This bibliography was compiled by Douglas Payne with the kind
assistance of Wolfram Knauer (Jazz-Institut
Darmstadt) and the many inclusions provided by Ian Shadwick.
- Down Beat
scholarship winners, Down Beat, June 11, 1959, p 12.
- Report on
Lenox, Down Beat, Oct 15, 1959, p 10. Benefit Concert review.
McFarland: "Pamela". Combo Arrangement, in: Down Beat, 27/15 (1960),
- “The New
Herb Pomeroy,” Down Beat, May 26, 1960, using McFarland arrangements
- “School at
Lenox,: Down Beat, Nov 10, 1960, McFarland mentioned as studying.
School Students, "Jazz in the Classroom Vol. 4" (*** ½) review Down
Beat, August 18, 1960. Mentions McFarland won the Down Beat Hall of
- Ad Lib,
Down Beat, October 12, 1961. John Lewis presents at Music Barn
(Lenox, MA), compositions by McFarland, O. Coleman and 6 of his own.
Williams: New Writer in Town, in: Down Beat, 29/5 (1962), p. 24, 43.
Hodges Blue Hodge review (***), Down Beat, January 18, 1962, p. 32. No
mention of McFarland.
Balliett: "The Fat and the Lean," New Yorker article re-printed in
Collected Works book.
reluctant phoenix, account of big bands. Down Beat, April 26, 1962,
p 19. Mentions McFarland's "refreshingly transparent arrangements
for Mulligan’s orchestra."
arranger’s haven on 42nd St, Down Beat, May 10, 1962, pp
O’Day/Gary McFarland "All the Sad Young Men” review (*** ½), Down
Beat, June 21,1962.
Brookmeyer/Gary McFarland (1 track) "Gloomy Sunday" review (****),
Down Beat, May 24, 1962.
Mulligan "A Concert in Jazz" review (*** ½), Down Beat, Feb 1, 1962.
Jazz Version of How to Succeed in Business Without Really Trying"
review (****½), Down Beat, February 14, 1962.
Goodman "On the first Steppe" article on Russian Tour. Down Beat,
May 24, 1962. Mentions McFarland arranging some items for tour.
Goodman Moscow Diary, Leonard Feather, Down Beat, July 19, 1962.
Mentions complaints by band members at not performing McFarland and
other arrangers' works rehearsed before the tour started.
Getz/Gary McFarland "Big Band Bossa Nova" review (*****), Down Beat,
December 6, 1962, p. 28.
Lewis/Diahann Carroll Concert review, New York Times, December 3,
- J.S. Wilson: "The
Jazz Version of How to Succeed in Business Without Really Trying"
review, New York Times, January 14, 1962.
Version of "How to Succeed in Business Without Really Trying" (the
Gary McFarland Orchestra; Verve). Arranger-Bandleader McFarland
achieves the all but impossible by putting some bite and character
into the bland Frank Loesser score. "Paris Original" and
"Brotherhood of Man" are gingery with ingenious instrumental
chatter; "I Believe in You" turns into a fine, lightly swinging solo
- NN: Young Jazz. McFarland Planning
Album feat. Bill Evans, in: Melody Maker,
9.Feb.1963, p. 4
- Bob Dawbarn: Two for the Book.
Clare Fischer and Gary McFarland, in: Melody
Maker, 11.May 1963, p. 11
- Gary McFarland: Melancolico, in:
Down Beat, 30/23 (15.Aug.1963), p. 36-40 (T)
- Caught in
the Act, Bossa Nova at Carnegie Hall, Getz with McFarland Orchestra,
Down Beat, January 3, 1963; p. 35.
- John Lewis
and the Orchestra, Down Beat, February 14, 1963, p. 21. McFarland
assist director of Orchestra USA.
Wilson Blindfold Test, Down Beat, January 17, 1963: Stan Getz/Gary
McFarland "Manha de Carnival."
Brookmeyer/Gary McFarland "Trombone Jazz Samba" review (***) Down
Beat, February 28, 1963.
face of the large group, Down Beat, April 25, 1963, pp 19-21.
- "The Gary
McFarland Orchestra" review (****½) Down Beat, May 9, 1963.
- Caught in
the Act, Down Beat, June 6, 1963. Jazz supports the Symphony. Stan
Getz with McFarland Orchestra.
USA "Debut" review (***) Down Beat, July 4, 1963.
