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| What Happens?... Art Farmer - Phil Woods Together |
| Art Farmer, Phil Woods |
első megjelenés éve: 2000
46 perc |
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| (2002)
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CD |
| 5.242 Ft
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| 1. | Watch What Happens
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| 2. | Chelsea Bridge
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| 3. | Blue Bossa
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| 4. | Blue Lights
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| 5. | The Day After
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| 6. | Sunrise Sunset
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Jazz / Bop, Cool, Hard Bop
Recorded: 10/12/1968, Rome, Italy
Digital Remastering from the original LP.
ART FARMER (flhn)
PHIL WOODS (as)
MARTIAL SOLAL (p)
HENRY TEXIER (b)
DANIEL HUMAIR (d)
Shortly after midnight Art, Lee, Martial, Henry and Daniel left the studio after having recorded the last take. The last glass of whisky, the last cigarette and then off towards Rome, knowing to have done an excellent job. Adriano Mazzoletti (1968)
Extensive liner notes by Adriano Mazzoletti
The individual discographies of both Art Farmer and Phil Woods are sizable, but this 1968 studio session seems to be their only joint recording in a small-group setting. With pianist Martial Solal, bassist Henri Texier, and drummer Daniel Humair (the latter two were members of Phil Woods' European Rhythm Machine at the time), the two completed this recording in three hours, even though there are some minor rough spots. A very snappy take of Michel Legrand's "Watch What Happens" is a perfect opener, with great interplay between Woods' energetic alto sax and Farmers warm flugelhorn. The rhythm section kicks off a furious tempo to Kenny Dorham's "Blue Bossa" and the co-leaders make the most of it. Gigi Gryce's stimulating blues "Blue Lights" is also full of fire in a brisk arrangement. "Sunrise, Sunset," the famous ballad from Fiddler on the Roof, is unusually fast, with plenty of risk-taking in the solos by Woods, Farmer, and particularly Solal. Oddly enough, the only pure ballad features are the solo tracks by Woods and Farmer; the alto saxophonist delivers an emotional, very dark interpretation of "Chelsea Bridge," while the flugelhornist chooses a less-familiar work, the richly textured "The Day After." Although the final results of this date might have been improved with an extra day of rehearsal, this Italian CD is still well worth purchasing. ~ Ken Dryden, All Music Guide
Art Farmer
Active Decades: '50s, '60s, '70s, '80s and '90s
Born: Aug 21, 1928 in Council Bluffs, IA
Died: Oct 04, 1999 in New York, NY
Genre: Jazz
Styles: Bop, Cool, Hard Bop, Mainstream Jazz, Post-Bop
Largely overlooked during his formative years, Art Farmer's consistently inventive playing was more greatly appreciated as he continued to develop. Along with Clark Terry, Farmer helped to popularize the flugelhorn among brass players. His lyricism gave his bop-oriented style its own personality. Farmer studied piano, violin and tuba before settling on trumpet. He worked in Los Angeles from 1945 on, performing regularly on Central Avenue and spending time in the bands of Johnny Otis, Jay McShann, Roy Porter, Benny Carter and Gerald Wilson among others; some of the groups also included his twin brother bassist Addison Farmer (1928-63). After playing with Wardell Gray (1951-52) and touring Europe with Lionel Hampton's big band (1953) Farmer moved to New York and worked with Gigi Gryce (1954-56), Horace Silver's Quintet (1956-58) and the Gerry Mulligan Quartet (1958-9). Farmer, who made many recordings in the latter half of the 1950s (including with Quincy Jones and George Russell and on some jam-session dates for Prestige) co-led the Jazztet with Benny Golson (1959-62) and then had a group with Jim Hall (1962-64). He moved to Vienna in 1968 where he joined the Austrian Radio Orchestra, worked with the Kenny Clarke-Francy Boland Big Band and toured with his own units. Since the 1980s Farmer visited the U.S. more often and has remained greatly in demand up until his death on October 4, 1999. Farmer recorded many sessions as a leader through the years including for Prestige, Contemporary, United Artists, Argo, Mercury, Atlantic, Columbia, CTI, Soul Note, Optimism, Concord, Enja and Sweet Basil.
---Scott Yanow, All Music Guide |
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