Gary McFarland

|| presented by douglas payne || biography || discography || bibliography || reflections || reviews ||

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 performs.


  • Gary McFarland: "Pamela". Combo Arrangement, in: Down Beat, 27/15 (1960), pp 60-64.
  • “The New Herb Pomeroy,” Down Beat, May 26, 1960, using McFarland arrangements
  • “School at Lenox,: Down Beat, Nov 10, 1960, McFarland mentioned as studying.
  • Berklee School Students, "Jazz in the Classroom Vol. 4" (*** ½) review Down Beat, August 18, 1960. Mentions McFarland won the Down Beat Hall of Fame scholarship.


  • 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.


  • Martin Williams: New Writer in Town, in: Down Beat, 29/5 (1962), p. 24, 43.
  • Johnny Hodges Blue Hodge review (***), Down Beat, January 18, 1962, p. 32. No mention of McFarland.
  • Whitney Balliett: "The Fat and the Lean," New Yorker article re-printed in Collected Works book.
  • The reluctant phoenix, account of big bands. Down Beat, April 26, 1962, p 19. Mentions McFarland's "refreshingly transparent arrangements for Mulligan’s orchestra."
  • An arranger’s haven on 42nd St, Down Beat, May 10, 1962, pp 11-12.
  • Anita O’Day/Gary McFarland "All the Sad Young Men” review (*** ½), Down Beat, June 21,1962.
  • Bob Brookmeyer/Gary McFarland (1 track) "Gloomy Sunday" review (****), Down Beat, May 24, 1962.
  • Gerry Mulligan "A Concert in Jazz" review (*** ½), Down Beat, Feb 1, 1962.
  • "The Jazz Version of How to Succeed in Business Without Really Trying" review (****½), Down Beat, February 14, 1962.
  • Benny Goodman "On the first Steppe" article on Russian Tour. Down Beat, May 24, 1962. Mentions McFarland arranging some items for tour.
  • Benny 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.
  • Stan Getz/Gary McFarland "Big Band Bossa Nova" review (*****), Down Beat, December 6, 1962, p. 28.
  • John Lewis/Diahann Carroll Concert review, New York Times, December 3, 1962.
  • J.S. Wilson: "The Jazz Version of How to Succeed in Business Without Really Trying" review, New York Times, January 14, 1962.
  • "Jazz Records," Time,  Friday, Feb. 16, 1962:

The Jazz 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 for Flugelhorn.


  • 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.
  • Gerald Wilson Blindfold Test, Down Beat, January 17, 1963: Stan Getz/Gary McFarland "Manha de Carnival."
  • Bob Brookmeyer/Gary McFarland "Trombone Jazz Samba" review (***) Down Beat, February 28, 1963.
  • Changing 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.
  • Orchestra USA "Debut" review (***) Down Beat, July 4, 1963.
  • Gerry Mulligan "'63/The Concert Jazz Band" review (*****) Down Beat, June 20, 1963.
  • Mulligan/McFarland concert announcements, New York Times, November 24, 1963.
  • Strictly 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.

  • Gary McFarland "Point of Departure" review (***½), Down Beat, March 12, 1964.
  • 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+
  • J.J. Johnson Blindfold Test, "Reflections in the Park" Bill Evans/Gary McFarland, Down Beat, January 30, 1964.
  • Nancy Harrow "You Never Know" review, Down Beat, January 30, 1964.
  • Concert 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, 1964.
  • "Reflections in the Park" ballet review, New York Herald Tribune, April 10, 1964.
  • Blindfold Test, Milt Jackson, "Tree Patterns," Down Beat, October 10, 1964.
  • Blindfold Test, Jack Wilson, "Night Images," Down Beat, September 24, 1964.


  • Leonard Feather: Blindfold Test. Gary McFarland, in: Down Beat, 32/18 (1965), p. 33 (BT)
  • Strictly 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" review (****), Down Beat, March 11, 1965, p 27.
  • "Soft Samba" review (*), Down Beat, 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, p. 6
  • 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.
  • Gary Burton "The Groovy Sound of Music" review (***), Down Beat, June 3, 1965.
  • 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.
  • Chicago Jazzmen added to Down Beat Festival, Down Beat, July 29, 1965.
  • Getz, 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, 1965.
  • Bob Dawbarn: Gary McFarland, in: Melody Maker, 11.Sep.1965, p. 10 (R: "Soft Samba")
  • 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, p. 58-59
  • J.J. Johnson (Gary McFarland - 2 tracks) review (****), Down Beat, August 12, 1965.
  • Billy Byers Blindfold Test, Down Beat, April 22, 1965, John Lewis/Gary McFarland "Hopeful Encounter."
  • "The In Sound" review (***), Down Beat, December 30, 1965.
  • Time, March 19, 1965:

    JOHN LEWIS: 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.

