Dallas native David "Fathead" Newman is not only heralded as one of the "Texas Tenors" -- a notable category of jazz saxophone players hailing from Texas. He’s also highly regarded for his outstanding solo work with many famous R&B artists. But on top of all that, he’s an accomplished composer and flute player.

Performing in the Terrace Theater at the Kennedy Center, Newman demonstrates his versatility with unique renditions of classics and some of his own compositions. His abundant offerings include everything from bebop and soulful blues to gentle ballads and R&B. He kicks off the show with "Softly, As in a Morning Sunrise", and nearly raises the roof.

Early in the program, Billy pops the unavoidable question: Where did Newman get the nickname "Fathead"? It turns out that the name indirectly refers to his excellent ear and capacity for memorizing music. Newman’s high school music director demanded that students learn to read sheet music rather than memorize songs. One rehearsal, he noticed Newman’s music was upside down on the music stand, though he was playing his part without a hitch! Reprimanding Newman, he said, "You Fathead! You’re supposed to read the music, not memorize the music!"

Despite his excellent ear and other natural abilities, Newman claims that hard work is an essential element to his success as a musician. He explains how he worked to develop his unique style on the tenor sax, having played both alto and baritone before making this transition. He also talks about saxophonists who influenced him, including Buster Smith, whose fast fingering technique also influenced Charlie Parker.

Newman started with Ray Charles’ band in 1954 on the baritone sax. When there was an opening for a tenor, he eagerly approached Charles about filling it. He says, "the tenor was a very popular instrument, and it was getting all of the solos." With that move he eventually would join the famous ranks of the "Texas Tenors", a term that describes a "big wide open sound" as much as the instrument and the musicians’ place of origin.

Billy asks Newman more about working with Ray Charles. In response, Newman claims Charles’ arrangements and vocal style influenced his playing. Billy also notes Charles’ influence on many others artists, including himself. At Billy’s request, Newman plays a grooving rendition of one of his own compositions on the flute. Titled "Cousin Esau", Billy says the song reminds him of Charles, and exemplifies his influence on Newman.

Perhaps working with Charles contributed to Newman’s ability to accompany great vocalists, particularly as a soloist in the R&B context. His playing has been sought out by R&B greats, including Jimmy Scott, B.B. King, and Lou Rawls. More recently, he accompanied Natalie Cole on the record Unforgettable.

Back on sax, Newman does his own piece, "Under A Woodstock Moon", the title track from his latest record. He follows up with a beautiful rendition of Duke Ellington’s ballad, "Prelude to a Kiss". Then Newman and Billy Taylor’s Trio round off a full-course performance with a hot rendition of Horace Silver’s "Cooking at the Continental".