Drummer Joe Farnsworth returned Friday with his latest album, The Big Room. Released less than three years after his then latest release, In What Direction Are You Headed?, the 44-minute record is Farnsworth’s sixth album as a band leader and offers plenty for audiences to appreciate, most notably in its musical arrangements. While the arrangements featured herein give audiences much to appreciate, the lack of any background on the compositions (seven originals and one cover) detracts from the record’s overall appeal, but not enough to doom the record. Understanding this there is one more positive to note of The Big Room and that is the record’s sequencing. When it is considered alongside the arrangements featured throughout the album, the whole therein makes The Big Room a work that Farnsworth’s established fans will appreciate just as much as more casual audiences.
The Big Room, the latest full-length studio recording from Joe Farnsworth, is a mostly successful new offering from the veteran drummer and band leader. The record’s success is grounded primarily in its featured arrangements. Totaling eight in all, the arrangements present a diverse range of sounds and styles, though there is a certain amount of blues. In reading through the liner notes (which will be discussed shortly) that should come as no surprise. As Farnsworth himself notes in the liner notes, “One thing about The Big Room: You got to be able to play the blues.” The blues is prevalent throughout the album, showing up early on in ‘What Am I Waiting For?,’ which was crafted by vibraphonist – and one of Farnsworth’s fellow musicians on this album — Joel Ross. The blues lean here is a subdued, contemplative presentation especially established through the work of trumpeter Jeremy Pelt. His moody performance conjures thoughts of so many great noir films of an era long gone; the rain falling over a city skyline lit by the lights of its building as people make their way across the gloomy setting. That is just this critic’s interpretation, of course.
The blues makes another appearance in the record’s sole cover, that of ‘I Fall In Love Too Easily.’ Originally composed by Jule Styne and Sammy Cahn for the Oscar® award-winning 1944 movie Anchors Aweigh, it was originally performed in said movie by its star, Frank Sinatra. It has been covered countless times by artists famed and not so much, including the likes of Chet Baker, Mel Torme, and Tony Bennett. Even Pat Metheny, Johnny Hartman, and Miles Davis have taken on the standard. While the arrangement here is clearly different – there are no strings or vocals in this rendition – it still maintains that somber, subdued approach presented in the original work. Pelt once again leads the way while pianist Emmet Cohen pairs with Farnsworth to make the whole such a rich, colorful work. Ross adds just enough touch on the vibes to complete the group’s musical painting and make it that much more engaging and entertaining.
‘All Said and Done,’ another of the album’s early entries, could just as easily be argued to have its own bluesy identity. Led this time by alto saxophonist Sarah Hanahan, the six-minute-plus composition is a cook, mid-tempo composition that conjures thoughts of some high-end jazz club. That is thanks to the confidence that the group generates through its collective work.
For those wanting something more than just the blues, Farnsworth and company offer that, too. Right from the album’s outset, listeners get a light vintage bop style work in ‘Continuance.’ Clocking in at nearly six-and-a-half minutes, ‘Continuance’ is essentially a collection of solos performed by the group, one after the other. At the same time, the musicians’ performances come together to make the work in whole a fun, light work that makes for a positive start to the album. The album’s title track, which serves as the record’s midpoint, is a percussionist’s dream come true. Running just over three-and-a-half minutes, the song is performed jointly by Farnsworth and Ross. The pair’s duo is the most unique work on this record. This is evidenced through Farnsworth’s full use of his rudimentary skills and Ross’ thoughtful use of “phrasing” throughout as well as his dynamic control. It is just one more example of the diversity presented throughout the record that makes the arrangements a strong foundation for the album.
The bop styling continues in ‘You Already Know,’ one of the album’s second-half entries. Barely topping the six-minute mark, the performance here is led by Cohen, who also composed the song. Pelt shines just as much through his performance on trumpet while Farnsworth keeps time solidly throughout the song. The whole is another fun composition that is sure to become a favorite among audiences.
‘Prime Time,’ the record’s closer, is yet another example of the diversity featured throughout the album. Instead of the bop or even blues already displayed throughout the album, this song has more of a vintage funk influence. Farnsworth composed the song but the group in whole makes the arrangement so engaging and entertaining. Between Cohen’s work on the piano, Hanahan’s performance on the sax, Pelt’s trumpet solo, and bassist Yasushi Nakamura’s own performance, the whole brings a closer for audiences that is just as lively as the record’s opener but clearly distinct in its style and sound. When it and the other songs examined here are considered collectively, the whole therein forms a solid foundation for the album.
While the musical content featured throughout The Big Room does plenty to make the album worth hearing, the record is not perfect. Like far too many jazz records out there, there is no background on the songs featured in the liner notes. Yes, there are liner notes. The problem is that said background is more on how Farmsworth assembled the musicians who recorded the album more so than on the songs themselves. The closest that the liner notes get to focusing on the songs’ background comes as writer Shun Brady (who penned the liner notes), points out very briefly the approach taken in the album’s opener as well as that of ‘I Fall In Love Too Easily,’ ‘You Already Know’ and ‘Prime Time.’ The explanations are very brief to say the absolute least. The rest of the liner notes are spent presenting background on Farnsworth and his fellow musicians. To that end, the lack of any real notable background on the songs detracts from the presentation, especially considering they were each composed by members of the collective. It certainly would have been nice to have heard from Farnsworth’s fellow musicians on their inspirations. Alas that was not to be. Either way, the lack of that extra information is not enough to doom the record. It sure would have enhanced the listening experience, though, just like so many other jazz records would have benefitted from such information.
Knowing that the lack of any background on the songs is not enough to doom the record, there is one more positive to note, that being the sequencing of its songs. As already has been noted, there is a certain level of diversity throughout the arrangements. There is blues, there is bop, and material in-between throughout the album’s eight total tracks. In listening through the album from beginning to end, the styles and the connected energy of each arrangement changes so much and so positively. From the high energy of ‘Continuance’ to the polar opposite that is ‘What Am I Waiting For’ to the slightly more mid-tempo ‘All Said and Done’ to the even more upbeat, experimental approach of ‘The Big Room’ audiences get so much change in sound and style from one song to the next in the record’s first half. The record’s second half sees just as much variety. From the mid-tempo swing of ‘Radical’ to the total opposite of ‘I Fall In Love Too Easily’ to the much more upbeat ‘You Already Know’ and on to the Vince Guaraldi-esque closer that is ‘Prime Time,’ the sounds, styles and tempos change just as much as in the album’s first half. The two halves together change so much that they definitely ensure listeners’ engagement and entertainment from beginning to end. Keeping in mind the aesthetic appeal that this ensures, the sequencing of the album’s arrangements does just as much as the songs themselves to make the album worth hearing. All things considered, The Big Room proves to be one more welcome addition to this year’s field of new jazz albums.
The Big Room, the latest offering from Joe Farnsworth, is a presentation that the veteran drummer’s established fans will appreciate as much as more casual jazz audiences. That is proven in large part through its arrangements. The arrangements present a variety of sounds, styles and tempos throughout its nearly 45-minute run time. There is blues, there is bop, and other familiar jazz work, giving listeners plenty to take in. The sequencing of that variety keeps things interesting because it keeps the record from getting stale at any point. The two items work collectively to make up for the lack of background on the songs and in turn make the album well worth hearing. In hearing it, audiences will agree The Big Room is one more welcome addition to this year’s field of new jazz albums.
The Big Room is available now through Smoke Sessions Records. More information on the at https://joefarnsworthdrums.com.