  • Ernest Doclar, Boys' Life, September 1965, p. 16: 

    You'd think 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.


  • Norman Schwartz presents Gary McFarland Profiles (ad), Cavalier, January 1966.
  • "McFarland to lead dream band in Concert," Cavalier, January 1966, p. 6.
  • Jazz column mentions Profiles concert, Cavalier, February 1966.
  • Profiles Concert review, New York Times, February 7, 1966.
  • The In Sound (ad), Cavalier, February 1966, p. 15
  • Dan Morgenstern: Caught in the Act. Gary McFarland, Lincoln Center, New York City, in: Down Beat, 33/6 (24.Mar.1966), p. 44-45 (C)
  • Roy Ayers Blindfold Test, "Climb Every Mountain" (Gary Burton/Gary McFarland), Down Beat, September 8, 1966.
  • Concert Heir, in: Jazz Journal, Mar.1966, p. 16-17
  • Big Band Forum: Will Big Bands Ever Come Back?, in: Jazz, March.1966, p 20-21.
  • Dan Morgenstern: Gary McFarland: Theme and Variations, in: Down Beat, 33, 24.Feb.1966, p. 23-25+. This article mentions McFarland doing arrangements for Barbara Streisand and also Les and Larry Elgart.
  • Shelly Manne Blindfold Test, "Reflection in the Park" (John Lewis/Gary McFarland), Down Beat, March 24, 1966.
  • Whitney Balliett: Jazz Concerts, in: New Yorker, 26.Feb.1966, p. 78+
  • "Tijuana Jazz" review (****), Down Beat, April 7, 1966.
  • "Latin Shadows" review (*), Down Beat, April 7, 1966
  • Gabor Szabo/Gary McFarland "Gypsy '66" review (***), Down Beat, April 7, 1966.
  • "The In Sound" review, Jazz, May 1966, p. 26.
  • B. Houston: Gary McFarland, in: Melody Maker, 2.July.1966, p. 6.
  • Jazz Forum, Jazz, July 1966, p. 19 (features photo of Gary McFarland and son, Milo). "Question. If your child wanted to be a jazz musician, what advice would you give him? McFarland’s answer: "Be sure to hang out at Jim & Andy's."
  • McFarland To Lead Dream Band In Concert, in: Down Beat, 27.Jan.1966, p 13
  • Spotlighting the Composer: Gary McFarland, Crescendo, September 1966, p. 14.
  • Disc Discussion, Crescendo, September 1966, p. 20.
  • "Profiles" review (***), Down Beat, December 1,1966.
  • Gary McFarland/Gabor Szabo "Simpatico" (*½), Down Beat, November 17, 1966.
  • Kenny Burrell Blindfold Test, "You Will Pay" (Gary McFarland/Gabor Szabo), Down Beat, December 29, 1966.
  • Zoot Sims Blindfold Test "Entre Amigos" (Stan Getz/Gary McFarland), Down Beat, June 16, 1966.
  • Playboy, May 1966, pp 21-22:

    GYPSY '66/Gabor Szabo with Gary McFarland & Co... There's a powerful strain of the Magyar in Szabo's playing, which imparts a highly original flavor to a performance. Among the tunes on hand are a couple of Beatle ballads - "Yesterday" and "If I Fell" - and Burt Bacharach's... "Walk On By"...


  • "13" soundtrack by Gary McFarland (ad), Down Beat, February 23, 1967, p. 30.
  • Keynotes (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.
  • "Major Jazz Festival Scheduled for UCLA," Down Beat, May 4, 1967.
  • "McFarland conducts house band for Julius LaRosa, Las Vegas," Ad Lib, Down Beat, June 15 1967.
  • Los Angeles Jazz Festival, Caught in the Act, Down Beat, July 13, 1967, p. 27.
  • Zoot Sims "Waiting Game" review, (***½), Down Beat, May 18, 1967.
  • Charles Barrett: Musical Theater Restricts Too Much, Says McFarland, in: Billboard 79:24, 24.June.1967.
  • Steve 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. 104-116 (T)


