Art Farmer

This delightful LP features Art Farmer with a large orchestra not long after he switched from trumpet to flügelhorn. Oliver Nelson's arrangements provide great backdrops for the leader, as do the mix of dependable studio musicians and outstanding jazzmen assembled for the three sessions, including Tommy Flanagan, Phil Woods, Clark Terry, and Jim Hall, to name a few. The choice of material is inspiring: a snappy "Raincheck," and Farmer's moody "Rue Prevail," and a relatively (then) new work by John Coltrane, "Naima," which turns into a richly textured tour de force in the hands of Farmer & co.

One of the top hard bop contingents of the '50s and '60s, the Art Farmer and Benny Golson co-led group known as the Jazztet featured some of the best original charts and soloing of the entire era. While the group was only in existence between 1959-1962, its excellent reputation could rest on this stunning disc alone. Cut in 1960, the ten-track date features four of Golson's classic originals ("I Remember Clifford," "Blues March," "Park Avenue Petite," and "Killer Joe") and one very fetching Farmer-penned cut ("Mox Nix"). The rest of the standards-heavy mix is given the golden touch by the sextet. And what a combo this is – besides Farmer's svelte trumpet lines and Golson's frenetically vaporous tenor solos, one gets a chance to hear a young but already very accomplished McCoy Tyner, the tart and mercurial trombonist Curtis Fuller, and the streamlined rhythm tandem of Addison Farmer and Lex Humphries. An essential hard bop title.

Modern Art is the prelude recording for Art Farmer prior to his partnership with Benny Golson in the Jazztet, and also foreshadows the classy, tasteful inventiveness that group brought to the modern jazz world two years after this 1958 session. Pianist Bill Evans is in here, just before his pivotal work with Miles Davis on the classic album Kind of Blue, and was the table setter for McCoy Tyner's membership in the Jazztet. Brother Addison Farmer on bass and the great drummer Dave Bailey round out this sterling quintet that specializes in playing music with a subtle approach, which is neither tame nor conservatively lazy. Included on this date is the great Junior Mance tune "Jubilation," perfectly understated in a light gospel, soul-jazz, tuneful melody with both horns wonderfully matched up in balanced unison, side by side.

During a career that spanned close to a half century, Art Farmer was well-known for his consistency as a soloist and a bandleader. This series of studio sessions from 1960, with pianist Tommy Flanagan, bassist Tommy Williams, and drummer Albert Heathe, find the trumpeter in great form, with the usually impeccable accompaniment one expects from Flanagan. Many of the rich ballads featured, including "So Beats My Heart for You," "Goodbye Old Girl," and "Younger Than Springtime," have fallen out of favor in the early 21st century, but Farmer's impeccable performances of these chestnuts sound timeless. A slightly jaunty take of Benny Golson's "Out of the Past" and a spirited rendition of "The Best Thing for You Is Me" also merit attention.

Two of trumpeter Art Farmer's earlier sessions as a leader are reissued on this CD in the OJC series. Farmer teams up with an all-star quintet (which includes tenor-saxophonist Sonny Rollins, pianist Horace Silver, bassist Percy Heath and drummer Kenny Clarke) for four songs and dominates a quartet (with pianist Wynton Kelly, bassist Addison Farmer and drummer Herbie Lovelle) on six other tunes. Farmer's sound is lyrical even on the uptempo pieces and he is heard throughout in his early prime. Highlights include "Soft Shoe," "I'll Take Romance," "Autumn Nocturne" and an uptempo "Gone with the Wind." One should note that the programming differs from what is listed, with "Soft Shoe" (which should have been the opener) actually appearing fifth and the songs listed as appearing second through fifth moving up to first through fourth. Despite that flaw, the music is quite enjoyable and a must for 1950s bop collectors.

The Jazztet had been in existence for two years when they recorded what would be their final LPs, Here and Now and Another Git Together. The personnel, other than the two co-leaders, flugelhornist Art Farmer and tenor-saxophonist Benny Golson, had completely changed since 1960 but the group sound was the same. The 1962 version of the Jazztet included trombonist Grachan Moncur III, pianist Harold Mabern, bassist Herbie Lewis, and drummer Roy McCurdy. It is remarkable to think that this talent-filled group wasn't, for some reason, snapped up to record even more albums together. Highlights of their excellent out-of-print LP include Ray Bryant's "Tonk," "Whisper Not," "Just in Time," and Thelonious Monk's "Ruby My Dear." A classic if short-lived hard bop group.

This lesser-known set, released by several Japanese labels including a 1991 CD issue by Denon, features flugelhornist Art Farmer with pianist Masahiko Satoh (doubling on electric piano), bassist Ron Carter, drummer Jack DeJohnette and a 14-piece string section arranged and conducted by Satoh. Despite its initial release in Japan, the music was actually recorded in New York City. Farmer is in excellent form on the seven modern jazz originals, most of which are given fresh treatments. The arrangements are fine, and Farmer is up to the task of carrying the main load on such songs as "Nica's Dream," "Blue In Green," "Maiden Voyage" and "Naima".

This Art Farmer studio session from 1971 has a slight contemporary flavor to it, due to the addition of conga player James "Mtume" Forman and percussionist Warren Smith, Jr. to a core group of collaborators including Jimmy Heath, Cedar Walton, Sam Jones, and Billy Higgins. Unfortunately, the additional percussionists are too prominent in the mix, greatly distracting from the driving arrangements of Farmer's "Homecoming" and Kenny Dorham's "Blue Bossa" as well as a peppy bossa nova, "Cascavelo." Far better are the quintet tracks, including the laid-back and mellow interpretation of Leonard Bernstein's ballad "Some Other Time," featuring the leader's matchless flügelhorn and Heath's soprano sax, and an upbeat chart of "Here's That Rainy Day." Another annoying problem is the seemingly out of tune piano, though Walton makes the best of a bad instrument. Not an essential album in the vast Farmer discography, but worth acquiring if found at a reasonable price, though it will be difficult.