The Mosiac Records
boxed set - The Complete Argo/Mercury Art
Farmer/Benny Golson Jazztet Sessions [MD7-225] - brought me back in
touch with one of my all-time favorite recordings - the Argo LP Meet
The Jazztet [664].
The period from
1945-1965 were exciting days for Jazz when combos seemed to form and reform on
a regular basis and the Jazztet was one of the best groups to come around in
quite some time [at least as far as my ears were concerned].
The original
Jazztet was made up of Art Farmer, trumpet, Curtis Fuller, trombone, Benny
Golson, tenor saxophone, McCoy Tyner, piano, Addison Farmer, bass and Lex
Humphries, drums.
What really
appealed to me about the Jazztet was the writing and arranging skills of Benny
Golson who has composed so many memorable tunes over the years, many of which
have become Jazz standards [I Remember
Clifford, Whisper Not, Along Came Betty, to name but a few].
On Meet
The Jazztet Benny was at it again with intriguing original compositions
including Killer Joe, Blues March, and
Park Avenue Petite, the latter a
lovely ballad favored by many Jazz trumpeters as a vehicle for demonstrating
the richness of their tone on the instrument.
According to
Lawrence Koch in The New Grove Dictionary of Jazz: “The group made six albums,
most of which included compositions and arrangements by Benny Golson and one
which consisted of the John Lewis. Although the arranged sections of the music
were important to the group’s style, there was ample opportunity for solo
improvisations, and this dichotomy resulted in balanced, interesting
performances. The group disbanded in 1962 ….”
Around the same
time that I was “meeting” the Jazztet, a friend, who was a trumpet player and who
really favored Art Farmer’s style, loaned me a United Artist vinyl entitled Art
Farmer: Brass Shout [UAL 4047]. The cover art contained this striking Hugo Bell photography
with a design rendered by the Stephen Haas Studios.
What was
especially delightful to me was that all of the tunes on the album were
arranged, orchestrated and conducted by Benny Golson, including his intriguing
original composition Minor Vamp.
I say “intriguing”
because I’ve always been especially attracted to Jazz when its played in a
minor key. To paraphrase Ted Gioia : “Benny Golson’s best work manages to convey both elegance and a
subtle funkiness.” [The Jazz Standards, p.459] Perhaps it easier for this funkiness
to manifest itself in minor keyes?
The album was
subtitled seven moods in brass and
Blanchard King explained the conceptual background for the recording and how
the personnel of “The Art Farmer Tentet” were employed on each track in these
excerpts from the original liner notes.
“Through the
years, music lovers have had ample opportunity to thrill to the sombrely paced
beauty of a Gabrieli brass work; to the roaring coda of a Sousa march; or to
the shocking effect of massed brass in the compositions of William Shumann and
Shostakovich. But, the lover of good music is rarely exposed to the many moods
which dynamic and imaginative arrangements can evince from the basic jazz brass
ensemble augmented with so-called miscellaneous instruments (so far as jazz is
concerned) such as French horn, tuba, and baritone horn.
The seven moods of
this album range from the Latin feeling of Nica's
Dream to an almost Sibelian aura on Stella
By Starlight, each score filled with a varying degree of shouting brass
intensity. Brass Shout represents a seemingly successful attempt to bring the
listener a diversified presentation of eight great jazz brass instrumentalists
bulwarked by one of the most formidable rhythm sections, a presentation
manifesting careful arranging, orchestration, and discipline, but preserving
the basic freedom and flair of an inspired jazz performance.
Utilizing the
haunting, pale tones of the French horn and the deep voice of the tuba (as a
melodic rather than rhythmic device), arranger Benny Golson was able to add a
new dimension of sound and a new agility to the basic trumpet-trombone voicing
usual in jazz works. Julius Watkins and Don Butterfield represent the top of
the mark in jazz virtuosity on French horn and tuba, respectively; Watkins
playing highly articulate solos on the most difficult brass instrument, and
Butterfield supplying a loosely muscled bottom sound with none of the gusty,
gravelly tone of other would-be tuba stars.
Each participating
artist was chosen with great care and with a definite function in mind. The
solemn, intense musicianship of Art Farmer looms large in this album, in fact
Golson would not undertake the project until completely assured that Art was
available and willing to appear on the date.
The maturity,
profound conception, and artistry increasingly associated with Farmer's work is
well documented herein by a lilting, building improvisation on Nica's Dream, a moody; austerely
beautiful handling of April In Paris;
and tightly muted drive on Golson's classic Five
Spot After Dark. Ernie Royal and Lee Morgan complete a stellar trumpet
section. Royal of course can do anything on the trumpet, considered by many to
be the best lead man in the business. Although chosen to act as straight-man
for the section, Ernie contributes a very "down," grooving solo on Autumn Leaves; as well as marvellous lead
work throughout the album. Lee Morgan was chosen for his fire. A competitor for
the laurels once worn by the late Clifford Brown, Morgan is today's greatest
threat to established trumpet ranks. Possessing superlative range and
technique, endowed with a vivid, even prankish imagination, able to perform
with the stamina of a 1st chair trumpeter, Lee needs only further development
of his ballad style to insure enshrinement as one of the all time great
brassmen.
