Recorded in 1962 and released the following year, Listen to Art Farmer and the Orchestra stands as one of his most ambitious statements as a leader. The album places Farmer at the forefront of a large ensemble arranged and conducted by Oliver Nelson. The personnel bridges New York's hard-bop scene with leading studio and jazz musicians, with Farmer featured as the principal solo voice against Nelson's full complement of brass, reeds, and rhythm. Guitarists Jim Hall & Barry Galbraith, bassist George Duvivier, drummer Charlie Persip, and pianist Tommy Flanagan support Farmer alongside an expanded orchestra. Nelson's orchestrations give him space to showcase his lyricism and poised tone, balancing tightly arranged ensemble passages with luminous solo statements. This program draws on beloved standards, including "Street of Dreams" and "Naima." The Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.

The complete album + 2 bonus tracks - limited edition 180g vinyl audiophile pressing. Coming of age at the dawn of the bebop era, Art Farmer rejected the mechanical playing that much of bebop seemed to encourage. Instead, Farmer became known for his warm, fluid tone, and his ability to make the trumpet sing like a tender yet stately baritone voice. On Modern Art (his last small group collaboration with Bill Evans, with whom he had first recorded in 1956), Art Farmer emphasises style over technique. The group swings with both authority and subtlety on all eight tracks, making this album one of the best records of this period.

Japanese pressing. 60 masterpieces from the prestigious American jazz label CTI Records (including sub-labels KUDU and SALVATION) are now being released all at once. All titles come with a luxurious booklet that reprints the liner notes from the original Japanese LP releases. King. 2025.

Art Farmer - The Art Of Farmer: Classic Albums 1953-55 / Comprising mainly original material, but with a sprinkling of standards. - 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.

Limited 180gm vinyl LP pressing housed in tip-on jacket. 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 pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman.

Roger Quilter was born in Brighton on 1 November 1877, third son of Sir Cuthbert Quilter. He was educated at Eton and then studied for four years in Frankfurt-am-Main under the Russian teacher of composition, Ivan Knorr. Fellow students were Cyril Scott, Norman O'Neill, Balfour Gardiner and Percy Grainger. All these were composers of some reputation in their lifetimes, but only Quilter and Grainger produced work which is still performed regularly today. Quilter was a writer of songs, and virtually nothing else. There was an opera, Julia, and a couple of ballets, and the once well-known A Children's Overture. On the other hand, he composed more than one hundred songs. At least half of these remain in the repertoire, loved by performers and audiences alike. The songs on this release span more than 50 years and show Quilter in all his moods - light, exuberant, ephemeral, narrative, pensive, but always melodic. Few composers - especially song composers - can claim to have written works that have remained in print since they were first published more than a hundred years ago. Roger Quilter is one such, though the number of his songs still in print is regrettably small.

Alan was a complete musician - a composer, performer, teacher, and a person of extraordinary natural musicality. Small wonder then that he was viewed with profound respect by all those within the musical profession who were privileged to come into contact with him... As a pianist one was struck by his innate rhythmic verve, a facet which indeed radiated through all his compositions - but perhaps the quality above all else that will be remembered was that which can best be described as a mezzo voce bel canto, the realisation of a choice and refined ear, and the product of a deep thinker and inner tranquillity'. It is that satisfying synergy of elegant lyricism and rhythmic energy which distinguishes the keyboard works of pianist and composer Alan Richardson. (Paul Conway)

The songs included on this album are all settings of words by either Elizabethan or Jacobean poets: a period of literature that has been a prime source for song composers since its creation. The Shakespeare texts – all ‘songs’ from the plays – contain the works that made Quilter’s name, and have largely been responsible for his enduring reputation. Nathan Vale studied with Ryland Davies at the Royal College of Music and Benjamin Britten International Opera School. He was awarded an Independent Opera Vocal Scholarship to the National Opera Studio, where he was further supported by the Elmley Foundation, ENO, the Nicholas John Trust and The Seary Trust. He is a former winner of the London Handel Singing Competition where he was also awarded the Audience Prize. He continues his studies with David Pollard.

Saint-Saënss' favorite pupil, Gabriel Faure, wrote in his obituary of his teacher of the "serene regions" his music often inhabited, "where violence and paroxysms are unknown, where gravity, wit, charm, and smiling tenderness rule side by side." In this, he was echoing his teacher's own response to the world around him: "Are smiles and graces to be ignored by all"... Happiness is disapproved of in the music of our time... Long live sadness! Long live boredom!" To which Roger Nicholas responds, "Long live keys, tunes, clarity, and playfulness! Long live the music of Camille le Grand!" This release is the second of two volumes of original compositions and arrangements for piano duo and duets by Camille Saint-Saëns. "The two pianists are perfectly in tune with one another at all times. This is thoroughly enjoyable and well recorded with some interesting cover notes. I really look forward to hearing volume 2..." (Jonathan Welsh)

