Nate Najar, a guitarist-composer and Charlie Byrd fan, is a talented nylon string fingerstyle musician. His impressive output over the past ten year has made him a worthy talent. Blues for Night People, The Nate NajarTrio Remembers Charlie Byrd is his most recent trio recording. This Florida-based guitarist pays tribute and shares a selection of songs that were either written by the late, great guitarist. Najar performs on Byrd’s 1974 Ramirez 1a classical guitar with nylon strings, which is the exact same instrument Andres Segovia used. Najar is accompanied by Tommy Cecil and Chuck Redd, a veteran D.C.-based rhythm duo, and performs a variety of songs, including romantic ballads, soaring swingers, and delicate, classically inspired numbers. This is his sixth appearance as a leader. It is evident that there is chemistry and interplay all through. This auspicious occasion saw these three like-minded spirits truly come together. Nate says, “It feels like we’re all playing together.” “And when you play with guys that great, why would you want it any other way?” Nate says. The trio opens with Najar’s arrangement of Byrd’s “Blues for Night People”, the title track from the 1957 Savoy album. Najar’s version moves effortlessly from hard-hitting Funk to a shuffle-swing groove with the leader showing off his warm tone and fluid chops. He explains that it’s a complete suite that fills the entire side of a record. “What we played was the main theme of the last section of the suite. Chuck and I created the tempo change. We also used different feel. Nate’s classical influences are evident on “Django”, John Lewis’ introspective, delicate composition composed for the Modern Jazz Quartet. Byrd recorded it on The Guitar Artistry of Charlie Byrd, a 1960 Riverside release. This beautiful piece features Najar’s amazing contrapuntal playing. I originally wrote that piece as two parts. The eighth note was for Chuck to play, and the melody on vibes for me. We did indeed record this arrangement on an older album. I wanted to get started playing it with the trio, so I had to figure how to play them both.” Antonio Carlos Jobim’s “Desafinado” is a familiar tune that Byrd has recorded many times, most notably with Stan Getz on Jazz Samba 1962. They glide through the familiar tune with ease. Redd’s fast brushwork sets the mood, while Cecil plays a richly-toned bass solo. Najar is a masterful single note player on this energetic samba. Redd switches to vibes for a faithful rendition of “Swing 59,” Byrd’s 1959 tribute to Gypsy Jazz Guitar Legend Django Reinhardt. This version features outstanding solos by all three members. Redd is still on vibes for Joao Gilio’s “O Pato,” also featured on Jazz Samba. Cecil’s powerful bass lines anchor this energetic samba. This makes it even more exciting when he stops playing and allows the guitar and vibes to engage in a lively conversation. Najar’s solo meditation on Duke Ellington’s “Single Petal of a Rose” is one of the most beautiful moments of the session. His rendition of Joaquin Rodrigo’s “Concierto De Aranjuez” is a sonic explosion of drama and beauty. Cecil alternates with Nate’s deep nylon string statements with the melody. Redd provides some enchanting brushwork while Redd performs a relaxed version of Richard Rogers’ “Have You Met Miss Jones”, and then the trio moves on to a more upbeat rendition of “Who Cares,” which Byrd originally recorded on 1962’s Mr. Guitar. He says that he prides himself on creating my own arrangements and adding my own personal stamp to tunes. But that was Charlie’s arrangement all along. “My vocalizations are different, but the tempo and basic idea of the song is the same as his.” They then enjoy Jobim’s “Someone to Light Up My Life,” before moving on to Sidney Bechet’s romantic “Si Tu Vois Ma Mere” (I Remember When), which Byrd recorded on 1994’s Moments Like This. The guitarist of the Bechet composition says, “It’s such an amazing, pure tune,” which Woody Allen used in his Oscar-winning film Midnight in Paris. It’s almost impossible to play with; you can just keep it down. Do not ruin the melody.” The collection is concluded with Najar’s gentle bossa nova “Remembering Charlie Byrd”, a fitting tribute for his greatest influence. Najar was a St. Petersburg native who studied guitar from the age of 17 to his 20s. After meeting Frank Mullen, a D.C. classical guitarist teacher Sophocles Papas, Najar made a significant leap in his development. Najar recalls that Frank had moved to Florida in early 1970s. He used to play the classical guitar in lessons, and he had encouraged me to buy one. When I first started to play it, I thought, “Wow, this thing is so much better than the other thing.” Byrd was an obvious source of inspiration during his development years. The guitarist at 30 years old says Charlie was his guy. He also mentions Gene Bertoncini, Romero Lubambo and others as influences. “I was familiar with Charlie’s music and loved his music. This was something I loved. It was a simple, elegant style that Najar played; it seemed just the right way to play it.” Although Najar is a descendant of Charlie Byrd, he has his own place in the history of nylon string fingerstyle jazz guitarists. “I want to get out of a classical thing. Charlie was born into a classical thing as a young man. He stopped playing the classical repertoire as much as he used to, even though he still practiced a lot. Charlie was a great classical player when he grew up. That’s why I’m trying to learn the repertoire and approach classical guitar. My practice these days consists of trying to do the Julian Bream thing. Tone production is something that I am working on. “I’m trying to emulate the classical guys in this technique. It really makes the guitar feel like a piano in your lap if your fingers are really working properly.” Najar’s fingers have been wildly expressive on his most recent auspicious appearance. He’s a great guitarist, whether he’s soloing or playing with a piano. Other recordings by Najar include Swinging With the Nate Najar Quintet, I’m All Smiles and Live at the Side Door. He also recorded Christmas with Nate Najar Trio. He scored a Top Ten hit with the R in 2011, but it was in a different context to his jazz-style nylon string work.
