A name that we'll definitely being hearing more of in the years to come, drummer Joe Farnsworth has developed an enviable reputation in the Big Apple doing what he does best- swinging like mad, booting the soloist along and sounding great while doing all the above! The 31-year-old native of Massachusetts is one of five bothers, all of them musical and all of them fostered by a father who was a trumpeter and teacher himself. Following studies with Alan Dawson and Art Taylor, along with time spent in the jazz program at William Paterson College, Farnsworth hit New York where he would work with Cecil Payne and the late Junior Cook and the rest, as they say, is history.
For several years Farnsworth led a regular gig at a New York club called Augie's (now re-opened as Smoke Jazz Club) which would bring him in contact with a group of musicians that have become the core of today's best mainstream players. Eventually appearing under the name One For All, the group would include tenor saxophonist Eric Alexander, trumpeter Jim Rotondi, trombonist Steve Davis, pianist David Hazeltine, and bassist Peter Washington. Many of these men appear regularly on Criss Cross Jazz, leading to Farnsworth's latest spate of recording activity for the label and becoming as often recorded as his predecessors at Criss Cross, Kenny Washington and Billy Drummond.
All the above logically leads us to the session at hand, Joe's first to date as a leader and not surprisingly such old buddies as Eric Alexander and Steve Davis appear, with such ringers as Cedar Walton and Eddie Henderson thrown in for good measure. The chemistry is perfect and the three-horn front line is particularly strong. The opening "Eddie's Mood" by Steve Davis contains the hip kind of vamp figures that this talented writer has explored in the past so well. This leads to a string of tasty solos perfectly backed by a shuffle rhythm, a la Blakey, that serves as an impeccable introduction for what is to follow, namely 72 minutes of vigorous and animated hard bop of the first order. I nice mix of band originals and a few standards include such highlights as Walton's funky "I'm Not So Sure", Lee Morgan's "Melancholee" and Farnsworth's Coltrane- inspired "I See You, Brother."
Another strong point to this album has to be Farnsworth's highly musical drumming. Not inclined to aimless displays of technical mastery, this drummer has mastered the art of being a full-fledged member of the rhythm section. His backing is strong, but also complimentary and marked by the appealing buzz of a crisp, riveted ride cymbal. His snare attack is clean and accented by tasty rim shots that contrast well with his rich and open sounding bass drum and tom- toms. In short, the man has developed a drum sound that is uniquely his own, a task not often easy accomplished.
Jazz has always thrived on its communal nature, older artists inspiring younger ones, younger ones advancing the music, and so on. Farnsworth has made the most of this tradition and is already one of the finest jazz drummers of his generation. The torch has been passed and, believe me, it's in good hands!
By C. Andrew Hovan
September 1, 1999
https://www.allaboutjazz.com/a-beautiful-friendship-joe-farnsworth-criss-cross-review-by-c-andrew-hovan
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Un nombre del que definitivamente escucharemos más en los próximos años, el baterista Joe Farnsworth ha desarrollado una reputación envidiable en la Gran Manzana haciendo lo que mejor sabe hacer: ¡balancearse como loco, arrancar al solista y sonar genial mientras hace todo lo anterior! El nativo de Massachusetts, de 31 años, es uno de los cinco bothers, todos musicales y todos criados por un padre que también era trompetista y maestro. Después de estudiar con Alan Dawson y Art Taylor, junto con el tiempo que pasó en el programa de jazz en William Paterson College, Farnsworth llegó a Nueva York, donde trabajaría con Cecil Payne y el difunto Junior Cook y el resto, como dicen, es historia.
