Two Lyricists Finding Common Ground
Farmer and Hall's complementary styles make this a complete success, with the rhythm section pushing and listening in equal measure.
In 1978, Art Farmer and Jim Hall came together in the studio to record what would become Big Blues. Both players had spent decades developing a shared vocabulary—restrained, harmonically sophisticated, never rushing to fill silence. The sessions benefited from a rhythm section equally attuned to restraint: Mike Mainieri on vibes brought speed and texture without overwhelming the front line, while Steve Gadd and Mike Moore on drums and bass understood that the best support sometimes means laying back and listening. Producer Creed Taylor shaped the project for CTI, creating space for these musicians to think aloud.
What emerged was exactly what you'd expect from this pairing—no surprises, which is itself the point. Farmer's flugelhorn and Hall's guitar speak the same language: melodic, unhurried, thoughtful about harmony. The AllMusic review got it right: their styles are genuinely complementary. Ben Sandmel's DownBeat review (4 stars) noted how Hall matched Farmer's subtle approach while Mainieri's vibes provided the set's brightness and momentum. Gadd and Moore never overshadowed; they listened and responded, understanding that in a session with two mature melodists, the rhythm section's job is to support and accent, not dominate.
This isn't a landmark record or a wild departure for either player. It's solid, professional work from musicians who knew exactly what they wanted to say. If you're already drawn to Hall's guitar or Farmer's flugelhorn work, Big Blues fits naturally into their catalogs. It won't surprise you, but it will reward your attention.
Who's playing
Where next?
More by Jim Hall
All 46 albums →
The musicians on this record
Their own records, close in time
