Golson's arrangements give Farmer room to shine, and the band swings without fuss.
Brass Shout arrived in 1959 on United Artists, a label better known then for film soundtracks than for hard bop, and it did not make much noise at the time. It was never a commercial hit, and it did not sit at the center of the conversation the way the Blue Note sessions of the same period did. What it earned instead was a steady, quiet reputation among people who went looking for it.
AllMusic reviewer Stacia Proefrock wrote that Benny Golson's well-crafted arrangements back Art Farmer's superb solos with flair, which is about as clear a summary as you could ask for. The album is built around a brass ensemble Golson conducts and arranges, with Farmer out front as the lead voice. The writing is warm and busy in the right places, and it gives the soloists a bed to lie on rather than competing with them.
The Penguin Guide to Jazz takes a more restrained view, noting that the arrangements are fairly laid-back and use the ensemble sparingly, leaving plenty of space for the featured horns. That is a fair description and also the source of the record's appeal. If you want a loud, flag-waving big band, this is not it. If you want to hear Farmer's tone on a horn that is not the usual trumpet, and Golson's craft applied to a sound that few jazz records of the era tried, start here. Lee Morgan and Curtis Fuller are both in the ensemble, and Elvin Jones keeps the rhythm honest.
It is a record for listeners who already know Farmer and Golson, and for anyone curious about how the brass section could sound when it was given room to breathe.