Joe Farnsworth: In What Direction Are You Headed?

Joe Farnsworth grew up in a musical family and began playing drums at a young age. He later attended and graduated from William Patterson College in New Jersey, where the staff included Harold Mabern and Cedar Walton, who would prove instrumental in kick-starting his career. He landed a gig with Benny Golson that lasted eight years and went on to become an in-demand name. His style is deeply rooted in the bebop and hard bop traditions, characterized by a driving rhythmic feel, impeccable timing, and an expressive approach to improvisation. From there, the list of stars he's played with is as diverse as it is long with leaders like George Coleman, Diana Krall, McCoy Tyner, Pharoah Sanders, Wynton Marsalis and Harold Mabern to name just a few.

Farnsworth's first two albums for Smoke Session Records were primarily trio sessions with Kenny Barron and Peter Washington, though the first one featured Wynton Marsalis on four tracks. The title of his latest album for the label asks the musical question, In What Direction Are You Headed?' The answer is....He's going somewhere totally different.

In the liner notes, Farnsworth explains, "Kurt Rosenwinkel basically called me out of the blue; I'd never met him or really even heard him play. The week [we played together] at the Vanguard opened up a whole new world of possibilities for me. It was stunning to hear his compositions and his artistry." At that moment, Farnsworth decided that his next project would be built around Rosenwinkel. He states, "Kurt was the feature; we were going to flow through his spirit." To fill out the sound, he brought in Immanuel Wilkins on alto. Along with Robert Hurst on bass and Julius Rodriguez on keyboards, the direction was solidified.

The title track became the centerpiece of the album. Written by Farnsworth's friend and mentor, Harold Mabern, it is a song he says he always wanted to record. After hearing Rosenwinkel play, he thought of the song again. In a recent interview he said, "I believe in a Higher Power, and I know Harold Mabern was talking to me. I knew he was pushing me to open up to new styles of music. To be true to myself and let the music inside me come out." The track is an exploration of possibilities. Wilkins and Rosenwinkel particularly are impressive and Farnsworth gets out of his comfort zone on the whole song, but specifically, his solo shows him trying something new.

The album opens with the first of Rosenwinkel's three compositions, "Terra Nova." The guitar lays down an ethereal background with an almost flute-like alto singing the melody. It segues into a simple, beautiful ballad where both Rosenwinkel and Wilkins play with lyrical fluidity. "Filters," also by Rosenwinkel, is a classic post-bop tune. After the head, both leads solo simultaneously. This creates a very interesting sound; the dynamic of their styles together is fascinating. Rodriguez shows his chops before Farnsworth gets a two-minute solo break before the melody returns (See YouTube video below).

Immanuel Wilkins' "Composition 4" is a soft, sweet thing. Wilkins' statement of the melody is laid over the guitar's sensitive accompaniment before the piano continues the mood. Farnsworth is barely heard here, allowing the other members to set the rhythm. It has almost an ECM Records feel to it. Julius Rodriguez is the composer of "Two Way Street." It is a post-bop barn-burner. The rhythm section pushes the tempo, while the alto and guitar play the melody in unison. Rosenwinkel gets the first solo and lets it rip. His solo shows off his jagged angular style, before Wilkins enters in a full frenzy. Rodriguez then gets his chance to wail before the band trades fours with Farnsworth before returning to the theme.

"Safe Corners" is another lovely Rosenwinkel song where he showcases his chording skills, both playing under Wilkins and solo. His range of abilities is astounding. "Bobby No Bags" is Farnsworth's contribution to the album. A no-frill swinging mainstream piece, it starts with Robert Hurst soloing before everyone in the band gets a chance to join the groove. The record closes with "Someday, We'll All Be Free," the hopeful, uplifting ballad by Donny Hathaway. It is given a soulful rendition here by all before Rosenwinkel cranks it up to another level.

This recording represents Farnsworth removing his "blinders"—his word—by embracing a younger generation of musicians. Wilkins and Rodriquez are both in their mid-20s and bring a new approach and energy to the music. Along with Rosenwinkel's versatility, style and virtuosity, the direction Farnsworth is heading is new and exciting.

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