  • Musicians To Form Own Recording Companies, in: Down Beat, 35:12, 7.March.1968.
  • "Steve Kuhn" by Martin Williams, Down Beat, February 8, 1968, p. 22. (Kuhn mentions "The October Suite".)
  • Strictly Ad Lib, Down Beat, April 4, 1968. ("McFarland in LA to a&r Szabo’s first recording for Skye at Shellys Manne Hole.")
  • Quotet conducted by Harvey Siders, Down Beat, May 30, 1968, p. 16.
  • "Scorpio and Other Signs" review, Jazz & Pop, June.1968, pp 25-26.
  • "Does the Sun Really Shine on the Moon" review (*), Down Beat, December 12, 1968.
  • Thad Jones/Mel Lewis Blindfold Test, "Flamingo" (from "Does the Sun Really Shine on the Moon"), Down Beat, September 5, 1968.
  • Armando Peraza "Wild Thing" review (**), Down Beat, December 26,1968.
  • "Edward Villella’s ballet Narkissos to become a film. Score to be provided by Gary McFarland." New York Times, April 6, 1968.
  • Playboy, 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."
  • Shelly Manne Blindfold Test, "Traffic Patterns" (Steve Kuhn/Gary McFarland), Down Beat, July 27, 1967.
  • Gary McFarland is a judge at Intercollegiate Music Festival. Judged May 4-6 1967 in Miami, Fl, Jazz “What’s happenin’,” Down Beat, June 1967.
  • "Soft Samba" review (reel-to-reel reel tape edition), Down Beat, May 18, 1967.
  • "Eye of the Devil" film review, New York Times, December 7, 1967. (No mention of film score.)
  • Playboy, 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.
  • Gary 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.
  • Gabor Szabo "Dreams" review (****), Down Beat, March 6, 1969.
  • Clarke Boland Big Band "Latin Kaleidoscope" review, Jazz Journal, May 1969.
  • Potpourri, "McFarland honored by Artists resistance Movement for 'America the Beautiful'," Down Beat, May 1, 1969, p. 14.
  • "America the Beautiful" (ad), Evergreen, March 1969.
  • "America the Beautiful" review, New York Times, May 25, 1969. "Are big bands dead?"
  • "Slaves" (ad), Evergreen October 1969.
  • "Gabor Szabo '69" (ad), Evergreen, November 1969.


  • Playboy, 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"...
  • Lena Horne/Gabor Szabo review, HiFi, August 1970.
  • Playboy, 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"...
  • "Szabo produces LP with Lena Horne-Plays it cool," Billboard, Vol 82, July 11, 1970, p. 27.
  • Roberta Flack Blindfold Test, "Miss Brown's Blues," Ruth Brown/Gary McFarland, Down Beat, November 12, 1970.   


  • "Grady 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)
  • "To Live Another Summer..." performance review, New York, November 8, 1971, p. 78.
  • "To Live Another Summer..." review, New York Times, October 22, 1971.
  • "Who Killed Mary Whats ’er Name" film review, Variety, November 10, 1971, pg. 16.
  • "Who Killed Mary Whats ’er Name" film review, New York Times, November 22, 1971 Pg 75. (No mention of soundtrack.)
  • McFarland dies. Down Beat, December 23, 1971.
  • McFarland 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)


  • "Steve Kuhn" (Buddah) review (***), Down Beat, June 8, 1972.
  • "Requiem for Gary McFarland" review (no stars), Down Beat, April 12 1972.


  • Clarke Boland Big Band "Latin Kaleidoscope" (BASF) review, Jazz Journal, June 1973.


  • Clarke Boland Big Band "Open Road" (Muse - contains two tracks from "Latin Kaleidoscope") review (****), Down Beat, November 6, 1975.


  • Thad Jones/Mel Lewis "Suite for Pops" review, Jazz Hot, April 1976. ("Toledo" mentioned as "Toledano" - but no mention of composer/arranger.)
  • Thad Jones/Mel Lewis "Suite for Pops" review (****½), Down Beat, April 8, 1976. (No mention of "Toledo," the composer or the track itself.)


  • Dance 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.” 


  • Lena 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. The October Suite 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

  • Jazz Legends of Style. Keith Shadwick. Universal International. 1998, p. 220.



  • Jörgen Östberg: Väl Värd Att Upptäcka (Gary McFarland), in Orkesterjournalen, No. 10 2001, pp. 21-25. 


  • Cadence, "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 worthwhile music.

  • 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!)
  • Bill 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: Wax Poetics, #13 Summer 2005, pp 52-62.


  • Ashley Kahn: The House That Trane Built: The Story Of Impulse Records (W.W. Norton & Company: 2006).

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".


  • Keith Shadwick: Secret Story: "This is Gary McFarland" review, Jazzwise, September 2007.