Mulligan "'63/The Concert Jazz Band" review (*****) Down Beat, June
Mulligan/McFarland concert announcements, New York Times, November
Ad Lib: Down Beat, July 18, 1963. Reports on a NY rehearsal band
organized by Willis Conover and directed by Lalo Schifrin are using
arrangements contributed by McFarland, Thad Jones, Billy Byers,
Mundell Lowe and Bill Potts.
- The Gary McFarland Touch: Exciting Jazz
Compositions Presented As Piano Solos (Sam Fox Publishing, New York 1964).
This recently acquired prize is a long
out-of-print, 24-page collection of Gary McFarland's music scored
for solo piano. The slim book contains ten of McFarland's MJQ Music
owned compositions: "Sandpiper," "I
Love to Say Her Name," "Pretty Little
Gypsy," "Chuggin," "Why Are
You Blue?," "Hopeful Encounter,"
"Kitch," "Weep," "Tree
Tops" and "Bridgehampton Strut." The aural
evidence certainly bears out the written notes, for this music is
fascinatingly simple, yet unusual in the composer's highly
personalized phrasing, changes and chord structures.
McFarland "Point of Departure" review (***½), Down Beat, March 12,
- Nat Hentoff: An Authorative
Newcomer: The Gary McFarland Sextet, in, HiFi,
May 1964, pp 50-51.
- Gene Lees: Contrast, in: Down
Beat, 31 (12.March.1964), p. 14-15.
- Don DeMichael: Tangents, in: Down
Beat, 31 (18.June.1964), p. 14-17+
Johnson Blindfold Test, "Reflections in the Park" Bill Evans/Gary
McFarland, Down Beat, January 30, 1964.
Harrow "You Never Know" review, Down Beat, January 30, 1964.
Jazz Orch at Birdland performance review Down Beat April 23 1964.
included performances of McFarland’s Kitch, Chuggin’ and arr of I
believe in you.
"Reflections in the Park" ballet review, New York Times, March 7,
"Reflections in the Park" ballet review, New York Herald Tribune,
April 10, 1964.
Test, Milt Jackson, "Tree Patterns," Down Beat, October 10, 1964.
Test, Jack Wilson, "Night Images," Down Beat, September 24, 1964.
- Leonard Feather: Blindfold Test.
Gary McFarland, in: Down Beat, 32/18 (1965), p.
Ad Lib, Down Beat, February 25, 1965. Reports New York fashion show
held at St. Regis Hotel on January 13, for which the Gary McFarland
Quintet "provided the music."
- John Lewis/Gary McFarland "Essence"
(****), Down Beat, March 11, 1965, p 27.
- "Soft Samba" review
March 25, 1965, pp 24-25.
- Willis Conover: What Makes Gary
Run, in: Jazz, 4/5 (1965), p. 8-11.
- Down Beat
Festival artists announced, Down Beat, June 17, 1965.
- Leonard Feather: How to Succeed
with a Soft Samba, in: Melody Maker, 19.Jun.1965,
- Harvey Siders: Caught in the Act.
Gary McFarland, Shelly's Manne Hole, Los Angeles,
in: Down Beat, 32/16 (29.Jul.1965), p. 14-15 (C)
- Gary McFarland at the Manne-Hole,
Los Angeles, in: Variety, 19.May.1965, p. 76.
- Leonard Feather: Succe med fel
skiva, in: Orkestra Journalen, 6.June.1965, p. 33.
Burton "The Groovy Sound of Music" review (***), Down Beat, June 3,
- Cal Tjader, "Soul
Source" review (****), Down Beat, June 3, 1965.
- McFarland Orchestra Called Heart
Of Down Beat Jazz Festival, in" Down Beat,
1.July.1965, p. 14.
Jazzmen added to Down Beat Festival, Down Beat, July 29, 1965.
Dizzy, Monk to solo with Down Beat Festival Orchestra, Down Beat,
August 12, 1965.
- Down Beat
Jazz Festival (ad), Down Beat, August 26, 1965 (after the event?).
- Down Beat
Jazz Festival, A view from the Editors Desk, Down Beat, August 26,
- Bob Dawbarn: Gary McFarland, in:
Melody Maker, 11.Sep.1965, p. 10 (R: "Soft
- Buck Walmsley: Down Beat Jazz
Festival, in: Down Beat, 23.Sept.1965, p 19.