FRANÇAIX Scherzo. 5 Portraits de jeunes filles. Eloge de la danse. Piano Sonata. 5 Encores. Danse des 3 Arlequins. 8 Variations. Nocturne. 3 Equisses sur les touches blanches. La Promenade d’un Musicologue Eclectique. De la Musique avant tout chose. Pour Jacqueline. Si Versailles m’etait conté. Scuola di Ballo. 1 8 Danses exotiques. 1 15 Portraits d’enfants d’Auguste Renoir. 2 Napoléon 2 • Martin Jones, 1 Richard McMahon, 2 Adrian Farmer (pn) • NIMBUS NI 5880/2 (3 CDs: 19:05)


Had Jean Françaix been born a decade or so earlier, we would be referring to Les Sept rather than Les Six. As it was, the French-polished and long-lived composer (1912–97) followed in the footsteps of his slightly older confrères, particularly Poulenc, in typifying the French style of his era: witty, light-hearted, and insouciant. Françaix’s music derives from the bouncy rhythms and diatonic melodies of French folk music, but mixes in the vulgarity of the boulevard, the harmonic asperity of Stravinsky, and an occasional hint of 1920s jazz, all done with assured craftsmanship. While many of his concertos have been recorded—the best-known are the sprightly Piano Concertino (1932) and the Clarinet Concerto—Françaix’s output for solo piano has not. The only previous recordings I discovered are by Annette Middlebeek on a hard-to-find Koch disc from 2001, and another from 2008 by Nicole Narboni on the obscure label CDBY, which I have never heard of. (The latter recital is intriguingly promoted as “Narboni on Food, Felines, Fathers, and Jean Françaix.”) I did not manage to do any comparative listening—my order of the Koch disc failed to materialize by deadline— but in any case this new Nimbus set trumps both in terms of completeness alone.


Although Françaix was an expert orchestrator, probably more skilled than Poulenc, whose Story of Babar the Elephant he arranged for orchestra, the younger composer first made his mark as a pianist. He continued to play throughout his life, not only his own works but also music by other composers, often teaming with the cellist Maurice Gendron. Many of his compositions involve piano, and I notice a three-disc set of chamber music with the composer at the piano is scheduled to be released late in 2012 (this being the year of Françaix’s centenary, of course).


Meanwhile, we have the indefatigable Martin Jones to bring us up to speed on the keyboard works. The set opens with the early, mostly staccato Scherzo, a favorite of the composer that he played often, and it shows him at his most deft in its clarity and harmonic sleight of hand. The Scherzo sets the tone for the rest of the program and is tossed off with perfect élan here by Jones. Françaix preferred miniatures, and many of the larger works are in fact suites made up of several short movements. Some, such as the oddly titled Promenade d’un Musicologue Eclectique , are composed of tributes to other composers such as Chopin, Ravel, and Adam. Françaix always sounds like himself, but Ravel was clearly a major influence along with Chabrier and, to some extent, Satie. We might expect a work titled Piano Sonata to be more serious in tone but that expectation is quickly dashed; the first movement scampers off like a French poodle. (The same thing happens in the composer’s one symphony.) The sonata’s second movement (Elégie) features an Impressionistic bell-like accompaniment. Timing is one of the composer’s finest assets: Nothing outstays its welcome, and just as one might be tiring of high spirits a pensive moment of lyricism comes along, like the lovely “La Tendre” in the Five Portraits of Young Girls suite. The gentle Nocturne’s arpeggiated left hand registers like updated Fauré, and it is this piece, the composer’s final composition for solo piano (1994), that brings the first disc to a close.


In the duo and two-piano works Jones is joined by Richard McMahon or Adrian Farmer. The Eight Exotic Dances of 1957 draw on popular Latin and jazz forms. The final movement is titled Rock’n’roll but it is far more jazz than rock, a musical genre too earthy for the fastidious Françaix, I suspect. Napoléon and Si Versailles m’etait conté are two-piano arrangements of music from films, while Scuola di ballo is a ballet score from 1933, which, 30 years later, the composer reworked for himself and his daughter Claude to play. The resulting score is more elaborate than a mere reduction, as you will hear if you compare it to the orchestral version recorded by Thierry Fischer and the Ulster Orchestra (Hyperion). It draws on music by Boccherini in much the same way as Stravinsky reinterpreted Pergolesi in Pulcinella , and forms a joyous finale to the program.


Devotees of piano music and avowed completists owe a lot to Martin Jones, truly one of the finest of British pianists. For Nimbus he has recorded a good deal of Spanish music (including multiple discs of Mompou), a Czerny series, Szymanowski, and several others. He is a sparkling technician, but beyond that he always manages to sound utterly sympathetic in the music he chooses to record. His partners in this enterprise are equally at home; McMahon, for one, has a formidable reputation in duet work. Nimbus’s recording strikes me as perfect; as usual, there is air around the sound but it is never muddy, always crisp, and suits the piano to a T. While it may be asking too much to listen to the three discs straight through (though I did so without any ill effect, several times), this is undoubtedly a delightful set to dip into and certainly a significant addition to the catalog.


FANFARE: Phillip Scott