Allen Farnham Albums (6)
'Meets the RIAS Big Band'
Release Date 1/13/1998
Tracks 10
Label Concord Jazz
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What The Critics Say
For an ensemble whose origins go back to the end of World War II, when the Glenn Miller sound ruled the waves, Berlin's RIAS Big Band has come a long, long way, for it now has as contemporary and sophisticated a sound as any mainstream big band. So pianist Allen Farnham discovered when he journeyed to Berlin to record nine of his charts, all ambitiously harmonized, forward-thinking creations that are superbly executed by the 12-piece Berlin horn and reed section. Three of the tunes are Farnham's -- including the brilliant opening flag-waver "RIAS-Ticity" -- the rest being standards and a pair of sambas. Farnham's own piano is always direct and unpretentious, a good foil for his arrangements, and his regular bassist Chris Berger and drummer Tim Horner provide fine support for the whole crew. The eloquent harmonica virtuoso Hendrik Meurkens adds a splendid wailing touch to the ensemble -- one is reminded immediately of Toots Thielemans' work with Quincy Jones' big bands -- and tenor player Chris Potter matches the heat of the RIAS soloists. ~ Richard S. Ginell, All Music Guide
'Live at Maybeck Recital Hall Series, Vol. 41'
Release Date 1/1/1996
Tracks 11
Label Concord Jazz
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What The Critics Say
Volume 41 of the long-running Maybeck Recital Hall series finds Allen Farnham trying his hand at the solo piano game and scoring well in this all-revealing format. While employing many of the devices that Maybeck followers have come to know and expect -- the bop-centered foundation, the Tatum interjections, outbreaks of stride, the Bill Evans-influenced harmonies, a few classical borrowings -- Farnham uses them in a more musical, affecting way than most. Listen to the sly, elegant way in which he slips into the closing bars of "I Hear a Rhapsody"; the man has taste and a sense of structure. In addition to a handful of standards -- including an "In Your Own Sweet Way" with allusions to Brubeck's chordal manner and a nice "Waltz for Debby" -- Farnham contributes a couple of interesting improvisations entitled "Maybeck Sketches, No. 1" and "No. 2," and a sardonic reminder of the malady that threatens all keyboardists, "The Carpal Tunnel Blues." ~ Richard S. Ginell, All Music Guide
What The Critics Say
The music on this 1995 release was performed by the quartet of pianist Allen Farnham, bassist Drew Gress, drummer Jamey Haddad, and tenor-saxophonist Joe Lovano in 1986, the trio of Farnham, Gress and Haddad in 1992, and by Farnham solo in 1994. The pianist is best-known for playing behind other artists, including being the musical director for the late singer Susannah McCorkle. Throughout this set, Farnham shows that he is a solid, modern, mainstream soloist, sometimes recalling Bill Evans and (to a lesser extent) Keith Jarrett. Lovano plays well in his spots particularly on a medium-tempo "How Deep Is The Ocean." Farnham contributed four of the ten songs, and also interprets pieces by Ralph Towner, Steve Swallow, Duke Ellington, Antonio Carlos Jobim, and Bill Evans. Overall, this is an excellent effort, with enough variety in tempos and moods to hold one's interest. ~ Scott Yanow, All Music Guide
What The Critics Say
The second album by pianist Allen Farnham, a good but derivative stylist. He works with equally competent alto and soprano saxophonist Dick Oats, and either superior bassist Rufus Reid or the unexceptional Drew Grass. Jamey Haddad is the drummer and/or percussionist for all cuts. ~ Ron Wynn, All Music Guide
What The Critics Say
Pianist Allen Farnham shows off many of his influences during this fine Concord CD. On John Coltrane's "Fifth House" (which oddly mixes together chord changes relating to both "What Is This Thing Called Love" and "Giant Steps"), Farnham sounds heavily influenced by McCoy Tyner. But on a Latin romp through "You Stepped Out Of A Dream," his hyper chordings remind one of Bobby Enriquez, he is closer to Chick Corea and Herbie Hancock on the obscure Duke Pearson ballad "You Know I Care" and is reminiscent of Keith Jarrett on the folkish "Colin." 30 at the time, Farnham also showed strong potential of developing an individual voice of his own. His four compositions are diverse and quite original (the dry "It's Not What You Think It Is," a somber yet hopeful "Despair," the rhythmic "Hadd-Bone" and "Colin") and he did a fine job of picking sidemen for his postbop session: tenorman Joe Lovano (who switches to soprano on "Now He Sings, Now He Sobs"), trumpeter Tom Harrell, bassist Drew Gress and drummer Jamey Hadad. Recommended. ~ Scott Yanow, All Music Guide
