Boy Wonder’s Lollipop

Press, Volume CIV, Issue 30886, 20 October 1965, Page 14

Boy Wonder’s Lollipop

Gary' McFarland is about the nearest thing to a boy wonder that jazz has at the moment. His talents as a vibes-player, though not inconsiderable, present no challenge as yet to the top men such as Milt Jackson and Lionel Hampton: but as an arranger-composer he is rapidly demonstrating that he has few peers. It is only a few years since he came out of the Berklee College of Music and began making a name for himself,around New York, but already he has recorded with, among others, Bill Evans, Anita O’Day, Bob Brookmeyer, Gerry Mulligan and Stan Getz. His latest. Soft Samba (Verve mono V-8603, 12in, 39s 6d), is really a pop record. The playing tune is a rather mean 284 minutes, the tunes which iaren’t by or about the Beatles ate film themes, all are given bossa nova treatment and the multi-taped voices of McFarland sing or whistle along with the instruments. But it is

about the most delightful record to come this reviewer’s way this year. The sidemen include the estimable trombonist Jimmy Cleveland, the superb bass player Richard Davis and Antonio Carlos Jobim, the man who started the bossa nova business; but they are given little time to themselves. It’s McFarland's pop record, and it’s a lollipop. The Greatest Garner (Atlantic mono AL-31374, 12in, 39s 6d) obviously came out in America a decade ago, for the sleeve note by the verbose Whitney Balliett understates Garner’s age by 10 years. And you have to search long and

hard to find the parenthetical; clause which tells you that, these 12 tracks were recorded* in 1949 and 1950—not that it’ matters too much, for Garner’s < style hasn’t changed and; about the only things which distinguish these from his la - test recordings are the imdlled; sound and occasional stiffness. in the rhythm section. There is even some justification for; calling this the “greatest”. Garner. In 1949 he was new on the scene and sounded fresh and exciting. In the first. chorus of “The Way You Look Tonight," for example, there’ is some superb rhythmic dis-. placement and “Skylark” has • that serene, floating feeling, that today’s jazz public looks for in Bill Evans. "Turquoise.” "Confessin”’ and “Summer-, time," too, are fine examples of the work of this irrepres-’ sible and essential jazzman.

SUSTAINS MOOD Paul Desmond has temporarily discarded his perennial partner Dave Brubeck and come up with a winner in his latest album on RCA. Bossa Antigua (LPM-3320 12in, mono 39s 6d) is the title, and at first hearing it sounds like just another in the clattering stream of bossa nova records that began in 1962. But repeated listening make it clear this is a really elegant record. Admittedly the range of textures and dynamics is restricted; but this seems only to emphasise the mood of unassuming sophistication which Desmond sets and sustains. Gene Wright, of the Brubeck i quartet, is the bas’s player, and the drummer quietly fussing about in the background is Connie Kay, of the Modem Jazz Quartet. The superb guitarist is Jim Hall.