This CD, The Time and the Place, is not the album of the same name released on Columbia Records dated February 8, 1967, with pianist Cedar Walton. That recording was a studio date with live audience sounds overdubbed. This is the actual live concert date, remixed from the three-track reel-to-reel master at New York City's Museum of Modern Art's outdoor "Jazz in the Garden" series, featuring pianist Albert Dailey on August 18, 1966, and presented in its entirely. Farmer plays flugelhorn exclusively, one of the first to do so. This concert also links his time leaving the U.S. for Europe, returning briefly, then moving permanently to Vienna, Austria. Tenor saxophonist Jimmy Heath is on the date, and he sounds as good as he ever has. The show includes the first recording of his piece "Far Away Lands," a modal hard bopper that hits the ground running and never lets up. Also included is his timeless Philly funk number, the title track. Dailey's lithe piano, bassist Walter Booker's "Song for My Father"-like samba-cum-pre-disco bass, and the bright singing melody from the horns which identifies this very contemporary jazz and still bears that brand today, and evermore. Farmer did not write any of the tunes, but takes them into his own light, and is a much more expressive performer than typically soft-toned flugelhorn players who use the instrument only on ballads. He's neat and fleet during the extended "The Shadow of Your Smile," lockstep with Heath during the joyful line of "On the Trail," and thinking quickly on the changes of the faster than normal "Blue Bossa." It is also clear that Farmer is acclimating himself to the sound of the instrument, while at this time Freddie Hubbard was emerging as a trumpet star, dogging the trails Farmer, Lee Morgan, and Kenny Dorham had tread. A bit overblown during the loping soul-jazz original "Dailey Bread," the flugelhorn sounds strained as if he's pushing the envelope, Hubbard or Miles Davis looking over his shoulder. Probably the best piece, Duke Pearson's "Is That So?" is one of the great modern post-bop melodies of the era, a bright lyrical line that is the epitome of playful, interactive, truly amazing music. The bass playing of Booker and spot-on drumming of Mickey Roker is clean and quite audible, while Dailey's piano is in the background of the mix a bit. Still this is a rare document of the unsung hero Dailey, whose career was far too brief. A worthy addition, and not a footnote, to the great discography of Art Farmer, Mosaic and Michael Cuscuna deserve big kudos for unearthing this heretofore hidden treasure.
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AllMusic Review by Michael G. Nastos