2008 release compiles all of Art Farmer and Jim Hall's live quartet recordings in their entirety including the 1963 Half Note performances and the extremely rare 1964 London concert. Features musical assistance from Steve Swallow, Walter Perkins and Pete La Roca. This material is presented here for the first time ever in one package. New and careful remastering, includes comprehensive 12-page booklet.

Two former LPs by big bands led by bassist Oscar Pettiford (who doubles on cello) are reissued in full on this single CD. The arrangements by Gigi Gryce, Lucky Thompson, and Benny Golson feature a lot of concise solos, an inventive use of the harp (either by Janet Putnam or Betty Glamann), and colorful ensembles. Among the many soloists are trumpeter Art Farmer, trombonists Jimmy Cleveland and Al Grey, the French horn of Julius Watkins, the tenors of Thompson or Golson, and the bassist-leader. This formerly rare music is highly recommended to straight-ahead jazz fans, for it is full of fresh material and subtle surprises.

Art Farmer was a jazz trumpeter, born in 1928, who came to the fore in the post-war bebop era, and recorded and performed continuously and prolifically in the USA and Europe through the latter half of the 20th century until shortly before his death in 1999. His reputation was enhanced by his recording of Farmer's Market in 1952, shortly after which he embarked on the sessions featured here for the Prestige label during the middle years of the decade, which were along his first as a band leader. Those sessions were mixed and matched across several 10 and 12 LPs over the next few years, and this 42-track 2-CD collection comprises the complete contents of the Prestige albums Work Of Art, Art Farmer Quintet, Art Farmer Plays, The Art Farmer Septet, Early Art, When Farmer Met Gryce and Evening in Casablanca. His bands on these sessions featured a number of noted musicians of the day, including Sonny Rollins, Horace Silver, Percy Heath, Kenny Clarke, Wynton Kelly, Gigi Gryce, Philly Joe Jones and others. Comprising mainly original material, but with a sprinkling of standards, it captures Farmer at a key moment of his career as he blossomed into one of the most respected trumpeters of the era.

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.

Acoustic Sounds and Contemporary Records present this new reissue of iconic jazz trumpet player Art Farmer’s 1958 Contemporary Records debut, “Portrait of Art Farmer”. Featuring Hank Jones (piano), Addison Farmer (bass) and Roy Haynes (drums) with this edition features remastered audio from the original tapes.

The last of the pianoless quartet albums that Gerry Mulligan recorded in the 1950s is one of the best, featuring the complementary trumpet of Art Farmer, bassist Bill Crow, and drummer Dave Bailey along with the baritonist/leader. This recording is a little skimpy on playing time but makes every moment count. Virtually every selection is memorable, with "What Is There to Say," "Just in Time," "Festive Minor," "My Funny Valentine," and "Utter Chaos" being the high points. Highly recommended both to Mulligan collectors and to jazz listeners who are just discovering the great baritonist.

Modern Art is the prelude recording for Art Farmer prior to his partnership with Benny Golson in the Jazztet, and also foreshadows the classy, tasteful inventiveness that group brought to the modern jazz world two years after this 1958 session. Pianist Bill Evans is in here, just before his pivotal work with Miles Davis on the classic album Kind of Blue, and was the table setter for McCoy Tyner's membership in the Jazztet. Brother Addison Farmer on bass and the great drummer Dave Bailey round out this sterling quintet that specializes in playing music with a subtle approach, which is neither tame nor conservatively lazy. Included on this date is the great Junior Mance tune "Jubilation," perfectly understated in a light gospel, soul-jazz, tuneful melody with both horns wonderfully matched up in balanced unison, side by side.

Flugelhornist Art Farmer's fourth and final LP for CTI also features tenor-saxophonist Joe Henderson. The material (which includes originals by Clare Fischer, Joe Zawinul, Don Grolnick and Mike Mainieri) is not the most memorable and the funky rhythm section (which is greatly expanded) does not really blend all that well with the styles of Farmer and Henderson so this set is not as exciting as one might hope.

Some of the finer CTI recordings of the late '70s were those led by flugelhornist Art Farmer. Although the emphasis was generally on obscure material (in this case Farmer plays one original, two songs by Dave Grusin and one piece by pianist Fritz Pauer) and often featured musicians who did not normally play together, the results were generally quite rewarding. For this CTI LP (long out-of-print), the focus is almost entirely on Farmer who is joined by keyboardist Grusin, guitarist Eric Gale, flutist Jeremy Steig, either Will Lee or George Mraz on bass and drummer Steve Gadd. The moody music holds one's interest throughout.

This delightful LP features Art Farmer with a large orchestra not long after he switched from trumpet to flügelhorn. Oliver Nelson's arrangements provide great backdrops for the leader, as do the mix of dependable studio musicians and outstanding jazzmen assembled for the three sessions, including Tommy Flanagan, Phil Woods, Clark Terry, and Jim Hall, to name a few. The choice of material is inspiring: a snappy "Raincheck," and Farmer's moody "Rue Prevail," and a relatively (then) new work by John Coltrane, "Naima," which turns into a richly textured tour de force in the hands of Farmer & co.

The Jazztet had been in existence for two years when they recorded what would be their final LPs, this date plus 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 and it is remarkable to think that this talent-filled group could not find enough jobs in order to stay 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 1970 club date in a Munich club by Art Farmer wasn't released until 1998, but it is by no means a collection of outtakes; it was in the possession of the club owner as his own private treasure. The flügelhornist (though he is inexplicably credited playing trumpet on the CD) is joined by his pianist of choice while in Europe, Fritz Pauer, along with bassist Peter Marshall and drummer Erich Bachtragl. Both Farmer and Pauer deliver consistently outstanding solos throughout the set, and what's unusual is that all of the tracks are originals by the leader. "Concord" and "Concourse" are both up-tempo cookers, while Marshall's fine solo introduces the bluesy "Overnight." While the piano is slightly buried in the mix, this otherwise excellent recording is very much a worthwhile investment for fans of hard bop.

Digitally re-mastered reissue of Sergio's debut album with his trio. Initially, Sergio moved from Brazil to New York to work as pianist with Antonio Carlos Jobim and Art Farmer (amongst others). He recorded this album plus a second album entitled Girl from Ipanema before forming the band that would eventually become Brasil '66. Bossa Nova York is closer to authentic Brazilian music than his later, more commercial recordings and these early sides are adored by Jazz purists. Originally recorded in New York and released in 1964.

Four of the worlds most respected musicians come together for a scintillating night of jazz… live from New York’s Sweet Basil, one of the most prestigious and historic jazz clubs anywhere!

During a career that spanned close to a half century, Art Farmer was well-known for his consistency as a soloist and a bandleader. This series of studio sessions from 1960, with pianist Tommy Flanagan, bassist Tommy Williams, and drummer Albert Heathe, find the trumpeter in great form, with the usually impeccable accompaniment one expects from Flanagan. Many of the rich ballads featured, including "So Beats My Heart for You," "Goodbye Old Girl," and "Younger Than Springtime," have fallen out of favor in the early 21st century, but Farmer's impeccable performances of these chestnuts sound timeless. A slightly jaunty take of Benny Golson's "Out of the Past" and a spirited rendition of "The Best Thing for You Is Me" also merit attention.