; the trumpeters are quite consistent, and both takes have fine moments. In between the two versions of “The Skunk” are two takes of Fats Navarro's ABCA-formed composition “Boperation.” Fats had written some tricky double-time passages which the trumpeters execute more tightly on the alternate take. However, more inventive solos on the master take may have given that version the nod for the release. Milt Jackson is heard piano at the beginning and end. Howard McGhee took over the piano bench in time for Jackson’s vibes solo.
Among the soloists, Navarro and McGhee split the first 16 bars in that order (almost seamlessly on the master take, more clearly on the alternate; the original LP and previous CD liner notes incorrectly listed Fats as taking all 16).
Later, Navarro, Henry and McGhee trade fours in that order.
These exchanges were just a warm-up for the trumpet fireworks heard on McGhee and Navarro’s double-length “Double Talk.” To lead off, Navarro and McGhee in that order take one chorus each of the 32-bar AABA form, followed by 16 bars each in the same order. Later, they return in the same order for one chorus of 16-bar trades, a chorus of 8-bar trades and a chorus of 4-bar trades. These exchanges are the high point of the McGhee-Navarro collaboration. Their styles are similar enough to foster competition and different enough to lend variety. With Navarro in the lead slot, McGhee has his hands full responding to and trying to top his former protégé. In comparing the two versions, the trumpeters are a little more tasty and cagey in the master take, and a bit more aggressive and showy in the quicker take. Luckily, we have both versions to savor this friendly battle.
Down Beat 14 January 1949 Volume 16 Issue 1 Other than piano and alto solos at the beginning of side two, this is entirely for trumpet men. McGhee and the dextrous Fats open it with a unison chorus, then go into a bop duet, then switch choruses up to a chase at the end. Since McGhee reverts to the upper regions only occasionally on these sides and, in addition, plays better than he has on most current releases, it is sometimes surprisingly difficult to tell who playing what chorus. It's a safe guess, however, that Navarro plays the solo chorus, and it will bear out feeling of many boppists that this great trumpet man is the equal or superior of most of the finest modern musicians. The flow and freshness of his solo work is really a thing of beauty. He rarely misses, almost never fills in a blank moment with something obvious, and his creative ability is phenomenal. The fact that McGhee, who can play good and bad in the same evening, keeps up with the pace that Fats is quite a tribute to his ability, too. There is no screaming on sides, no smearing and few high ones—just marvelously facile improvising by a couple of good men. (Blue Note 557)
Down Beat 20 May 1949 Volume 16 Issue 9
These four sides were made by what are the two best bop trumpet men in the country for my money.
McGhee is fleeter, Navarro has better tune and perhaps more consistency. In any event, some good
blowing is here and listening. Much the same holds true for Boperation, save that Navarro sounds even better on this side. (Blue Note 557, 558)
Session Information
Howard McGhee, Fats Navarro, trumpet; Ernie Henry, alto sax; Milton Jackson, vibes, piano; Curley Russell, bass; Kenny Clarke, drums.
Apex Studios, NYC, October 11, 1948
BN336-0, The Skunk, rejected
BN336-1, The Skunk (alt), Blue Note BLP 1532, BN-LA507-H2
BN337, Boperation, rejected
BN337-0, Boperation, rejected
BN337-1, Boperation, Blue Note 558, BLP 5012, BLP 1532, BN-LA507-H2
BN337-2, Boperation (alt)
BN336-2, The Skunk, rejected
BN336-3, The Skunk, Blue Note 558, BLP 5012
BN338-0, Double Talk, Blue Note 557, BLP 5004, BLP 1531, BN-LA507-H2
BN339-0, Double Talk (alt), Blue Note BLP 1532, BN-LA507-H2
BN336-4, The Skunk, rejected
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