JAZZ-Framboisierspecimen-V1.Pdf
Framboisier Bold Bold Italic
Framboisier is a ‘pumped’ typeface with spiky wedge serifs inspired by the work of the late French graphic & type designer Marcel Jacnovitch better known as Jacno (1904-1989). Keeping the spirit of his nervous letterings, the Roman has a cursive companion allowing it to perform as well in display size that in smaller text settings. Aa
J a zz M aTy pe 1 / 12 Specimen v1 www.futurefonts.xyz
Framboisier Family overview
BillyBold Higgins
CHRISBold NEAL
DonaldBold Italic Jones
INBold Italic CONCERT
2018 © Dorine Sauzet & Quentin Schmerber / JazzMaType 2 / 12 Specimen v1 www.futurefonts.xyz
Framboisier Bold Mr. Cheeks GYPSY JAZZ Paul Jackson FUNKTRONICA John Corigliano SPEAK LIKE A CHILD Live from Soundscape TYLER THE CREATOR BLUE’S ‘In a Sentimental Mood’ Letters
2018 © Dorine Sauzet & Quentin Schmerber / JazzMaType 3 / 12 Specimen v1 www.futurefonts.xyz
Framboisier Bold In 1958 Blakey formed a new lineup with fou r Philadelphia natives: Lee Morgan, Benny Go lson, Bobby Timmons, and Jymie Merritt.This marked the beginning of probably the most f ruitful period of the Jazz Messengers. They r eturned to Blue Note and the first record enti tled simply Art Blakey and the Jazz Messenge rs produced their biggest hit: “Moanin’”. It featured two mor e songs which would become Messengers classics, and jazz cl assics as well: “Blues March” and “Along Came Betty” by Ben ny Golson. Golson left the band in 1959 after a European tour (which produced live albums and a film soundtrack on Fonta na Records and French RCA) to be replaced, briefly, by Hank Mobley. Mobley did not accompany the band to a Canadian ja zz festival in 1959; Lee Morgan encountered Wayne Shorter a t the festival, and he joined the band in Mobley’s place. This l ineup produced several notable recordings, including the second Messenger al bum, A Night in Tunisia. In 1961 the group expanded to a sextet with the additi on of Curtis Fuller. This lineup produced the Art Blakey!!!!! Jazz Messengers!!!!! album for Impulse! Records. At the end of that summer, Lee Morgan and Bobb y Timmons left and were replaced by Freddie Hubbard and Cedar Walton resp ectively. This lineup recorded Three Blind Mice for United Artists and two alb ums for Blue Note: Mosaic and Buhaina’s Delight. Golson left the band in 1959 after a European tour (which produced live albums and a film soundtrack on F ontana Records and French RCA) to be replaced, briefly, by Hank Mobley. Mob ley did not accompany the band to a Canadian jazz festival in 1959; Lee Morgan encountered Wayne Shorter at the festival, and he joined the band in Mobley’s
2018 © Dorine Sauzet & Quentin Schmerber / JazzMaType 4 / 12 Specimen v1 www.futurefonts.xyz
Framboisier Bold place. This lineup produced several notable time the recording date is unknown the ban recordings, including the second Messenge d produced an album from the musical Gold r album, A Night in Tunisia. In 1961 the grou en Boy for the Colpix label with an expanded p expanded to a sextet with the addition of C lineup. This lineup included both Freddie H urtis Fuller. This lineup produced the Art B ubbard and Lee Morgan on trumpet, plus Ch lakey!!!!! Jazz Messengers!!!!! album for Impu arles Davis, Julius Watkins, and Bill Barber. lse! Records. At the end of that summer, Le In April 1964, the