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A B O U T   M E
ARTISTIC REFERENCE
Using his technical expertise in the guitar, Mr. Jose Angel Navarro has been able to bring to concert halls
throughout the world the sounds and the concepts of Afro-Cuban music.  His compositions on the Afro
concept have been honored and celebrated by the masters of the instrument as being a total innovation
in the sense of conceptual sonority and sound as a patrimony inside the composition for the guitar of
Latin America.  His personally developed technique is acclaimed by music’s best as being unique in the
world.  Included in this technique, is his ability to imitate the sounds of the traditional ceremonial drums on
the guitar strings by applying a left-handed muffled harmonics with simultaneous muted notes. While he
is classified by the guitar world as being one of the fastest guitar players in the world, he has an ability
to make his hands seem to be at a standstill.  One can appreciate the brilliance of his speed and technique
in all of his music whether he plays Classical, Flamenco, Jazz, Fusion, or New Age.

In his artistic career, he has participated as Master in 16 International Music Festivals of the Guitar.
Internationally he has shared the stage with, and in many occasion played together with, such masters
of the Guitar as, John McLaughlin, Stanley Jordan, Paco De Lucia, Vicente Amigo, Tomatito, Reimundo
Amador, Larry Coryell, Joan Bibiloni, Bireli, Lagrene, Javier Vargas, Ray Gomez, Luis Salinas, Strunz and
Farah among others.
BIOGRAPHY
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 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.
                 
                                                                    
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