The Washington Post
DAVID "FATHEAD" NEWMAN "Life" HighNote
Friday, February 16, 2007; Page WE09
"I TRIED TO CHOOSE compositions that people who listen to my music would be familiar
with," reveals saxophonist-flutist David "Fathead" Newman in the liner notes to
his new standards collection, "Life." That explains the inclusion of such vintage
pop staples as "Autumn in New York," "I Can't Get Started" and "What a Wonderful
World." But Newman's remarks don't begin to address the album's fundamental allure:
It's not the tunes that matter so much; it's the tone, the unquestionably soulful
sound of a seasoned master.
Nowhere is that more apparent than when Newman is playing tenor, warmly singing through his horn on "Girl Talk," the album's opener. His alto sax turns on "Autumn in New York" and "Old Folks" are similarly persuasive and surely will delight many listeners who first became acquainted with the Texas-born reedman through his pivotal recordings with Ray Charles. Even when the song choices border on hackneyed, Newman manages to justify their selection; a lyrical, flute-limned arrangement of "What a Wonderful World" is a prime example.
The most enjoyable performances, however, are inspired by compositions that aren't so frequently performed, such as the album's title waltz, composed by the late pianist John Hicks (to whom this recording is dedicated) and John Coltrane's haunting ballad "Naima." Newman continues to attract younger players drawn to his deeply rooted sound. The lineup is particularly impressive this time around, with vibraphonist Steve Nelson, guitarist Peter Bernstein, pianist David Leonhardt, bassist John Menegon and drummer Yoron Israel providing plenty of color, nuance and drive.
--
Mike Joyce
CD Reviews from the May 2007 issue of Jazz Times
DAVID
FATHEAD NEWMAN
Life (HighNote)
David Fathead Newman, known for his gritty, Texas tenor solos with the Ray Charles band of the 1950s and 60s, is also a compelling, sexy ballad player, as this album, his eighth for HighNote, reiterates. He begins the album with Neal Heftis Girl Talk, an insinuating performance with plenty of room between phrases and the hippest of downward glissandi at the end of certain notes. This is one of four tenor saxophone tracksAlfie, Duke Ellingtons Come Sunday and John Coltranes Naima are the othersand Newman puts his sly, cool, bluesy stamp on each. On Naima, which rides on an inviting drum groove, he shows that you dont have to imitate Coltrane to score spiritually on one of his tunes.
Working with a tasteful, George Shearing Quintet-like rhythm section, Newman benefits from arrangements and colors that give the album classiness beyond a blowing session. Vibist Steve Nelson, guitarist Peter Bernstein, pianist David Leonhardt, bassist John Menegon and drummer Yoron Israel are his well-attuned accompanists. Solos are short and melodic, but you never get an impression of constraint or malaise from these players.
Old Folks and Autumn in New York, a couple of alto performances (alto saxophone was Newmans first instrument) bridge bebop and Texas earthiness. Three flute tracksthe title cut, I Cant Get Started and What a Wonderful Worldradiate the kind of blues feeling that has made him the most soulful flutist in jazz. The title track, an original waltz, is a tribute to the late John Hicks, the pianist on five of Newmans HighNote albums. Here, Newman employs a vigorous attack, exotic trills, rangy arpeggios, blues-tinged runs and a ripe vibrato to tell his story.
-- Owen Cordle