The trombone
section is an ideal blend of strong technical and improvisational skills.
Curtis Fuller, newly crowned winner of the 1959 Down Beat Critics Poll-New Star category, plays with warm humor,
big tone, and rough hewn "soul".
Constantly
increasing his musical abilities, gaining stature as a composer of merit,
Curtis is more than fulfilling the great promise he showed as long ago as 1955.
Curtis, a hard swinger in the East Coast tradition, can be heard to fullest
advantage on his new United Artists Album, Sliding Easy (Catalogue No. UAL 4041-Monaural; UAS 5041-Stereo) along with
Lee Morgan.
Jimmy Cleveland
was a phenomenon when I heard him in Nashville , Tennessee in 1948, where he was attending Tennessee
State College. Both Diz and Hamp were extending him offers to join their bands
every time they played Nashville , but Cleve stayed on to finish college. Now he is one of New York 's most sought after studio musicians due
to consistently high solo quality, keynoted by extremely wide range and the
ability to "cut" any "chart", no matter how difficult.
Wayne Andre, a
young professional, highly recommended by the 'ace musicians' contractor Chet
Amsterdam, is known for his flawless performances in ensemble or as a one man
section. In order to broaden and deepen the sound of the trombone section and to
create the most effective blend with French horn and tuba, Golson wrote in a
part for baritone horn on several selections: Minor Vamp, Moanin', Five Spot After Dark, and April in Paris. James Haughton, coming
to jazz from the marching band tradition, performs robustly on that horn.
The rhythm section
includes Percy Heath, the much acclaimed bassist with the Modem Jazz Quartet,
and a brace of fabulously articulate drummers: Philly Joe Jones and Elvin
Jones. (Elvin is heard on Autumn Leaves,
Stella By Starlight, and Nica's Dream). Also, pianist Bobby
Timmons plays a rollicking solo on his composition, Moanin', the album's only
track with piano.
Any survey of jazz
history will reveal the extraordinary importance of brassmen, particularly
trumpeters and cornetists, in the evolution of the music. …
Brass Shout is a further realization of the great
arranging skill of Benny Golson, who is certainly the outstanding jazz arranger
of 1959.
In jazz review
columns, Golson's rising importance as a source of original tenor sax
improvisations is being constantly discussed. It seems fitting that he should
lend his mellow, sometimes searing, comfortably traditional yet dramatically
modem, but always exciting stylings to these arrangements. Herein are heard all
of the Golson trade marks: the use of wind instruments instead of piano to
"comp" behind soloists; thick, meaty textures exploiting the middle
and lower ranges of ensembles; smoky atmospheres from which improvisations
emerge and take form; special quiet effects utilizing a variety of mutes; and a
pervasive feeling of concealed, coiled power and earthiness.
In the words of
the arranger: ‘I tried to get a round, full sound out of the horns, instead of
the usual brassy blare, employing very close voicings for warmth and
togetherness; and dissonances for brilliance and freshness.’ His seven scores
fit the multiple talents of an outstanding brass ensemble like fine gloves.”
In the November
26, 1959 edition
of Down Beat magazine, Ralph J.
Gleason gave Brass Shout a rating of **** ½ stars.
“The only reason
that this LP does not draw * * * * * is that this reviewer would like to make
that classification a little harder to achieve. It is certainly a better album
than many that have been given ***** on these pages; it has class, order, a
high degree of musicianship, and thoroughly moving solos. It is an excellent
example of good work that is only a slight degree removed from being a major
effort.
Golson rapidly is
assuming his place as one of the most dexterous composers in jazz today. He has
a remarkable gift for ordering the talents of others into composite works of
his own. His settings for the appearances of Farmer and the other soloists in
this excursion into brass textures are deftly handled, yet are not superficial;
Golson has his roots where roots ought to be all along. As a writer of jazz
tunes, his compositions, such as Minor Vamp, are almost all touched with the
quality that lasts.
As a trumpet
soloist, Farmer is about the most consistently effective man of his generation.
He has a highly developed sense of taste that makes him, in a way, a sort of
Hank Jones of the trumpet. On records he is a trifle more inhibited than in
person, and the overwhelming gravity of his appearance seems to creep through
somehow.
The rhythm section
consistently swings beautifully on this LP, and the ballad interpretations are
absolutely lovely.
- Ralph J. Gleason”
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