Durante varios años, Farnsworth dirigió un concierto regular en un club de Nueva York llamado Augie's (ahora reabierto como Smoke Jazz Club) que lo pondría en contacto con un grupo de músicos que se han convertido en el núcleo de los mejores músicos convencionales de la actualidad. Eventualmente apareciendo bajo el nombre One For All, el grupo incluiría al saxofonista tenor Eric Alexander, el trompetista Jim Rotondi, el trombonista Steve Davis, el pianista David Hazeltine y el bajista Peter Washington. Muchos de estos hombres aparecen regularmente en Criss Cross Jazz, lo que llevó a la última oleada de actividad discográfica de Farnsworth para el sello y a grabar con tanta frecuencia como sus predecesores en Criss Cross, Kenny Washington y Billy Drummond.
Todo lo anterior lógicamente nos lleva a la sesión en cuestión, la primera cita de Joe como líder y, como era de esperar, aparecen viejos amigos como Eric Alexander y Steve Davis, con timbres como Cedar Walton y Eddie Henderson incorporados en buena medida. La química es perfecta y la línea frontal de tres cuernos es particularmente fuerte. La apertura "Eddie's Mood" de Steve Davis contiene el tipo moderno de figuras vampíricas que este talentoso escritor ha explorado tan bien en el pasado. Esto conduce a una serie de sabrosos solos perfectamente respaldados por un ritmo aleatorio, a la Blakey, que sirve como una introducción impecable para lo que viene a continuación, es decir, 72 minutos de hard bop vigoroso y animado de primer orden. Una buena mezcla de originales de la banda y algunos estándares incluyen aspectos destacados como el funky "I'm Not So Sure" de Walton, "Melancholee" de Lee Morgan y "I See You, Brother" inspirado en Coltrane de Farnsworth."
Otro punto fuerte de este álbum tiene que ser la batería altamente musical de Farnsworth. No inclinado a exhibiciones sin rumbo de maestría técnica, este baterista ha dominado el arte de ser un miembro de pleno derecho de la sección rítmica. Su respaldo es fuerte, pero también complementario y marcado por el atractivo zumbido de un platillo ride crujiente y remachado. Su ataque de caja es limpio y acentuado por sabrosos tiros al aro que contrastan bien con su bombo y tom - toms ricos y abiertos. En resumen, el hombre ha desarrollado un sonido de batería que es exclusivamente suyo, una tarea que a menudo no es fácil de lograr.
El jazz siempre ha prosperado en su naturaleza comunitaria, los artistas mayores inspiran a los más jóvenes, los más jóvenes hacen avanzar la música,etc. Farnsworth ha aprovechado al máximo esta tradición y ya es uno de los mejores bateristas de jazz de su generación. La antorcha ha pasado y, créanme, ¡está en buenas manos!
By C. Andrew Hovan
September 1, 1999
https://www.allaboutjazz.com/a-beautiful-friendship-joe-farnsworth-criss-cross-review-by-c-andrew-hovan
1 - Eddie's Mood
Composed By – Steve Davis 8:30
2 - Beautiful Friendship
Composed By – Donald Kahn, Stanley Styne 5:51
3 - Joobie
Composed By – Eric Alexander 9:16
4 - Lament
Composed By – J.J. Johnson 6:41
5 - I'm Not So Sure
Composed By – Cedar Walton 7:57
6 - Something In Common
Composed By – Cedar Walton 8:30
7 - I See You, Brother 9:40
8 - Melancholee
Composed By – Lee Morgan 7:22
9 - Joe's Tempo
Composed By – Eric Alexander 7:34
Credits:
Bass – Nat Reeves
Drums – Joe Farnsworth
Piano – Cedar Walton
Tenor Saxophone – Eric Alexander
Trombone – Steve Davis
Trumpet, Flugelhorn – Eddie Henderson
Label: Criss Cross Jazz – Criss 1166 CD, Criss Cross Jazz – 1166
Country: Netherlands
Released: 1998
Genre: Jazz
Style: Bop, Hard Bop
https://www.discogs.com/release/8381777-Joe-Farnsworth-Sextet-Beautiful-Friendship?srsltid=AfmBOorc3OErIDuELJBo3MXqQ1Hc8wRBvf8tQTwDkzBKX30w3GkdpCMS
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