{"id":2025,"date":"2010-04-10T16:39:37","date_gmt":"2010-04-10T23:39:37","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=2025"},"modified":"2010-04-10T16:39:37","modified_gmt":"2010-04-10T23:39:37","slug":"weekend_extra_farmer_konitz_pe","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2010\/04\/weekend_extra_farmer_konitz_pe\/","title":{"rendered":"Weekend Extra: Farmer, Konitz, Persson"},"content":{"rendered":"<p>I have no idea how Sharkey Bonano (see the April 9 item below) felt about Art Farmer&#8217;s playing or, indeed, whether he was aware of Farmer. They were from different eras and different styles. My guess is that Farmer&#8217;s lyricism would have appealed to Bonano, whose own playing carried a trace of Bix Beiderbecke DNA.<br \/>\nIn this video from a 1966 program on the Dutch TV station NCRV, Farmer collaborates on &#8220;Just Friends&#8221; with alto saxophonist Lee Konitz and the Swedish trombonist Ake Persson. The rhythm section is pianist Pim Jacobs&#8217; trio, with Stu Martin on drums. We don&#8217;t see the bassist, but most likely he is Ruud Jacobs, his brother&#8217;s more or less constant sideman during this period. The date was under Oliver Nelson&#8217;s leadership. Near the end of the performance, we catch a glimpse of Nelson and his tenor saxophone.<\/p>\n<div style=\"text-align: center;\"><object width=\"440\" height=\"355\"><param name=\"movie\" value=\"http:\/\/www.youtube.com\/v\/NshwQGnDQ4U&#038;hl=en_US&#038;fs=1&#038;rel=0\"><\/param><param name=\"allowFullScreen\" value=\"true\"><\/param><param name=\"allowscriptaccess\" value=\"always\"><\/param><embed src=\"http:\/\/www.youtube.com\/v\/NshwQGnDQ4U&#038;hl=en_US&#038;fs=1&#038;rel=0\" type=\"application\/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"440\" height=\"355\"><\/embed><\/object><\/div>\n","protected":false},"excerpt":{"rendered":"<p>I have no idea how Sharkey Bonano (see the April 9 item below) felt about Art Farmer&#8217;s playing or, indeed, whether he was aware of Farmer. They were from different eras and different styles. My guess is that Farmer&#8217;s lyricism would have appealed to Bonano, whose own playing carried a trace of Bix Beiderbecke DNA. [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-2025","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2025","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=2025"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2025\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=2025"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=2025"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=2025"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}