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| B i o g r a p h y |
Jose Angel Navarro was born in Güines, a small southern town in Havana province, Cuba. He grew
up within an ordinary, simple and relatively uneducated family, with no precedents that any of his
ancestors were previously dedicated to music professionally. Nevertheless, Navarro had an
inclination towards music and art in general, listening intuitively to Jazz, Classical and Instrumental
music. From those very early years of his childhood, Navarro had a strong desire to play musical
instruments. They all became his favorite toys. He used to imitate, by ear, the melodies he heard
on the Radio and TV. They were serial and soap opera musical themes, so he had the chance to
up within an ordinary, simple and relatively uneducated family, with no precedents that any of his
ancestors were previously dedicated to music professionally. Nevertheless, Navarro had an
inclination towards music and art in general, listening intuitively to Jazz, Classical and Instrumental
music. From those very early years of his childhood, Navarro had a strong desire to play musical
instruments. They all became his favorite toys. He used to imitate, by ear, the melodies he heard
on the Radio and TV. They were serial and soap opera musical themes, so he had the chance to
listen to them very frequently. For that reason he could remember them and
subsequently, he tried to play them on the musical instruments he used to have
handy by that time. Generally, he was inclined to melodic musical instruments
such as, the saxophone, the accordion and the piano or the guitar. Of course,
they were just toys at the beginning, until finally, one day when he was around
eight years old, a guitar, a real one, came into his hands. In a small country town
such as Güines, it was, and still is, easier to find a guitar, than a woodwind
instrument, such as a Bassoon or an Oboe. The guitar is also a very popular
musical instrument used on traditional Country Cuban music, and there were
several musical groups playing that kind of music at that time.
subsequently, he tried to play them on the musical instruments he used to have
handy by that time. Generally, he was inclined to melodic musical instruments
such as, the saxophone, the accordion and the piano or the guitar. Of course,
they were just toys at the beginning, until finally, one day when he was around
eight years old, a guitar, a real one, came into his hands. In a small country town
such as Güines, it was, and still is, easier to find a guitar, than a woodwind
instrument, such as a Bassoon or an Oboe. The guitar is also a very popular
musical instrument used on traditional Country Cuban music, and there were
several musical groups playing that kind of music at that time.
His hometown, Güines, is one of the most well known towns in Cuba for its
tradition of preserving Afro Cuban folk music, and it was also an excellent and
important source for musicians that had transcended Cuban frontiers. Listening
regularly to the sound of the “ceremonial and traditional drums”, Navarro had
acquired a special kind of taste for the complex and dense polyrhythmic beats
that were growing inside of him; but there was a peculiarity. He was not interested
in learning how to play the so-called “ceremonial drums”. Navarro wanted to play
the guitar. So, he started to familiarize himself with the guitar, with the intention of
translating the beats and sounds of the “ceremonial drums” to the guitar. In an
intuitive and self-taught manner, he developed and improvised a methodology
that today gives shape to his works based on Afro Cuban influences.
Navarro studied Civil Engineering at the University of Havana, but in spite of his
strong interest in music and art, he could not study music formally because there
was no music school near his home, and besides that, he needed a kind a
“guarantor” to be able to join one of these music schools. However, he stayed
linked to and identified with bands, music festivals, and the cultural movements in
regular schools during his years in elementary school, high school, college and
finally at the University of Havana. That allowed him to meet many people linked
to the artistic world that shared with him their personal experiences and advised
him on his art.
tradition of preserving Afro Cuban folk music, and it was also an excellent and
important source for musicians that had transcended Cuban frontiers. Listening
regularly to the sound of the “ceremonial and traditional drums”, Navarro had
acquired a special kind of taste for the complex and dense polyrhythmic beats
that were growing inside of him; but there was a peculiarity. He was not interested
in learning how to play the so-called “ceremonial drums”. Navarro wanted to play
the guitar. So, he started to familiarize himself with the guitar, with the intention of
translating the beats and sounds of the “ceremonial drums” to the guitar. In an
intuitive and self-taught manner, he developed and improvised a methodology
that today gives shape to his works based on Afro Cuban influences.
Navarro studied Civil Engineering at the University of Havana, but in spite of his
strong interest in music and art, he could not study music formally because there
was no music school near his home, and besides that, he needed a kind a
“guarantor” to be able to join one of these music schools. However, he stayed
linked to and identified with bands, music festivals, and the cultural movements in
regular schools during his years in elementary school, high school, college and
finally at the University of Havana. That allowed him to meet many people linked
to the artistic world that shared with him their personal experiences and advised
him on his art.
The most fundamental characteristic of Jose Angel Navarro is that he has been able to
take to the concert halls through out the world, the sounds and the concept of Afro Cuban
music, as well as his stellar technique on the guitar. His guitar technique has been
acclaimed by music’s best as being unique in the world. His most impressive quality is that
which he can imitate the sounds of the traditional ceremonial drums on his guitar strings.
