Actually, Farmer had met Gryce a while earlier, when they had both been part of the Lionel Hampton European tour of the summer of 1953--a tour that had kickstarted the careers of two brilliant arrangers, Gryce and Quincy Jones. Jones would go on to a legendary career as arranger and producer; Farmer would go on to a legendary career as an instrumentalist. Gryce would cut his carer short, essentially retiring from the public eye by the end of the 1950s, for a number of reasons, not the least of which may have been disillusionment with the music industry. David Griffith, who maintains the Gigi Gryce web page, points out:
It is often overlooked that Gryce was one of the first black musicians to form his own publishing company in order to have control over his and fellow musicians' creative output - many of the prominent black jazz musicians of the day were with Gryce's Melotone publishing company. It became clear, however, that Gryce couldn't buck the deeply ingrained system of record companies controlling (at least in part) music publishing rights as part of recording deals.made his Prestige debut in February, leading a trio. Farmer's brother Addison was also making his second session: he had played with Art in a quartet the previous November. Art Taylor may or may not have recorded with Art Farmer in June 1954; he definitely appeared on Thelonious Monk's last session for Prestige.
Capri" has been recorded by J. J. Johnson, Clifford Brown and Benny Golson. Here it moves from a brief but intriguing vamp by red to a swinging head by Farmer, to some nimble torch-passing between the two soloists. "Blue Lights" begins with a blue fanfare, and then stays bluesy and driving. It numbers Coleman Hawkins, Hank Jones and Clifford Jordan among its interpreters. Art Farmer's contribution, "The Infant's Song," is a particularly beautiful melody. All in all, this is a very strong group of originals to bring to one recording session.