- R.F. Thompson: The Young Art Of
Gary McFarland, in: Saturday Review, 13.Feb.1965,
Johnson (Gary McFarland - 2 tracks) review (****), Down Beat, August
Byers Blindfold Test, Down Beat, April 22, 1965, John Lewis/Gary
McFarland "Hopeful Encounter."
In Sound" review (***), Down Beat, December 30, 1965.
ESSENCE (Atlantic). Lewis' skipping piano lightly stitches together
these six pieces by Gary McFarland, while behind him three different
big bands put harmonies through a kaleidoscope or separate briefly
into solo voices that dab in contrasting spots of color.
Doclar, Boys' Life, September 1965, p. 16:
the artists in this album couldn't talk because instead of words all
you hear is, "Ba-ba, baya-baya, byu-byu," and so on with little
relief. The results are unique (as you'd expect) but pleasing. It's
Gary McFarland's SOFT SAMBA. Lots of guitar, flute and vibraphone
sounds team up so that after an intro of "Ringo," "She Loves You"
and "A Hard Day's Night" (where have you heard them?) you're really
swaying. We found the wedding of the soft samba to rock 'n' roll a
joyous union, thanks to the musical ministry of Mr. McFarland.
soundtrack by Gary McFarland (ad), Down Beat,
February 23, 1967, p. 30.
(Capitol Record Club magazine) circa Jan 1967: "Profiles" ad and
review plus ad for "The In Sound."
- Arranger's Corner, Jazz,
May.1967, p 51.
- Samba de Festival (transcription),
Jazz: 1967 (special issue), p. 43.
- Jim Delehant: Confessions of A
Non-Purist, in: Down Beat, 21.Sept.1967, p 22.
Jazz Festival Scheduled for UCLA," Down Beat, May 4, 1967.
conducts house band for Julius LaRosa, Las Vegas," Ad Lib, Down
Beat, June 15 1967.
Angeles Jazz Festival, Caught in the Act, Down Beat, July 13, 1967,
- Zoot Sims
"Waiting Game" review, (***½), Down Beat, May 18, 1967.
- Charles Barrett: Musical Theater
Restricts Too Much, Says McFarland, in: Billboard
Kuhn/Gary McFarland "The October Suite" review (*****), Down Beat,
October 5, 1967.
- Gary McFarland: Original Score of
Thelonious Monk's "Straight, No
Chaser", in: Down Beat Music '67 (1967), p.
- Musicians To Form Own Recording
Companies, in: Down Beat, 35:12, 7.March.1968.
Kuhn" by Martin Williams, Down Beat, February 8, 1968, p. 22. (Kuhn
mentions "The October Suite".)
Ad Lib, Down Beat, April 4, 1968. ("McFarland in LA to a&r Szabo’s
first recording for Skye at Shellys Manne Hole.")
conducted by Harvey Siders, Down Beat, May 30, 1968, p. 16.
and Other Signs" review, Jazz & Pop, June.1968, pp 25-26.
the Sun Really Shine on the Moon" review (*), Down Beat, December
Jones/Mel Lewis Blindfold Test, "Flamingo" (from
the Sun Really Shine on the Moon"), Down Beat, September 5, 1968.
Peraza "Wild Thing" review (**), Down Beat, December 26,1968.
Villella’s ballet Narkissos to become a film. Score to be provided
by Gary McFarland." New York Times, April 6, 1968.
September 1968, pp 56, 61. "Beautiful sounds pour forth in awesome
profusion on DOES THE SUN REALLY SHINE ON THE MOON? The source of
those sounds is Gary McFarland & Co., a septet dedicated to the
proposition that jazz, pop and rock are all part of the same
eminently playable bag. 'By The Time I Get To Phoenix'... shares
equal billing with...'Here, There And Everywhere'... and the
musicianship is superb."
Manne Blindfold Test, "Traffic Patterns" (Steve Kuhn/Gary
McFarland), Down Beat, July 27, 1967.
McFarland is a judge at Intercollegiate Music Festival. Judged May
4-6 1967 in Miami, Fl, Jazz “What’s happenin’,” Down Beat, June
Samba" review (reel-to-reel reel tape edition), Down Beat, May 18,
- "Eye of
the Devil" film review, New York Times, December 7, 1967. (No
mention of film score.)
February 1967, p. 18. "SIMPATICO/Gary McFarland and Gabor Szabo
features the vibist and guitarist with rhythm... They wend their way
through the likes of "Norwegian Wood," "Cool Water," "The Word"...
