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| Art Farmer's New York Jazz Sextet |
| Art Farmer |
első megjelenés éve: 1966
78 perc |
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| (2006)
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CD |
| 4.401 Ft
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| 1. | Signature
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| 2. | Bottom on Top
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| 3. | Supplication
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| 4. | Another Look
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| 5. | Dim After Day
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| 6. | Indian Summer
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| 7. | Joy Shout
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| 8. | Giant Steps
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| 9. | Signature
Bonus
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| 10. | Bottom on Top
Bonus
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| 11. | Supplication
Bonus
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| 12. | Another Look
Bonus
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| 13. | Dim After Day
Bonus
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| 14. | Indian Summer
Bonus
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| 15. | Joy Shout
Bonus
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| 16. | Giant Steps
Bonus
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Jazz / Hard Bop
Recorded: Dec 27, 1965, Jan 17, 1966
Art Farmer - flugelhorn
Marie Volpie - vocals
James Moody - flute, tenor saxophone
Tom McIntosh - trombone
Tommy Flanagan - piano
Richard Davis - double bass
Albert "Tootie" Heath - drums
Art Farmer put together New York Jazz Sextet in 1965 (not long after he had switched from trumpet to flugelhorn for good), featuring James Moody(tenor sax and flute), trombonist Tom McIntosh, pianist Tommy Flanagan, bassist Richard Davis, and drummer Albert "Tootie" Heath. Their only release was Group Therapy, issued by Scepter, which was long out of business until Lone Hill Jazz reissued this valuable music in 2004, and with an added bonus: All of the mono takes are here, which are different versions from the stereo masters. The primary focus of the CD is on original music, all arranged by the trombonist, starting with McIntosh's richly textured "Bottom on Top," a brilliant ballad feature for Moody's flute and the blend of the horns. McIntosh is the primary focus of the tense "Supplication," though Flanagan's introspective solo will surprise his fans. Four of the numbers were written by either David or Adolph Sandole, with whom Farmer had recorded a decade earlier, while Moody had studied with David. Adolph's tense "Another Look" is a great hard bop vehicle with tight ensembles and superb solos. David's "Dim After Day" is a warm yet complex ballad, while "Joy Shout" is as boisterous as its title suggests, combining elements of gospel and hard bop with a Caribbean rhythm. The one standard is a snappy take of Victor Herbert's "Indian Summer." Moody and Heath remain for a bossa nova arrangement of "Giant Steps" by singer Marie Volpee, with Patti Bown taking over the piano (though the instrument is in need of tuning) and Reggie Workman on bass. The wordless vocal makes this track sound a bit dated, though Moody's dancing flute solo is worth hearing. The mono versions follow on the second half of the CD, though the variations between them and the stereo masters are slight. Art Farmer fans will want to pick up this valuable reissue, especially since this represents the sole recording by this short-lived sextet.
---Ken Dryden, AMG
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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