The international guitar community as being one of the fastest in the world classifies his
guitar technique, a left-handed muffled harmonics with simultaneous muted notes,
combined with his ability to make his hands seem to be at a stand still. You can appreciate
his speed and technique in all of his music whether he plays Classical, Jazz, Fusion, New
Age or Flamenco.
In his artistic career, Navarro has participated as Master Guitarist in sixteen International
Music Festivals for the Guitar. Internationally he has shared the stage with, and on many
occasions played together with such masters of the guitar as, John McLaughlin, Stanley
take to the concert halls through out the world, the sounds and the concept of Afro Cuban
music, as well as his stellar technique on the guitar. His guitar technique has been
acclaimed by music’s best as being unique in the world. His most impressive quality is that
which he can imitate the sounds of the traditional ceremonial drums on his guitar strings.
The international guitar community as being one of the fastest in the world classifies his
guitar technique, a left-handed muffled harmonics with simultaneous muted notes,
combined with his ability to make his hands seem to be at a stand still. You can appreciate
his speed and technique in all of his music whether he plays Classical, Jazz, Fusion, New
Age or Flamenco.
In his artistic career, Navarro has participated as Master Guitarist in sixteen International
Music Festivals for the Guitar. Internationally he has shared the stage with, and on many
occasions played together with such masters of the guitar as, John McLaughlin, Stanley
www.joseangelnavarro.com
Copyright
2006 Hands of Colibri Publishing. All rights reserved
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Biography
It was not until 1992 that Navarro began to work as a professional musician, thanks to Maestro Leo Brouwer, guitarist
and composer, who heard his works on a cassette player. Navarro was able to gain the support of guitar maestro
Leo Brouwer who encouraged him to continue and to develop his distinctive approach to the instrument. He advised
Navarro to join the National Concert Music Center as a concert guitarist. It was then that he started his professional
musical career. . In 1993 Navarro was offered a recording contract and recorded his first CD for Ashe’ Records,
entitled “MIEL”. This much-acclaimed first CD made it possible for Navarro to be invited to many International Music
Festivals.
and composer, who heard his works on a cassette player. Navarro was able to gain the support of guitar maestro
Leo Brouwer who encouraged him to continue and to develop his distinctive approach to the instrument. He advised
Navarro to join the National Concert Music Center as a concert guitarist. It was then that he started his professional
musical career. . In 1993 Navarro was offered a recording contract and recorded his first CD for Ashe’ Records,
entitled “MIEL”. This much-acclaimed first CD made it possible for Navarro to be invited to many International Music
Festivals.
Jordan, Paco De Lucia, Vicente Amigo, Tomatito, Reimundo Amador, Larry Coryell, Joan Bibiloni, Bireli, Lagrene,
Javier Vargas, Ray Gomez, Luis Salinas, Strunz and Farah and many other notable musicians. His compositions on
the “Afro Cuban” concept have been honored and celebrated by the masters of this instrument as being totally
innovative.
For the last 12 years, Navarro has lived in several Europe’s countries where he has been able to develop an
international career, performing his unique guitar style for many audiences around the world and becoming a huge
hit in Europe. At the present time, Navarro resides in the United States of America, in South Florida. He is
continuing his artistic career with the best wishes of offering and showing his unique and distinctive style of music to
American and International audiences alike.
Navarro has composed many music for Cinema, Television program, Radio amount others and he has important
discography like: "MIEL", "SALE EBA ASHE", "MANO CON FUSA", "RETOVERSIONES", "ROUND TRIP",
"AFRO 6 ual", "BEYOND", "CONNECTED", "MY METAL HEART", "HEAVENLY DREAMS" and actually, he is
recording his new production: "Third Eye".
Javier Vargas, Ray Gomez, Luis Salinas, Strunz and Farah and many other notable musicians. His compositions on
the “Afro Cuban” concept have been honored and celebrated by the masters of this instrument as being totally
innovative.
For the last 12 years, Navarro has lived in several Europe’s countries where he has been able to develop an
international career, performing his unique guitar style for many audiences around the world and becoming a huge
hit in Europe. At the present time, Navarro resides in the United States of America, in South Florida. He is
continuing his artistic career with the best wishes of offering and showing his unique and distinctive style of music to
American and International audiences alike.
Navarro has composed many music for Cinema, Television program, Radio amount others and he has important
discography like: "MIEL", "SALE EBA ASHE", "MANO CON FUSA", "RETOVERSIONES", "ROUND TRIP",
"AFRO 6 ual", "BEYOND", "CONNECTED", "MY METAL HEART", "HEAVENLY DREAMS" and actually, he is
recording his new production: "Third Eye".
