Art Farmer Albums (61)
What The Critics Say
This Gambit disc compiles two separate sessions (Art and Perception) led by Art Farmer, made separately from the Jazztet (which he co-led with Benny Golson). The 1960 recordings featured on the first album featured Tommy Flanagan, Tommy Williams and Albert "Tootie" Heath with the trumpeter, playing show tunes and chestnuts in an elegant fashion that has stood the test of time. On the latter LP recorded the following year, Harold Mabern replaces Flanagan and Roy McCurdy takes over for Heath, with Farmer switching to the richer-toned flugelhorn. In addition to standards, the quartet explores two fine if unjustly obscure originals by the leader, along with the mellow "The Day After" (penned by Jazztet sideman Tom McIntosh). After being out of print for decades, both albums were issued individually overseas, as well as being joined for Art & Perception and collected with recordings by the Jazztet and Benny Golson in a Mosaic limited-edition boxed set. No matter how it is acquired, both sessions are among Art Farmer's best work of the '60s. ~ Ken Dryden, All Music Guide
'To Duke with Love'
Release Date 10/25/2005
Tracks 6
Label Test of Time
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What The Critics Say
Recorded less than a year after Duke Ellington's death, this Inner City LP (originally cut for the Japanese East Wind label) features flugelhornist Art Farmer performing five Ellington pieces along with Billy Strayhorn's "Lush Life." With impeccable support by pianist Cedar Walton, bassist Sam Jones and drummer Billy Higgins, Farmer sounds melodic, lyrical, swinging and typically inventive on such numbers as "In a Sentimental Mood," "It Don't Mean a Thing," "The Brown Skin Gal" and "Love You Madly." This tasteful set (which is long out-of-print) features Art Farmer at his best. ~ Scott Yanow, All Music Guide
What The Critics Say
The Jazztet had been in existence for two years when they recorded what would be their final LPs, Here and Now and Another Git Together. The personnel, other than the two co-leaders, flugelhornist Art Farmer and tenor-saxophonist Benny Golson, had completely changed since 1960 but the group sound was the same. The 1962 version of the Jazztet included trombonist Grachan Moncur III, pianist Harold Mabern, bassist Herbie Lewis, and drummer Roy McCurdy. It is remarkable to think that this talent-filled group wasn't, for some reason, snapped up to record even more albums together. Highlights of their excellent out-of-print LP include Ray Bryant's "Tonk," "Whisper Not," "Just in Time," and Thelonious Monk's "Ruby My Dear." A classic if short-lived hard bop group. [This is the original issue and does not include bonus tracks.] ~ Scott Yanow, All Music Guide
What The Critics Say
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
What The Critics Say
This Art Farmer studio session from 1971 has a slight contemporary flavor to it, due to the addition of conga player James "Mtume" Forman and percussionist Warren Smith, Jr. to a core group of collaborators including Jimmy Heath, Cedar Walton, Sam Jones, and Billy Higgins. Unfortunately, the additional percussionists are too prominent in the mix, greatly distracting from the driving arrangements of Farmer's "Homecoming" and Kenny Dorham's "Blue Bossa" as well as a peppy bossa nova, "Cascavelo." Far better are the quintet tracks, including the laid-back and mellow interpretation of Leonard Bernstein's ballad "Some Other Time," featuring the leader's matchless fl
What The Critics Say
Art Farmer added a bit of a different twist for these 1981 studio sessions, including baritone saxophonist Sahib Shihab with him in the front line, along with fellow expatriate Americans Kenny Drew (piano) and Ed Thigpen (drums), plus bassist Mads Vinding. Drew contributed the first two songs, including the boisterous mid-tempo opener "Context" and the brisk blues "Blue Wail," both top-notch features for Farmer and Shihab. The intricate take of Charlie Parker's "Passport" and Bennie Wallace's inventive "Back Door Beauty" find Shihab switching to soprano sax. The only standard is a lush take of "Manhattan," showcasing the leader's lyrical flugelhorn. This release is a little short by CD standards, clocking under 40 minutes, but it will be of great interest to fans of Art Farmer. ~ Ken Dryden, All Music Guide
What The Critics Say
Art Farmer has long been one of the most consistent of all brassmen. Playing the flumpet (which is a cross between a trumpet and a flugelhorn), Farmer is heard throughout this 1996 set in top form. He utilizes two complementary young tenor saxophonists (Ron Blake and Don Braden), a skilled pianist-arranger (Geoff Keezer), bassist Kenny Davis, and drummer Carl Allen. The repertoire consists of an original apiece by Farmer, Braden, and Davis, two by Keezer, Ray Bryant's memorable "Tonk," Duke Ellington's "I Let a Song Go out of My Heart," and a slightly altered rendition of "Stardust." While his sidemen play quite well, the warm-toned and swinging Farmer is consistently the main star, and at age 68 he proves to still be in his prime. ~ Scott Yanow, All Music Guide
'Live at Stanford Jazz Workshop'
Release Date 6/24/1997
Tracks 7
Label Monarch
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What The Critics Say
Art Farmer (on his flumpet, a compromise between a trumpet and a flugelhorn) swings in creative fashion on a live set with veteran tenor Harold Land, pianist Bill Bell, bassist Rufus Reid and drummer Albert "Tootie" Heath. The quintet performs a pair of Thelonious Monk tunes, a few ballads, Land's "Rapture" and "Straight No Chaser." There are spots where Farmer (67 at the time) and Land show their age a little, but their enthusiasm, decades of success at developing their own sounds, and constant creativity within the hard bop tradition result in many strong moments. ~ Scott Yanow, All Music Guide
'I Remember Clifford'
Release Date 11/19/1996
Tracks 16
Label Jazz Hour
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