Art Farmer - Meet the Jazztet (MCA Chess, ) - Jazzland
After his stint with the Jazztet, Cedar joined Art Blakey's Jazz Messengers. Yet, as with many successful partnerships, the Jazztet experience allowed them to reach beyond individual glory in search of . Newer Post Older Post Home but I've been enjoying your Jazz Profiles blogspot for some time now. The smart arrangements of Lewis fit The Jazztet like a glove. I once tried to spin MJQ albums back to back while working nine to five at home. Explore releases and tracks from The Jazztet at Discogs. Shop for Vinyl, CDs and more from The Jazztet at the Discogs Marketplace.
I was planning to start a sextet last fall.
It's all about Jazz: Art Farmer, Benny Golson - Meet the Jazztet ()
And I heard that Art was leaving Gerry Mulligan. I planned to ask him to join the sextet, In the meantime, unknown to me, he was planning a quintet, and he was thinking of asking me to join him. When I called him, he started laughing. So we got together and consolidated our plans. Meet The Jazztet featured the three horn men with a rhythm section of McCoy Tyner on piano, Art Farmer's twin brother, Addison Farmer, on bass, and Lex Humphries on drums, but the band was never to achieve much stability of personnel beyond the key Farmer-Golson association at its heart a reality already reflected in their more prominent billing on the cover.
As the All Music Guide suggests, this album is a genuine hard bop classic. It included three of Golson's best known compositions, the first recorded version of Killer Joe, and the band's takes on I Remember Clifford and Blues March.
The principal soloists are in disciplined but inventive mood throughout, while Golson's arrangements add interest beyond the routine ensemble heads of the period, but without tying up the music in overly elaborate fashion.The Curtis Fuller Jazztet & Benny Golson ( Full Album )
The overall effect is both less driving and more thoughtful than the general run of hard bop. By their second date for Argo in September,only Farmer and Golson remained from the earlier line-up.
Fuller had left the band in not entirely amicable fashion in June Down Beat reported that the trombonist 'pulled out without giving notice at the end of a one-day engagement at the Brooklyn Paramount theater'to be replaced in quick succession by Willie Wilson, Bernard McKinney and, by the time of the record date, Tom Mclntosh. McCoy Tyner had joined John Coltrane Golson has told the story of how his old Philadelphia buddy had helped rescue a stranded Tyner when he broke down en route to New York to join The Jazztet, then promptly 'stole' him for his own band, although Coltrane had the pianist in mind prior to his arrival in New York in any caseto be replaced firstly by Duke Pearson, then Cedar Walton.
Tommy Williams had taken Addison Farmer's place on bass, and Tootie Heath, another Philadelphian, occupied the drum seat. That version of the band recorded Big City Sounds in September, and the game of musical chairs settled down long enough for the same personnel to record two more albums for the label. It featured six of Lewis's own compositions which he had arranged specifically for the date, including versions of Django, Milano and 2 Degrees East, 3 Degrees West.
They closed their account at Argo with The Jazztet at Birdhouse, a live set recorded at the Chicago club of that name on 15 May, His subtle harmonies and voicings again lent a sophisticated air to the music, providing both attractive ensemble passages and a productive framework for the soloists.
Golson described his aims as a composer in the original sleeve notes for the record: I don't want to be too complex. Basically I'd like to stay simple. I'd like to write melodically, and pretty harmonically. I'm not looking for anything that's going to revolutionize music.
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I like, most of all in writing, beauty. Mclntosh is not Fuller's equal as a soloist, but holds his own, while Farmer and Golson vie with one another to produce the most fluent, lyrical soloing, and trade glowing exchanges in Five Spot After Dark. Johnson of his own Shutterbug.
At their best, The Jazztet leavened the visceral, earthy appeal of hard bop with a more sophisticated approach to arranging, and achieved a highly effective balance between the two.
Golson's arrangement opens unexpectedly, with a single declamatory brass note. A soft-spoken style combined with equally determined personalities and a wealth of similar experience made Farmer and Golson natural partners. Farmer was born in Council Bluffs, Iowa and raised in Arizona. Work with the rhythm and blues band of Johnny Otis brought Farmer to New York, where he remained for a couple of years before returning to California for work with such modernists as Dexter Gordon and Wardell Gray.
A seat in Lionel Hampton's trumpet section brought Farmer back Fast in Golson, a Philadelphia native who came of age with fellow saxophonists Jimmy Heath and John Coltrane, attended Howard University for two-and-a-half years, and then traveled with various rock and roll bands before landing a job in Atlantic City with Tadd Dameron during the summer of Alan Dawson and Art were already in Hamp's band. Quincy heard Tadd's group one night then went back and told Hamp about Clifford, Gigi and me.
I would have left for that European tour that Clifford and Gigi made, but Tadd's manager made me stay so that I could tutor all of the new guys they had to bring in.
I did end up in the Hampton band myself for a hot minute, although I didn't last long because Hamp and I couldn't come to terms financially.
It's amazing when you think back about how many great musicians were working together then. Farmer began recording under his own name for Prestige in an affiliation that would last three yearsthen issued albums on ABC-Paramount and Contemporary; but with the exception of a few months in during which he co-led a quintet with Gryce inthe trumpeter spent most of this period working as a sideman, primarily with Horace Silver and Gerry Mulligan. In addition, because Farmer was excellent as both a reader and an improviser, he became one of the most active personalities in what were still the thriving New York City recording studios.
Golson made his mark as well, primarily through his writing skills. When Golson left Blakey after a European tour at the end ofhe got together with trombonist Curtis Fuller.