Art Farmer began his career in the bands of Benny Carter and Jay McShann as a trumpeter. His stint with the Lionel Hampton Orchestra (also featuring Quincy Jones and Clifford Brown on trumpet) launched an illustrious career. Next he played with Gerry Mulligan and Horace Silver. His unerring detail for harmonic statement and improvisation led to the formation of Jazztet with Benny Golson. This prestigious ensemble (including McCoy Tyner and Curtis Fuller) increased the stature of Farmer.

 

By the late fifties, Farmer was recording as sole band leader. Eventually, he would switch to Flugelhorn as his primary instrument. He formed an association with guitarist Jim Hall that lasted for years. Farmer became a pioneer of developing jazz suited to the Flugelhorn. He was a heralded sideman, playing with Dizzy Gillespie, Sonny Clark, Bennie Green and briefly reunited with the Jazztet. He toured extensively in Europe (which he called home), releasing new material and began playing a “flumpet” (hybrid of a Flugelhorn and trumpet). The understated lyrical beauty of his playing never faltered.

 

Big Blues, recorded in 1979 at the fabled Electric Lady Studios (built by Jimi Hendrix), is a unique quintet project. Released on CTI Records featuring arrangements from David Matthews, it reunites Farmer and Hall (recently departed from the Sonny Rollins Quartet). Mike Manieri brings a deft touch on vibes to the session. Steve Gadd (Steely Dan, James Taylor, Linda Rondstad) plays on drums and Mike Moore’s (Marian McPartland, Woody Herman, Al Cohn) bass rounds out the combo. Side One opens with a texture-rich version of Benny Golson’s “Whisper Not”. A cool, walking rhythm leads into the initial solo by Hall. His guitar technique is very fluid and shifts with ease.

 

Moore and Gadd create an understated, though irresistible rhythm section (like Mancini’s Pink Panther). Manieri joins them on vibes and adds a spooky, bouncy feel. His ensuing solo is nimbly precise, and very warm in tone (due in part to the use of a special amplifier). As the vibes rejoin the rhythm, Farmer and Hall share the lead before the flugelhorn solo. Farmer’s playing is both stylish and efficient. The side concludes with a slower waltz- like version of “A Child Is Born” (Thad Jones). As Hall’s guitar takes the lead, Mainieri weaves a counterpoint. Farmer (with a mute) delivers another highly expressive run.  Hall develops a lithe solo that showcases his artistic, seamless expertise. On an extended solo, Mainieri gets to flex his considerable improvisational skill, but never breaks the mellow pulse of the song.