Jazz Messengers produced e Morgan and Bobby Timmons left and were their final, new, recording for the Blue Note replaced by Freddie Hubbard and Cedar Wa label: Indestructible. The “New” Messenger lton respectively. This lineup recorded Thre s (1964-66) In September 1964, Wayne Short e Blind Mice for United Artists and two albu er left the Messengers to form Miles Davis’ S ms for Blue Note: Mosaic and Buhaina’s Deli econd Great Quintet. Lee Morgan enlisted lo ght. In mid-1962 Reggie Workman replaced ng-time Sun Ra tenor saxophonist John Gilm long-time double bassist Jymie Merritt, wh ore to fill in-though it was understood he wo o wanted to settle down in Philadelphia. Thi uld return to Sun Ra after a time. Gilmore b s version of the group produced three album rought along fellow Arkestra member Victo s for Riverside: Caravan, Ugetsu, and Kyoto; r Sproles and John Hicks joined on piano. T in addition to another Blue Note under the n he edition of the Messengers would see mor ame Free for All. This lineup stayed togethe e quick turnover of members than the previo r until March 1964, when Lee Morgan rejoin us. The band signed with Quincy Jones’ new ed in place of Freddie Hubbard. Around this Mercury sub-label Limelight Records. This g roup (still including Curtis Fuller on trombone)recor during this period particularly abroad in Europe and ded the first album for the label: ‘S Make It. The ban Japan where they maintained their popularity. But th d soon reverted to a quintet as Fuller departed. Alto s e lineups were fluid, with several musicians rotating axophonist Gary Bartz replaced the departing John Gi through based on who was available for the particula lmore and this quintet with Freddie Hubbard sitting i r engagement. In various combinations, between 196 n alongside Morgan recorded Soul Finger for Limelig 6 and 1972 the band included trumpet players Woody ht. By January 1966 the band had completely turned o Shaw and Randy Brecker in addition to Hardman; sax ver again. Now Chuck Mangione occupied the trumpe ophonists Garnett, Mitchell, Billy Harper and Ramon t chair with Frank Mitchell on tenor sax, Keith Jarret Morris; and trombonists Slide Hampton and Julian P t on piano and Reggie Johnson on bass. This lineup p riester. The piano chair saw the greatest turnover. Af roduced the live album Buttercorn Lady under the m ter Jarrett, pianists included Mike Nock, Lonnie Listo oniker Art Blakey and the “New” Jazz Messengers. W n Smith, Chick Corea, McCoy Tyner, Ronnie Mathews, hile the band continued to perform live, this would be George Cables, Joanne Brackeen, Albert Dailey, plus the final Jazz Messengers recording of the decade. Th occasionally veterans John Hicks, Cedar Walton, and e dark years (1966-76) The late 1960s saw the ascend Walter Davis, Jr. Bassists included Juni Booth, Buste ance of rock music in popular culture, and the jazz w r Williams, Larry Evans, Scotty Holt, Arnet, and Mick orld was experimenting with free jazz and jazz fusio ey Bass. In 1972 the Messengers were signed to Presti n, styles Blakey did not care for. It was difficult for B ge Records and produced three albums. Child’s Dance lakey to maintain a steady lineup for the Messengers, featured pieces from two recording sessions on 1972, during this period, and even more difficult to produc with different, expanded, and somewhat