Generally overlooked during his formative years, Artwork Farmer’s regularly inventive playing was even more greatly appreciated simply because he continued to build up. Alongside Clark Terry, Farmer helped to popularize the flügelhorn among brass players. His lyricism provided his bop-oriented design its own character. Farmer researched piano, violin, and tuba before buying trumpet. He proved helpful in LA from 1945 on, executing frequently on Central Avenue and hanging out in the rings of Johnny Otis, Jay McShann, Roy Porter, Benny Carter, and Gerald Wilson amongst others; a number of the groupings also included his twin sibling, bassist Addison Farmer (1928-1963). After using Wardell Grey (1951-1952) and touring European countries with Lionel Hampton’s big music group (1953), Farmer shifted to NY and caused Gigi Gryce (1954-1956), Horace Silver’s Quintet (1956-1958), as well as the Gerry Mulligan Quartet (1958-1959). Farmer, who produced many recordings within the last mentioned fifty percent of the ’50s (including with Quincy Jones and George Russell and on some jam-session schedules for Prestige) co-led the Jazztet with Benny Golson (1959-1962) and had an organization with Jim Hall (1962-1964). He shifted to Vienna in 1968 where he became a member of the Austrian Radio Orchestra, caused the Kenny Clarke-Francy Boland Big Music group and toured along with his personal units. Starting within the ’80s, Farmer frequented the U.S. more regularly and remained significantly in demand until his loss of life on Oct 4, 1999. Farmer documented many sessions like a leader through the entire years for Prestige, Modern, United Performers, Argo, Mercury, Atlantic, Columbia, CTI, Spirit Notice, Optimism, Concord, Enja, and Nice Basil.