AOTW May 24th - May 30th Art Farmer

[garthsj]

I have chosen this album not only because it one of my "desert island" discs, but I also believe that it has been underappreciated as one of the truly great albums of the "Golden Age" of bop. It was recorded in September, 1958, and was a precursor to the formation of the Farmer-Golson JAZZTET a few months later. The presence of a young Bill Evans adds greatly to the incredible level of the improvisations thoughout the entire session. The selection of tunes, both the originals, and the standards could not be better; but it is the quality of the improvisation that I keep coming back to over the years. It might just be me, but almost every solo on this album is near perfect. Farmer, in particular, is at the top of his lyrical form, and he carves out delighful new compositions with every solo. Just listen to his incredible take on Ray Noble's "The Touch Of Your Lips," and Cole Porter's "I Love You." From then on, Farmer "owned" these tunes as far as I am concerned.

Well, let me leave room for others to comment. I hope that most of you already have this album; it is still available, even at a discount. If you have not listened to it in a long time, sit back, relax with that glass of whatever, and let the sheer joy of this great album overtake you ...

Edited May 18, 2004 by garthsj

[Hardbopjazz]

Great, I have this one.

[jlhoots]

Me too.

Wouldn't be without it.

Classic.

[king ubu]

Great choice! (And glad an album gets chosen I have)

I read your post about Farmer's solos in the OH GOD moments discussion, Garth - with Farmer I had a similar experience, when I first heard his two quartet dates from those years, mostly with tunes on "Perception".

ubu

[sidewinder]

Fantastic choice, indeed one of Farmer's best, not to mention also one of Benny Golson's. Almost a 'strawman' of the Jazztet recordings soom to follow, as mentioned above.

Listened to this one in the car a few weeks ago and the shear quality of the performances was a revelation. Strange how this one is often overlooked.

Edited May 18, 2004 by sidewinder

[garthsj]

Listened to this one in the car a few weeks ago and the shear quality of the performances was a revelation. Strange how this one is often overlooked.

This may be, in fact, the story of Farmer's life .... he was always thought of as one of the "greats" and yet never quite captured the general jazz audience the way that others like Miles, Hubbard, Dorham, Mitchell, et. al. did. Yet, to me, he was more than their equal, and was very consistent in his performances. There are few, if any, bad Art Farmer albums from the fifties and sixties .... And he was the most lyrical of all of them -- perhaps that was his failing ....

Discuss this among yourselves ..... B)

[BruceH]

Great album! (And it's nice that I already have it.) Will spin it tonight or tomorrow.

As for Farmer, yes, I know what you mean. You could make a case for him being the best of the post-Clifford Brown trumpeters.

[garthsj]

I assume that the last two days that could not be wasted on posting to other threads was spent in listening to this album, and composing some wonderfully incisive insights into this great music!

Oh Yeah!... Time to go to work ladies and gentlemen!

Garth,

Houston.

[tooter]

I am really enjoying this one, Garth. Thanks for bringing it into the light.

I wonder if Art Farmer didn't get the attention he deserved because there was nothing notorious about him - that I know of at least. Not that one has to be notorious to become famous but it helps. Also, didn't he take up residence in Europe? So many did this and received less attention thereby.

The music is grand. Light but powerful. Benny Golson is something of a foil to both Art and Bill Evans I think. At first I wasn't too keen on his sound but it grows on you I guess - it seems to come from a different era to the notes of his improvisations, which are quite progressive and even aggressive at times. Listening to it now I notice how much his sound varies, from soft to hard, too.

As far as I know there is only one tune by Benny on this album - Fair Weather - whereas later Jazztet albums featured many tunes by him and quite rightly so as he is a first class composer. Whisper Not I have always particularly liked because it somehow seems such a natural tune - logical.

[Hardbopjazz]

I have 6 Art Farmer records. This the best of the 6. The arragments by Benny Golson and Gigi Gyrce are wonderful.

