All About Jazz

Home » Articles » Interviews

Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

450

David "Fathead" Newman: Keeper of the Flame

By

Sign in to view read count
I try to be humble. I like being part of a group which achieved great things and made people happy - like my whole experiences with Ray Charles.
Saxophonist David "Fathead" Newman is best known for his many years playing in Ray Charles' bands from 1954 to the mid '60s and again in the early '70s. He got his start in Dallas and acquired his trademark nickname at Lincoln High, when band director J.K. Miller called him "Fathead" after he bungled a note in class. He has had a fascinating career in music, performing with numerous legends, participating in memorable and historic recording sessions and putting out his own music—his life in music is rich and varied. AAJ-NY recently spoke with Mr. Newman at his bucolic home near Woodstock, New York.

All About Jazz: Let's start at the beginning. Where were you born and raised?

David "Fathead" Newman: I was born in a small town in Texas called Corsicana, on February 24th, 1933. The stop signs all said "whoa," it was so small. I was an only child and my family soon moved to the big city—Dallas.

AAJ: Your early musical influences?

DFN: My grandma had an old wind-up Victrola and my earliest exposure to music was early 78s you could buy for a few nickels. I listened to ragtime music—Scott Joplin, traditional jazz—Louis Armstrong. I liked the big bands—Basie, Glenn Miller, Jimmie Lunceford. And the church had a powerful influence on my musical upbringing. I still feel that spirit in my music to this day. As I got older, I greatly loved the music of Duke Ellington and Louis Jordan.

AAJ: When did you begin playing saxophone and when did you know music would become your career?

DFN: When I was in high school in Dallas, I got serious about music. That's where my band director first called me "Fathead"—I had the sheet music for a John Philip Sousa march upside-down and was playing the notes all wrong. The nickname stuck. Ray Charles didn't like that name; he thought it was derogatory. He called me "brains." But I knew early on that my career path would be music. I wanted to merge what I loved most with a way of making a living. As it turned out, that's what I did. I'm glad I switched from piano to saxophone when I was about 10 years old. Listening to people like Red Garland and Herschel Evans [from Denton TX] lured me into a world of music—it got into my soul. I didn't listen much to Bob Wills, but later on, I learned it because of Ray Charles, when he expanded his repertoire to country-and-western swing songs. But I liked grittier stuff—the blues and when I heard Dizzy Gillespie and Charlie Parker—bebop—that was it for me. That's the style I learned.

AAJ:: When did you meet Ray Charles?

DFN: In 1949, I was playing in T-Bone Walker's band. Ray was traveling with Lowell Fulson, who was big at the time. Ray was singing like Nat "King" Cole and Charles Brown back then. I liked his style and we became friends. When he formed his own band, he asked me to join.

AAJ: He had a reputation for being a tough taskmaster. Did you get along with him?

DFN: Oh yes! We always respected each other. I did my job. If you didn't do your job, you had a problem with Ray. He was focused and dedicated to perfection. For a man who could not see, he had incredible vision...both musically and from a business perspective. He was sharp as a tack. He helped my career greatly, by producing my first solo album in 1960, which had the hit "Hard Times."

AAJ: What else did Ray Charles teach you?

DFN: Working with Ray was like taking a course in music appreciation. Ray loved jazz, blues, gospel, country and western and classical. To him, music was like food—you don't eat the same thing every day. I was stuck in bebop when I met him; then, I learned how much other stuff could be explored. And I learned to appreciate life in general, from traveling around the world with Ray and the band.

AAJ: Did you like the movie Ray?

DFN: It captured the spirit of our lives accurately. The musical performances were done nicely. I was depicted a little wilder than I remember, but in youth you do some crazy stuff.

AAJ: You said the church guided your music, too?

DFN: That spirit is always with me. Always in my music. It's a fulfilling factor.

AAJ: Talk about some of the other musicians you have played with over the years...

DFN: Lots of them—I was a session player for Atlantic Records in the '60s. You can hear me on "Respect" by Aretha Franklin. I've played with Jimmy Scott, Donny Hathaway, Les McCann, Cornell Dupree, Herbie Mann—I played with Herbie just before he passed away, down in New Orleans, last year. I've played with Cal Tjader, Hank Crawford, Cedar Walton, who went to high school with me in Dallas. Jazz artists like Buster Williams and Louis Hayes. I played on an Allman Brothers session, too. And I recorded on that Queen Latifah album of standards which was a big hit last year. I was in the band from the Robert Altman film, Kansas City. That was fun.

Tags

comments powered by Disqus

CD/LP/Track Review
Live Reviews
CD/LP/Track Review
Read more articles
The Blessing

The Blessing

HighNote Records
2010

buy
 

The Blessing

Cristal Records
2009

buy
Diamondhead

Diamondhead

HighNote Records
2009

buy
Diamondhead

Diamondhead

HighNote Records
2008

buy
Introducing David Newman

Introducing David...

Warner Bros.
2008

buy
Life

Life

HighNote Records
2007

buy

Related Articles

Read Nik Bärtsch: Possibility in Paradox Interviews
Nik Bärtsch: Possibility in Paradox
by Geno Thackara
Published: April 24, 2018
Read Linley Hamilton: Strings Attached Interviews
Linley Hamilton: Strings Attached
by Ian Patterson
Published: April 17, 2018
Read Camille Bertault: Unity in Diversity Interviews
Camille Bertault: Unity in Diversity
by Ludovico Granvassu
Published: April 10, 2018
Read Chad Taylor: Myths and Music Education Interviews
Chad Taylor: Myths and Music Education
by Jakob Baekgaard
Published: April 9, 2018
Read Fabian Almazan: Multilayered Vision Interviews
Fabian Almazan: Multilayered Vision
by Angelo Leonardi
Published: March 30, 2018
Read Ryuichi Sakamoto: Naturally Born to Seek Diversity Interviews
Ryuichi Sakamoto: Naturally Born to Seek Diversity
by Nenad Georgievski
Published: March 27, 2018
Read "Helle Henning: Nordic Sounds" Interviews Helle Henning: Nordic Sounds
by Suzanne Lorge
Published: February 14, 2018
Read "Mica Bethea: Quintessential Band Geek" Interviews Mica Bethea: Quintessential Band Geek
by Barbara Salter Nelson
Published: January 29, 2018
Read "Jessica Lurie: In It For The Long Haul" Interviews Jessica Lurie: In It For The Long Haul
by Paul Rauch
Published: January 9, 2018
Read "Terri Hinte: Co-Creating the Image of Jazz" Interviews Terri Hinte: Co-Creating the Image of Jazz
by Victor L. Schermer
Published: June 13, 2017
Read "Julian Priester: Reflections in Positivity" Interviews Julian Priester: Reflections in Positivity
by Paul Rauch
Published: December 8, 2017