- Don DeMichael: Gary McFarland -
America the Beautiful, in: Down Beat, 36/25
(1969), p. 20 (R)
- Cal Tjader
"Solar Heat" review (not rated), Down Beat, March 6, 1969.
Burton Blindfold Test, "The Sandpiper" (Gary McFarland), Down Beat,
October 2, 1969.
- Cal Tjader
"Sounds Out Burt Bacharach" review (**½), Down Beat, April 17, 1969.
Szabo "Dreams" review (****), Down Beat, March 6, 1969.
Boland Big Band "Latin Kaleidoscope" review, Jazz Journal, May 1969.
"McFarland honored by Artists resistance Movement for 'America the
Beautiful'," Down Beat, May 1, 1969, p. 14.
the Beautiful" (ad), Evergreen, March 1969.
the Beautiful" review, New York Times, May 25, 1969. "Are big bands
(ad), Evergreen October 1969.
Szabo '69" (ad), Evergreen, November 1969.
May 1970, p. 48. "Ruth Brown, soul queen of another era, makes a
strong comeback on BLACK IS BROWN AND BROWN IS BEAUTIFUL; Gary
McFarland's restrained charts provide the right milieu for Ruth's
dramatic storytelling on "Miss Brown's Blues" and "Yesterday"...
Horne/Gabor Szabo review, HiFi, August 1970.
August 1970, pp 31-32. "LENA & GABOR has got to be one of the most
refreshing LPs to surface in a long time. Singer Horne and guitarist
Szabo... put an additional sheen on such contemporary odes as
"Something," "Everybody's Talkin'," "Yesterday," "When I Was Young"
and "The Fool On The Hill"...
produces LP with Lena Horne-Plays it cool," Billboard, Vol 82, July
11, 1970, p. 27.
Flack Blindfold Test, "Miss Brown's Blues," Ruth Brown/Gary McFarland, Down Beat, November
Tate - He’d rather sing," Down Beat, May 11, 1971, p. 29.
"Butterscotch Rum" review, Hit Parader, September 1971, p. 59.
- NN: Jazzman McFarland Dead, in:
Melody Maker, 13.Nov.1971, p. 4 (O)
Live Another Summer..." performance review, New York, November 8,
1971, p. 78.
Live Another Summer..." review, New York Times, October 22, 1971.
Killed Mary Whats ’er Name" film review, Variety, November
10, 1971, pg. 16.
Killed Mary Whats ’er Name" film review, New York Times, November
22, 1971 Pg 75. (No mention of soundtrack.)
dies. Down Beat, December 23, 1971.
obituary, New York Times, November 5, 1971.
- Gudrun Endress: Soft Music Gary
McFarland, in: Jazz Podium, 20/12 (Dec.1971), p.
418-419, 422 (F/I)
- NN: Gary McFarland gestorben, in:
Jazz Podium, 20/12 (Dec.1971), p. 416 (O)
Kuhn" (Buddah) review (***), Down Beat, June 8, 1972.
for Gary McFarland" review (no stars), Down Beat, April 12 1972.
Boland Big Band "Latin Kaleidoscope" (BASF) review, Jazz Journal,
Boland Big Band "Open Road" (Muse - contains two tracks from "Latin
Kaleidoscope") review (****), Down Beat, November 6, 1975.
Jones/Mel Lewis "Suite for Pops" review, Jazz Hot, April 1976.
("Toledo" mentioned as "Toledano" - but no mention of
Jones/Mel Lewis "Suite for Pops" review (****½), Down Beat, April 8,
1976. (No mention of "Toledo," the composer or the track itself.)
Harlem Troupe “Mirage” performance Billy Wilson, New York Times,
March 1, 1979.
McFarland’s jazz score has its lyrical passages for the love duets
that make up the best choreography.”
Horne/Gabor Szabo (arranged and produced by Gary McFarland) (Gryphon
G 908 reissue) review, Cadence, July 1981.
- Village Voice: Voice Jazz (Jazz
Supplement): "Isle of Dreams: Critics Choose
The Albums They Love":
The October Suite (Impulse), a magnificent album by Steve
Kuhn and Gary McFarland, was recorded in 1966 and
released soon thereafter with little fanfare; it
quickly went out of print and has never been issued
on CD, though used copies of the LP are still around.