[Clunky]

Jubilation is my favourite track, it's perhaps a little corny soul-jazz number but it always worked for me.

This album's a delight. Bill Evans certainly got around, didn't he, in his early days.

[Jim R]

...it one of my "desert island" discs, but I also believe that it has been underappreciated as one of the truly great albums of the "Golden Age" of bop. It was recorded in September, 1958, and was a precursor to the formation of the Farmer-Golson JAZZTET a few months later. The presence of a young Bill Evans adds greatly to the incredible level of the improvisations thoughout the entire session. The selection of tunes, both the originals, and the standards could not be better; but it is the quality of the improvisation that I keep coming back to over the years. It might just be me, but almost every solo on this album is near perfect...

I feel the same way. I listened to this again last night, and before opening this thread, the same thoughts occurred to me. This is a masterpiece of a session, and along with BENNY GOLSON'S NEW YORK SCENE (Contemporary, 1957); Jimmy Cleveland's CLEVELAND STYLE (Mercury, 1958); and Milt Jackson's BAGS' OPUS (also on United Artists, and recorded just a few months after MODERN ART), is a classic example of the great chemistry between Famer and Golson.

It's really a great Bill Evans "document" too. He was working in a variety of settings and with a variety of people around that time- Eddie Costa, Hal McCusick, Cannonball, George Russell, Chet, and of course Miles- and his work on MODERN ART stands up nicely to most everything he did in 1958.

I think my favorite track might be "Fair Weather", probably because I love Golson's writing so much, and also because this tune is relatively obscure.

[catesta]

It's really a great Bill Evans "document" too. He was working in a variety of settings and with a variety of people around that time- Eddie Costa, Hal McCusick, Cannonball, George Russell, Chet, and of course Miles- and his work on MODERN ART stands up nicely to most everything he did in 1958.

Indeed.

Great choice for an album of the week.

[marcoliv]

Marvellous choice!!!

[Jim R]

And.... WHY is it a marvelous choice? Come on folks, let's have it! "Great/marvelous choice" is what you say before May 24th. Now it's After May 24th!

I don't really like that cover photo, BTW. Doesn't Art look like he's ready to hit somebody over the head with a trumpet? Or worse yet, a fluglehorn?

[wolff]

Hell of a choice!!

I've had the Pausa LP re-issue for about 10 years. One spin and it became one of my favorites. So smooth and tasteful it puts many to shame. I play it when I want to relax. I play "Chet" when I want to go to sleep. Big difference, but I do consider it a mellow LP. I was also very, very impressed with the recording and sound of this LP.

[JohnS]

Good to re-aquaint myself with this album. I had a job finding it though, mine's on French Blue Note (see below).

Farmer's lovely here, I wanted to say cool, but his soft and warm, his solos start gently and build logically climax without getting overheated. Nice choice of tunes too. Good rhythm section, Bill Evans shines as ever. My only small quibble is that I've never been especially fond of Benny Golson. Sorry guys he doesn't do very much for me. Still fine record.

[take5]

I've spent the day listening to old Parker recordings, Woody Shaw, and Meshuggah (Swedish death metal!). All of it is awesome but real rough on the ears.

So now I settle down with this, my first listen of this album, and my first Art Farmer album ever.

My ears are thanking me. Farmer's and Golson's tones are sweet as sugar without the nasty after effects. Farmer's command of the instrument is impressive but not intrusive- he makes it sound easy, something a lot of trumpet players have trouble converying. I think the trumpet is a hard instrument to make "sing," and he accomplishes this.

The phrasing of both horn players is very nice. Someone described it as "perfect," and that makes sense- not too much, not too little, not too fast or slow or anything. Everything flows real pretty.

It's also great to hear Evans. The late 50s is my favorite Evans- before he got ballad-heavy and while he was adequately balancing all aspects of his playing.

My only quibble is that they do Darn That Dream, a song I despise, but that's just me.