Art Farmer

Trumpet, Flugelhorn · born 21 August 1928 died 4 October 1999

Click for Richard Cook Bio

Farmer's contribution to jazz was a model of taste, consistency and finesse. That makes it sound boring, but Art was so inventive a player that, like Zoot Sims or Jack Teagarden, he seemed almost incapable of performing below a certain level. Although he was born in Iowa (with his twin brother Addison, 1928–63, who played bass), he grew up in Phoenix, and eventually changed from sousaphone to cornet in a local marching band. From 1945 he began playing on the West Coast, where he performed with several big bands, occasionally going out on tour, and in 1953 he moved over to New York, where he worked with Teddy Charles, Horace Silver and Gerry Mulligan: on Mulligan's 1958 version of My Funny Valentine, Farmer's beautiful playing makes Chet Baker seem pallid. But he had already begun recording as a leader, with Prestige, from 1953. By 1958 his playing was at its peak: Portrait Of Art (Contemporary) and Modern Art (United Artists) are brimful of detailed, intricately poised trumpet playing, where Farmer's reluctance to bite off his notes makes his playing on each track seem all of a piece. In 1959, he and Benny Golson formed The Jazztet, one of the great New York bands of its day, where the contrast between Farmer's persuasive style and Golson's aggression paid many dividends. The group had run its course by 1962, and during this period Farmer switched more or less exclusively to the flugelhorn, although he still picked up the trumpet occasionally, mostly for section-work. He led a quartet with Jim Hall and then another small group with Jimmy Heath, but he also found work in Europe, and maintained a home in Vienna for many years from 1968. Where others of his generation were puzzled by the way jazz had gone, Farmer calmly carried on working, in small groups and in orchestral settings, and the 80s in particular found him on golden form, leading some superb recordings with Clifford Jordan and staging various reunions with Benny Golson. He also began playing what he called the flumpet, which was a hybrid of trumpet and flugelhorn. If he occupies a middle ground somewhere between Miles Davis and Bobby Hackett, Art surrendered nothing to either man when it came to spinning out a lyrical solo, and his discography as a whole must be among the most satisfying in all of jazz.

Biography from Richard Cook's Jazz Encyclopedia (2005).

If you'd like more information, check out The New Grove Dictionary of Jazz (2002) or The Biographical Encyclopedia of Jazz (2007), both of which are still in print.

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