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Schomburg Center for Research in Black Culture > Video Oral History Gallery Video Gallery Cataloging Data: Art FarmerLocation Schomburg-MIRS Call # Sc Visual VRA-180 Service copy. Sc Visual VRB-2013 Original of: Sc Visual VRA-180. Author Farmer, Art, interviewee Title Oral history interview with Art Farmer, 13 August 1993 [videorecording] / interviewer, Jimmy Owens Imprint 1993. Description 2 videocassettes (2 hrs., 5 min.) : sd., col. ; 1/2 in. 020500 Note Title supplied; duration: 2 hrs., 5 min. Credits Produced and directed by James Briggs Murray. Note Recorded on August 13, 1993, at Schomburg Center for Research in Black Culture, Louis Armstrong Jazz Oral History Project. Summary The oral history interview with Art Farmer goes directly into Farmer's career. Farmer talks about relocating to Vienna. The Martin Luther King Jr. and Robert Kennedy assassinations, the ensuing political climate, coupled with a low domestic jazz scene, prompted the 1968 move. While there, he worked with the Austrian Radio Orchestra and performed independently throughout Europe. He customized his music in accordance with public preferences, but, as commercial success increased, the quality of the music decreased. Became involved with music education in Graz and Linz (the "Hochschulen" in these cities had a jazz section). Backtracks to earliest musical experiences. Began studying piano at 6. Soon thereafter he was given a violin, became a member of a local marching band, and, with twin brother Addison, played the horn. True interest in music emerged with the bass, then trumpet. Began studying privately at Juilliard. Focused on technique: rather than his mouth, concentrated on using stomach muscles. Toured the South and Southwest; Dizzy Gillespie, Fats Domino and Miles Davis were the greatest influences. Moved to LA and worked with Benny Carter, Johnny Otis, Roy Porter, Teddy Edwards (1945). To supplement income worked as an X-ray clerk in LA County Hospital. Did a TV series with Gerald Wilson and met a number of jazz greats: Quincy Jones, Buster Cooper, Clifford Brown. For learning purposes, transcribed Fats and Miles; Dizzy was difficult to transcribe. Toured with Lionel Hampton and recorded with Brown (1952-1953). Settled in NYC and formed a band with Gigi Gryce (1953). Single Farmer's market (1956/Addison Farmer, bass) led to a record deal. Recorded for Prestige with Brown and Lester Young; collaborated with Clifford Jordan (who composed Ballad art for him) and George Russell (RCA/Victor jazz workshop series). Russell taught Art how to run through chords (rather than just playing them). Subsequent use of notation (C instead of B flat) marked a departure from diatonic composition. Formed Sextet with Benny Golson (Jazztet) (1959-1962). When Jazztet disbanded, released 10 albums as leader. Continued practicing. Continued to play piano; this was Dizzy's influence: Dizzy claimed that all players must play piano. Switched from playing trumpet to fluegelhorn; trumpet was now mostly limited to big-band section work. Discusses melody-based and harmony-based improvisation. Duke Ellington and John Coltrane revolutionized the former. Plans to continue working, assemble a reliable band, possibly return to the US. Concludes interview with discussion of Art (Argo), his favorite recording with the Quartet; mentions several singles: I'm a fool to want you, That old devil called love, Younger than springtime. Talks about the Quartet (Art Farmer/trumpet, Tommy Flanagan/piano, Albert Heath/drums, Tommy Williams/bass). Williams was great with melodic improvisation. Note Reproduction. Originally produced: New York, N.Y. : Schomburg Center for Research in Black Culture, The New York Public Library, 1993. 2 videocassettes ; 1/2 in. (MII)VHS. Use terms Permission required to cite, quote and reproduce; contact repository for information. Biography/History Note Forms part of: Louis Armstrong Jazz Oral History Project. In Louis Armstrong Jazz Oral History Project Subject Farmer, Art -- Interviews. King, Martin Luther, Jr., 1929-1968 -- Assassination --Influence. Kennedy, Robert F., 1925-1968 -- Assassination -- Influence. Farmer, Art -- Appreciation -- Europe. Farmer, Art -- Childhood. Farmer, Addison. Gillespie, Dizzy, 1917- -- Influences. Domino, Fats, 1928- -- Influences. Davis, Miles. Carter, Benny. Otis, Johnny, 1921- Porter, Roy, 1923- Edwards, Teddy, 1924- Wilson, Gerald. Jones, Quincy, 1933- Cooper, Buster. Clifford, Brown. Clifford Brown memorial album. Hampton, Lionel. Gryce, Gigi. Young, Lester, 1909-1959. Jordan, Clifford. Russell, George -- Influence. Ellington, Duke -- Contibutions in melody. Coltrane, John, 1926-1967 -- Contributions in melody. Flanagan, Tommy. Heath, Albert. Willimas, Tommy -- Contributions in melody. ™sterreichischer Rundfunk. Symphonie-Orchester. Art Farmer-Benny Golson Jazztet. Art Farmer Quartet. Jazz musicians. Afro-American musicians. Afro-American composers. Trumpet players. Fluegelhorn music (Jazz). Jazz -- History. Jazz -- Study and teaching (Secondary) -- Austria -- Graz. Jazz -- Study and teaching (Secondary) -- Austria -- Linz. Music -- Indivdualized instruction. Trumpet -- Studies and exercises (Jazz). Arrangement (Music) -- Technique. Chords (Music) -- Technique. Musical notation -- Technique. Fluegelhorn -- Chord diagrams -- Technique. Fluegelhorn -- Studies and exercises (Jazz). Composition (Music) -- Technique. Piano -- Studies and exercises (Jazz). Fluegelhorn with jazz ensemble. Melody -- Technique. Form/genre Interviews. Biographies. Additional name Owens, Jimmy, interviewer. Schomburg Center for Research in Black Culture. Louis Armstrong Jazz Oral History Project. Schomburg Center for Research in Black Culture. Donor The Louis Armstrong Jazz Oral History Project was funded by the Louis Armstrong Educational Foundation, Inc. |