overlappin e recordings. Between 1966 and 1972, the Messengers g lineups. The regular Messengers on the album were produced only a single official record: Jazz Messenge Woody Shaw; Ramon Morris; John Hicks, Walter Dav rs ‘70, a live date in Tokyo. This particular lineup inc is, Jr. and George Cables on both acoustic and electric luded Bill Hardman, Carlos Garnett, Joanne Brackeen pianos; and Mickey Bass. The band was augmented by and Jan Arnet. Blakey kept the Messengers working Buddy Terry (soprano sax), Manny Boyd (flute), Micha
2018 © Dorine Sauzet & Quentin Schmerber / JazzMaType 5 / 12 Specimen v1 www.futurefonts.xyz
Framboisier Bold Italic Quotations SOUTHEAST River of Gold BENNIE GREEN Sheets of sound JUPITER VARIATION Warner Bros. Records TEMPEST IN THE COLOSSEUM “Headhunters Herbie Hancock”
2018 © Dorine Sauzet & Quentin Schmerber / JazzMaType 6 / 12 Specimen v1 www.futurefonts.xyz
Framboisier Bold Italic In 1958 Blakey formed a new lineup with fou r Philadelphia natives: Lee Morgan, Benny Go lson, Bobby Timmons, and Jymie Merritt.This marked the beginning of probably the most f ruitful period of the Jazz Messengers. They r eturned to Blue Note and the first record enti tled simply Art Blakey and the Jazz Messenge rs produced their biggest hit: “Moanin’”. It featured two mor e songs which would become Messengers classics, and jazz cl assics as well: “Blues March” and “Along Came Betty” by Ben ny Golson. Golson left the band in 1959 after a European tour (which produced live albums and a film soundtrack on Fonta na Records and French RCA) to be replaced, briefly, by Hank Mobley. Mobley did not accompany the band to a Canadian ja zz festival in 1959; Lee Morgan encountered Wayne Shorter a t the festival, and he joined the band in Mobley’s place. This l ineup produced several notable recordings, including the second Messenger alb um, A Night in Tunisia. In 1961 the group expanded to a sextet with the additio n of Curtis Fuller. This lineup produced the Art Blakey!!!!! Jazz Messengers!!!!! a lbum for Impulse! Records. At the end of that summer, Lee Morgan and Bobby Timmons left and were replaced by Freddie Hubbard and Cedar Walton respect ively. This lineup recorded Three Blind Mice for United Artists and two albums for Blue Note: Mosaic and Buhaina’s Delight. Golson left the band in 1959 after a European tour (which produced live albums and a film soundtrack on Fontan a Records and French RCA) to be replaced, briefly, by Hank Mobley. Mobley did not accompany the band to a Canadian jazz festival in 1959; Lee Morgan encou ntered Wayne Shorter at the festival, and he joined the band in Mobley’s place.
2018 © Dorine Sauzet & Quentin Schmerber / JazzMaType 7 / 12 Specimen v1 www.futurefonts.xyz
Framboisier Bold Italic place. This lineup produced several notable r ording date is unknown the band produced a ecordings, including the second Messenger a n album from the musical Golden Boy for the lbum, A Night in Tunisia. In 1961 the group e Colpix label with an expanded lineup. This li xpanded to a sextet with the addition of Cur neup included both Freddie Hubbard and Lee tis Fuller. This lineup produced the Art Blak Morgan on trumpet, plus Charles Davis, Juli ey!!!!! Jazz Messengers!!!!! album for Impulse! us Watkins, and Bill Barber. In April 1964, t Records. At the end of that summer, Lee Mo he Jazz