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What Happens?... Art Farmer Phil Woods Together

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What Happens?... Art Farmer Phil Woods Together album cover
Watch What Happens
Artist: Daniel Humair
Chelsea Bridge
Artist: Daniel Humair
Blue Bossa
Artist: Kenny Dorham
Blue Lights
Artist: Gigi Cryce
The Day After
Artist: Daniel Humair
Sunrise Sunset
Artist: Jerry Bock
Album Information

Total Tracks: 6   Total Length: 45:13

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eMusic Features


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By Kevin Whitehead, Contributor

Most jazz fans recognize Benny Golson's tunes, even if they don't know who wrote them. Art Blakey played "Blues March" every night for decades, "Stablemates" has been a jam session favorite even longer, and mastering "I Remember Clifford" is a trumpeter's rite of passage. Golson's melodies sound good on their own, and have a way of slyly drawing improvisers in. His tunes have such strong shapes, soloists need only hint at their contours to sound focused… more »

They Say All Music Guide

The individual discographies of both Art Farmer and Phil Woods are sizable, but this 1968 studio session seems to be their only joint recording in a small-group setting. With pianist Martial Solal, bassist Henri Texier, and drummer Daniel Humair (the latter two were members of Phil Woods’ European Rhythm Machine at the time), the two completed this recording in three hours, even though there are some minor rough spots. A very snappy take of Michel Legrand’s “Watch What Happens” is a perfect opener, with great interplay between Woods’ energetic alto sax and Farmers warm flugelhorn. The rhythm section kicks off a furious tempo to Kenny Dorham’s “Blue Bossa” and the co-leaders make the most of it. Gigi Gryce’s stimulating blues “Blue Lights” is also full of fire in a brisk arrangement. “Sunrise, Sunset,” the famous ballad from Fiddler on the Roof, is unusually fast, with plenty of risk-taking in the solos by Woods, Farmer, and particularly Solal. Oddly enough, the only pure ballad features are the solo tracks by Woods and Farmer; the alto saxophonist delivers an emotional, very dark interpretation of “Chelsea Bridge,” while the flugelhornist chooses a less-familiar work, the richly textured “The Day After.” Although the final results of this date might have been improved with an extra day of rehearsal, this Italian CD is still well worth purchasing. – Ken Dryden

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