Archive for the Art FARMER Category

Art FARMER – Modern Art 1958

Posted in Art FARMER, JAZZ on December 16, 2010 by whoisthemonk

Art FARMER – Modern Art 1958
1985 Reissue. LBJ-60052


Limited edition high definition premium 180gm vinyl LP repressing of this classic Jazz album. Originally issued on vinyl, the ongoing popularity of LP pressings and repressings has ensured the longevity of this format for years to come.
This is top-of-the-line Art Farmer, one of his best albums ever. Recorded in 1958 for United Artists, everything clicks to perfection: the tune selection is an excellent mix of exciting originals and standards, the tempos are varied, and the playing by the quintet is brilliant. Everyone seems juiced to play. Particularly impressive is tenor man Benny Golson whose Coltrane hat is very much in evidence; the notes come pouring out of his horn on many of the tunes – especially noteworthy on THE TOUCH OF YOUR LIPS. He can be both powerful and pretty. Junior Mance’s JUBILATION is churchy for sure, but not fire and brimstone: it’s very mellow instead. Pianist Bill Evans plays well throughout, taking perhaps his best and most introspective solo on I LOVE YOU. Farmer is a delight, whether playing beautifully muted (LIKE SOMEONE IN LOVE) or tempestuously afire (COLD BREEZE). This album will delight listeners no matter how many times it’s heard.
By Bomojaz.
This album,Modern Art, is the prelude recording for Art Farmer prior to his partnership in the famous Jazztet with Benny Golson and also foreshadows the classy, tasteful inventiveness that the group brought to the modern jazz world two years after this 1958 session. Pianist Bill Evans is in on this one 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, but never tame or conservatively lazy. Included on this date is the great Junior Mance tune Jubilation, perfectly understated in a simple, blue-gospelsoul-jazz melody with both horns wonderfully matched in balanced unison. Farmer’s lone compositional contribution, Mox Nix, deserves similar accolades as it is an equally memorable, hopped-up shuffle with the uncharacteristically rumbling piano of Evans in soul-jazz to swing trim. Another notable track is Wade Legge’s Cold Breeze, which is hardly refrigerated, but instead a breezy hard bop vehicle, snappy, even-keeled, but not bubbling.

The trumpeter, after all, is the official leader and arranger taking the stage front and center for the ballad Darn That Dream and the mid-tempo take of The Touch of Your Lips with Golson in late, seconding the motions. For this time period you clearly hear a refined and maturing Farmer, qualities he would hold for the remainder of his career. He plops in the mute for Cole Porter’s I Love You, waxing poetic and effortlessly like a figure skater gliding through a simple routine and Evans even gets to jam out a bit. Benny Golson’s personal voice on tenor is also coming of age as you hear during his feature Like Someone in Love, but he’s also starting to emerge as a writer with the moderately swinging Fair Weather, displaying harmonic interplay that hints at things to come. The historical aspects of this recording in retrospect can not be trivialized, but more importantly, some darn good straight-ahead jazz is played here by experts in their field.
By Michael G. Nastos. AMG.
Bass- Addison Farmer
Drums- Dave Bailey
Piano- Bill Evans
Saxophone [Tenor]- Benny Golson
Trumpet, Flugelhorn- Art Farmer
A1. Mox Nix
A2. Fair Weather
A3. Darn That Dream
A4. The Touch of Your Lips
B1. Jubilation
B2. Like Someone in Love
B3. I Love You
B4. Cold Breeze

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Art FARMER and Benny GOLSON – Meet The Jazztet 1960

Posted in Art FARMER, Benny GOLSON, JAZZ on December 6, 2010 by whoisthemonk

Art FARMER and Benny GOLSON – Meet The Jazztet 1960
1991 Issue.


Although this CD has the same program as the original LP, it gets the highest rating because it is a hard bop classic. Not only does it include superior solos from trumpeter Art Farmer, trombonist Curtis Fuller, tenor saxophonist Benny Golson, and pianist McCoy Tyner (who was making his recording debut) along with fine backup from bassist Addison Farmer and drummer Lex Humphries, but it features the writing of Golson. Highlights include the original version of “Killer Joe” along with early renditions of “I Remember Clifford” and “Blues March.” This was Fuller and Tyner’s only recording with the original Jazztet, and all ten selections (which also include “Serenata,” “It Ain’t Necessarily So,” “It’s All Right With Me,” and “Easy Living”) are quite memorable.
By Scott Yanow, All Music Guide.
After working together on a couple of previous albums, Art Farmer and Benny Golson formed the Jazztet in 1960 and recorded a handful of albums for the Argo label; this was the first. (The group lasted only a couple of years, though Farmer and Golson revived it in the 1980s.)