It's a sterling example of chamber jazz, brimming
with sensitivity and fire. McFarland (1933-71) is a
nearly forgotten giant of jazz composing and
arranging. Though he was prominent in the '60s, much
of his best recorded work as a leader and in support
of others is currently unavailable.
comprises six incandescent McFarland originals for
piano trio (Kuhn, bassist Ron Carter, drummer Marty
Morell) and either a string quartet or woodwinds and
harp. Years ago, Kuhn allowed me to examine the
scores; it's amazing how simple the individual parts
are and yet how full the writing sounds. Kuhn and
McFarland were close friends, and their personal and
musical empathy is evident throughout. After four
decades as a unique pianist, Kuhn remains undersung,
and this recording is one of his -- and McFarland's
-- finest achievements. --Bill Kirchner
Legends of Style. Keith Shadwick. Universal International. 1998,
- Jörgen Östberg: Väl
Värd Att Upptäcka (Gary McFarland), in Orkesterjournalen, No. 10
2001, pp. 21-25.
"Bill Kirchner Interview" by Larry Nai (May 2002)
Bill Kirchner: I
think if I had to point to the writer who is the single biggest
influence on me, it would be Gary McFarland. I collected a lot of
the things he did on record, on his own and for other people. Very
strong melodic sense.
Cadence: I only know
his Tijuana Jazz album, with Clark Terry.
Bill Kirchner: Yeah,
that's not very good. As the '60's went on, he started doing more
and more commercial records. He was influenced by Ellington and
Miles and Gil Evans, and managed to put those influences together in
a very personal way. There's one record he did with Steve Kuhn,
called The October Suite, for Impulse. Half of it is a piano
trio with Kuhn and Marty Morell, and the other half is a string
quartet, with harp. Years ago, Steve Kuhn let me come out to his
place and look at the scores for an afternoon. His (Gary's) parts
were amazingly simple, but here's another example of a writer who
knows how to get density in his writing, with a small number of
instruments. He was a master at that. He could make a string quartet
sound like an orchestra, or write a counter-melody for solo oboe,
and make it sound huge. I learned from him that it's possible to
write things that are simple, but have density, and make for
- Guitarre & Bass: Terje Rypdal
Interview (July 2002)
Terje Rypdal: "America The Beautiful (1968)
by Gary McFarland was very important to me. I only recently got
the C.D. reissue of this. The album is a big band work, based on a
poem about how America was being ruined. Eric Gale played guitar,
and the music alternates between soft rubato and tight grooves.
Bernard Purdie plays drums, sounding very much like a 'Motown'
drummer at times."
(Special thanks to guitarist Paul Hahn for this listing!)
Evans. Everything Happens To Me, Keith Shadwick, Backbeat Books.
2002. p. 104 (Gary McFarland Orchestra).
- Kristian St. Clair: Skye
High - Composer And Producer Gary McFarland's Prolific Decade With
Verve, Impulse, And Skye Records, in:
Poetics, #13 Summer 2005, pp 52-62.
- Ashley Kahn: The House That
Trane Built: The Story Of Impulse Records (W.W. Norton &
There is surprisingly little on
Gary McFarland in this fascinating overview of one of the most
significant-ever of the jazz labels. Admittedly, McFarland wasn't a
big part of the Impulse story (or, as Kahn is quick to point out,
their sales) - but what he did while there is certainly of
significant artistic note. Ashley Kahn brilliantly spotlights about
three dozen (debatable) Impulse highlights, including McFarland's THE OCTOBER SUITE and briefly explores McFarland's brief role at
the label as kind of a house arranger. Not a book to read to learn
about Gary McFarland, but a terrific read nonetheless.
- Bill Kirchner:
The Dozens: Essential Gary McFarland on
A beautiful reflection on twelve of Gary McFarland's works, with
artwork by Suzanne Cerny, written by musician, bandleader, writer,
DJ and ecumenical jazz historian, Bill Kirchner. Features include
write-ups on Gerry Mulligan's "Weep", McFarland's cover of "I
Believe In You", Anita O'Day's "I Want To Sing A Song", Bill Evans's
take on McFarland's "Reflections In The Park", McFarland's "Hello To
The Season", Stan Getz's "Entre Amigos", J.J.Johnson's "Winter
Waifs", Steve Kuhn's takes on "St. Tropez Shuffle" and "Childhood
Dreams", McFarland's own "Theme From 13", Zoot Sims's "Does The Sun
Really Shine On The Moon" and Gary McFarland's own "On This Site
Shall Be Erected".
Shadwick: Secret Story: "This is Gary McFarland" review, Jazzwise,