Messengers produced their final, new rgan and Bobby Timmons left and were repla , recording for the Blue Note label: Indestruc ced by Freddie Hubbard and Cedar Walton r tible. The “New” Messengers (1964-66) In Se espectively. This lineup recorded Three Blind ptember 1964, Wayne Shorter left the Messe Mice for United Artists and two albums for ngers to form Miles Davis’ Second Great Qui Blue Note: Mosaic and Buhaina’s Delight. In ntet. Lee Morgan enlisted long-time Sun Ra t mid-1962 Reggie Workman replaced long-tim enor saxophonist John Gilmore to fill in-thou e double bassist Jymie Merritt, who wanted t gh it was understood he would return to Sun o settle down in Philadelphia. This version o Ra after a time. Gilmore brought along fello f the group produced three albums for River w Arkestra member Victor Sproles and John side: Caravan, Ugetsu, and Kyoto; in additio Hicks joined on piano. The edition of the Mes n to another Blue Note under the name Free f sengers would see more quick turnover of me or All. This lineup stayed together until Mar mbers than the previous. The band signed w ch 1964, when Lee Morgan rejoined in place o ith Quincy Jones’ new Mercury sub-label Lim f Freddie Hubbard. Around this time the rec elight Records. This group (still including Cu rtis Fuller on trombone)recorded the first album for t abroad in Europe and Japan where they maintained t he label: ‘S Make It. The band soon reverted to a quint heir popularity. But the lineups were fluid, with sever et as Fuller departed. Alto saxophonist Gary Bartz re al musicians rotating through based on who was avai placed the departing John Gilmore and this quintet w lable for the particular engagement. In various combi ith Freddie Hubbard sitting in alongside Morgan reco nations, between 1966 and 1972 the band included tru rded Soul Finger for Limelight. By January 1966 the b mpet players Woody Shaw and Randy Brecker in addi and had completely turned over again. Now Chuck Ma tion to Hardman; saxophonists Garnett, Mitchell, Bill ngione occupied the trumpet chair with Frank Mitche y Harper and Ramon Morris; and trombonists Slide H ll on tenor sax, Keith Jarrett on piano and Reggie Joh ampton and Julian Priester. The piano chair saw the nson on bass. This lineup produced the live album But greatest turnover. After Jarrett, pianists included M tercorn Lady under the moniker Art Blakey and the “ ike Nock, Lonnie Liston Smith, Chick Corea, McCoy Ty New” Jazz Messengers. While the band continued to p ner, Ronnie Mathews, George Cables, Joanne Brackee erform live, this would be the final Jazz Messengers r n, Albert Dailey, plus occasionally veterans John Hick ecording of the decade. The dark years (1966-76) The s, Cedar Walton, and Walter Davis, Jr. Bassists inclu late 1960s saw the ascendance of rock music in popul ded Juni Booth, Buster Williams, Larry Evans, Scotty ar culture, and the jazz world was experimenting wit Holt, Arnet, and Mickey Bass. In 1972 the Messengers h free jazz and jazz fusion, styles Blakey did not care f were signed to Prestige Records and produced three a or. It was difficult for Blakey to maintain a steady lin lbums. Child’s Dance featured pieces from two record eup for the Messengers, during this period, and even ing sessions on 1972, with different, expanded, and so more difficult to produce recordings. Between 1966 