The personnel here is somewhat of an anomaly in that it changed radically after this initial session (except for Farmer and Golson, of course). Curtis Fuller is on trombone and he’s phenomenal on IT’S ALL RIGHT WITH ME, which is taken at breakneck speed. AVALON is also taken WAY up tempo; in fact, it’s TOO fast – it’s all notes. Golson’s tenor is featured nicely on his classic tune I REMEMBER CLIFFORD and on the standard EASY LIVING. Farmer is excellent on his own composition MOX NIX, an up-tempo blues. Benny Golson was a superb composer and PARK AVENUE PETITE is a beautiful ballad. His BLUES MARCH is also performed, though not quite as successfully as on the Art Blakey Blue Note recording entitled MOANIN’, which is definitive. And his KILLER JOE gets its first airing on this CD, taken medium-slow. McCoy Tyner (p) Addison Farmer (b) and Lex Humphries (d) round out the rhythm section. This is an excellent hard bop album and one of the best by the Jazztet.
By Bomojaz.
It’s difficult to understand from this distance in time why this aggregation never really broke through to the kind of acclaim that they deserved. The playing on this collection is excellent, particularly on the self-penned material ( mostly from Golson – but “Mox Nix” from Farmer is stunning). The standouts are the version of “I remember Clifford”, “Park Avenue Petite” and of course, the much lauded “Killer Joe”.The ensemble playing is terrific and the rhythm section of Addison Farmer and Lex Humphries gave this version of the group real propulsion. So why not 5 stars ? Well, because the best it got for me, was the group that played on the now-out-of print Verve album “Here and Now” which has been available only from time to time (shame on you Verve Interactive) most recently in 1998.That’s where the interplay between Golson and Farmer seemed at its best, and Farmer gets to play some great flugelhorn. However this is just fine!
Dr. D. Treharne.
When people discuss the cream of the hard-bop crop, names such as Clifford Brown and Max Roach, Art Blakey, and Horace Silver usually rise to the top. Without question, the Jazztet deserves inclusion in that discussion. Co-leaders Farmer and Golson had already made names for themselves before the sextet’s 1960 recording debut; upstarts Curtis Fuller and McCoy Tyner were well on their way. Benefiting from Golson’s usual crafty arrangements, the ensemble rolls through 10 cuts, offering a nifty combination of down-home funk and lyrical flair. Two of Golson’s most revered compositions—the gentle “I Remember Clifford,” led by Farmer’s silky trumpet, and the urgent “Blues March”—accompany the original recording of Golson’s “Killer Joe,” which includes his verbal description of the title character. The band also rips merrily through Cole Porter’s “It’s All Right with Me” and struts easily through Gershwin’s “It Ain’t Necessarily So.”
By Marc Greilsamer.
This is widely considered a hard bop classic. Well, it’s a little hard for me to see exactly why. It’s a mildly pleasant record, with ten short songs (3 to 4 minutes), and there’s no denying the quality of the musicians involved, but there’s no real spark.

It’s a very traditional record, as one would expect by the cover photo. At times, it even sounds like big-band jazz, even if it is a sextet. But the fact that it isn’t a groundbreaking record is not what prevents me from liking it. “Blues-Ette” is well-behaved also, but it’s a million light-years better than this.

I think it’s hard for me to define what’s the problem. Being not a musician, my concern is never with technical issues, but with the sheer pleasure conveyed by the music. This one leaves me a little cold. And the frequent alternance between lightspeed bop and too-slow ballads feels a little odd too.
Art Farmer- Trumpet
Benny Golson- Tenor sax
Curtis Fuller- Trombone
McCoy Tyner- Piano
Addison Farmer- Bass
Lex Humphries- Drums
01. Serenata (Anderson-Parish) 3:30
02. It Ain’t Necessarily So (Gershwin) 4:26
03. Avalon (Rose-DeSylva) 3:29
04. I Remember Clifford (Benny Golson) 3:10
05. Blues March (Benny Golson) 5:16
06. That’s All Right With Me (Cole Porter) 3:53
07. Park Avenue Petite (Benny Golson) 3:41
08. Mox Nix (Art Farmer) 4:01
09. Easy Living (Rubin-Ranger) 3:33
10. Killer Joe (Benny Golson) 4:57

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