an mewhat overlapping lineups. The regular Messengers d 1972, the Messengers produced only a single officia on the album were Woody Shaw; Ramon Morris; John l record: Jazz Messengers ‘70, a live date in Tokyo. Th Hicks, Walter Davis, Jr. and George Cables on both ac is particular lineup included Bill Hardman, Carlos Ga oustic and electric pianos; and Mickey Bass. The ban rnett, Joanne Brackeen and Jan Arnet. Blakey kept th d was augmented by Buddy Terry (soprano sax), Man e Messengers working during this period particularly ny Boyd (flute), Michael Howard (guitar), Stanley Cla
2018 © Dorine Sauzet & Quentin Schmerber / JazzMaType 8 / 12 Specimen v1 www.futurefonts.xyz
Framboisier Bold Character set
BASIC ALPHABET ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890
DIACRITICS PUNCTUATION AND SYMBOLS À Á Â Ã Ä Ā Ă Æ Ǽ Ç Ć Ĉ Ċ Č Ď Đ È É Ê Ë � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � Ē Ĕ Ė Ě Ĝ Ğ Ġ Ģ Ĥ Ħ Ì Í Î Ï Ĩ Ī Ĭ İ IJ Ĵ Ķ Ĺ Ļ Ŀ � � � � � � � � � � � � � � � Ń Ņ Ñ Ň Ŋ Ò Ó Ô Õ Ö Ō Ŏ Ő Œ Ŕ Ŗ Ř Ś Ŝ Ş Š Ţ Ť Ŧ Ù Ú Û Ü Ũ Ū Ŭ Ű Ŵ Ý Ŷ Ÿ Ź Ż Ž Ŋ Þ LIGATURES � � à á â ã ä ā ă æ ǽ ç ć ĉ ċ č è é ê ë ē ĕ ė ě ĝ ğ ġ ģ
ĥ ì í î ï ĩ ī ĭ ı ȷ ij ĵ ķ ĺ ŀ ļ ń ņ ň ñ ò ó ô õ ö ō ŏ ő œ STYLISTIC ALTERNATES ŕ ŗ ř ś ŝ ş š ș ß ù ú û ü ũ ū ŭ ű ŵ ÿ ý ŷ ź ż ž � ŋ þ � � � � � � � � � � � � � � � � � � �
2018 © Dorine Sauzet & Quentin Schmerber / JazzMaType 9 / 12 Specimen v1 www.futurefonts.xyz
Framboisier Bold Italic Character set
BASIC ALPHABET ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890
DIACRITICS PUNCTUATION AND SYMBOLS À Á Â Ã Ä Ā Ă Æ Ǽ Ç Ć Ĉ Ċ Č Ď Đ È É Ê Ë � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � Ē Ĕ Ė Ě Ĝ Ğ Ġ Ģ Ĥ Ħ Ì Í Î Ï Ĩ Ī Ĭ İ IJ Ĵ Ķ Ĺ Ļ Ŀ � � � � � � � � � � � � � � � Ń Ņ Ñ Ň Ŋ Ò Ó Ô Õ Ö Ō Ŏ Ő Œ Ŕ Ŗ Ř Ś Ŝ Ş Š Ţ Ť Ŧ Ù Ú Û Ü Ũ Ū Ŭ Ű Ŵ Ý Ŷ Ÿ Ź Ż Ž Ŋ Þ LIGATURES � � à á â ã ä ā ă æ ǽ ç ć ĉ ċ č è é ê ë ē ĕ ė ě ĝ ğ ġ ģ
ĥ ì í î ï ĩ ī ĭ ı ȷ ij ĵ ķ ĺ ŀ ļ ń ņ ň ñ ò ó ô õ ö ō ŏ ő œ CONTEXTUAL ALTERNATES ŕ ŗ ř ś ŝ ş š ș ß ù ú û ü ũ ū ŭ ű ŵ ÿ ý ŷ ź ż ž � ŋ þ � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �
2018 © Dorine Sauzet & Quentin Schmerber / JazzMaType 10 / 12 Specimen v1 www.futurefonts.xyz
OpenType features
Framboisier Bold OFF ON
[Case sensitive] ¡h! ¿h? [CASE SENSITIVE] ¡H! ¿H? [ C A S E ] Case-sensitive punctuaction h-h•h (h) [h] ‹h› «h» H-H•H (H) [H] ‹H› «H»
[ L I G A ] Ligatures Infinity Reflections Infnity Refections
[ S S 0 1 ] Stylistic set 1: Alternate a JazzMaType JazzMaType
[ S S 0 2 ] Stylistic set 2: Alternate g Monk Higgins Monk Higgins
[ S S 0 3 ] Stylistic set 3: Alternate G George Gershwin George Gershwin
[ S S 0 4 ] Stylistic set 4: Alternate Q Quincy Jones Quincy Jones
Framboisier Bold Italic OFF ON
[Case sensitive] ¡h! ¿h? [CASE SENSITIVE] ¡H! ¿H? [ C A S E ] Case-sensitive punctuaction h-h•h (h) [h] ‹h› «h» H-H•H (H) [H] ‹H› «H»
[ L I G A ] Ligatures Infinity Reflections Infnity Refections
[ C A L T ] Contextual alternates Vision, St. Louis & Buddy Vision, St. Louis & Buddy
[ I N I T ] Initial forms New wave on the void New wave on the void
2018 © Dorine Sauzet & Quentin Schmerber / JazzMaType 11 / 12 JazzMaType Specimen © 2018 Typeface Framboisier
Available now at www.futurefonts.xyz Styles 2
Designed by Dorine Sauzet www.dorinesauzet.free.fr Quentin Schmerber www.quentin-s.ch
Version number 1 Aa
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