A true giant in the world of jazz guitar, Tal Farlow reveals many of his unique playing secrets in this now-classic instruction session. He covers pre-electric rhythm guitar styles, tritones, playing in flat keys, chords within solos, chromatic movement, right-hand extensions and many more jazz guitar techniques. With contributions from Lenny Breau and George Benson, this DVD is a rare treat not only for long-time fans of the late, great Talmage Holt Farlow, but for anyone interested in the history of jazz guitar styles.
In 'The Legendary Jazz Guitar Of Tal Farlow', a true giant in the world of jazz guitar, Tal Farlow reveals many of his unique playing secrets in this now-classic instruction session. He covers pre-electric rhythm guitar styles, tritones, playing in flat keys, chords within solos, chromatic movement, right-hand extensions and many more jazz guitar techniques. With contributions from Lenny Breau and George Benson, this video is a rare treat not only for long-time fans of the late, great Talmage Holt Farlow, but for anyone interested in the history of jazz guitar styles.
The "Fuerst" in the title refers to Ed Fuerst, who had frequent jazz parties in his apartment and recorded this set and its follow-up. Featured is one of guitarist Tal Farlow's finest groups, a trio with pianist Eddie Costa (whose lower-register solos were distinctive) and bassist Vinnie Burke. The group stretches out on four lengthy numbers: "Jordu," "Have You Met Miss Jones," a nearly 15-and-a-half-minute rendition of "Out of Nowhere" (which has a vocal by Gene Williams) and "Opus De Funk." There are many hot sections on the album, and the recording quality is quite listenable.
Tal Farlow was hitting his stride in 1956; he was named by Down Beat magazine critics as the very best jazz guitarist in the world, and for all the right reasons. Where other similar players of his day combined rhythmic chords with linear melodies, Farlow preferred placing single notes together in clusters, varying between harmonically richened tones based on a startling new technique. His spider-like fingers handled the guitar in a way no other player could match, and this physical approach set Farlow apart from all others. The evidence is clearly heard on this trio recording sans drummer, ably helped by the wonderful pianist Eddie Costa and bassist Vinnie Burke…
In the mid-'50s, guitarist Tal Farlow led one of his finest groups, a drumless trio with pianist Eddie Costa and bassist Vinnie Burke. The same band would record the album Tal a week or two later. With Burke contributing a constant walking bass, the interplay between Farlow and Costa is always exciting, whether they are playing unisons or trading off. This 1999 CD reissue not only has the original seven selections but "Gone With the Wind" (which was left off of the original LP due to lack of space) plus three full-length alternate takes that are basically on the same level as the masters…
Nearly as famous for his reluctance to play as for his outstanding abilities, guitarist Tal Farlow did not take up the instrument until he was already 21, but within a year was playing professionally and in 1948 was with Marjorie Hyams' band. While with the Red Norvo Trio (which originally included Charles Mingus) from 1949-1953, Farlow became famous in the jazz world. His huge hands and ability to play rapid yet light lines made him one of the top guitarists of the era. After six months with Artie Shaw's Gramercy Five in 1953…
This album is one of the finest jazz guitar albums of all time. Tal is in top form after a long hiatus. His ideas flow greatly and he is more inventive than ever on this album. If "The Swinging Guitar…" is the quintessential album to have by Tal, this would probably be second on the list. (Amazon.com)
Talmage Holt Farlow (June 7, 1921 - July 25, 1998) was an American jazz guitarist. Nicknamed the "Octopus", for his extremely large hands spread over the fretboard as if they were tentacles, he is considered one of the all-time great jazz guitarists. Where other similar players of his day combined rhythmic chords with linear melodies, Farlow preferred placing single notes together in clusters, varying between harmonically enriched tones based on a startling new technique.
This album is most notable for the interplay between veteran guitarist Tal Farlow and pianist Tommy Flanagan. With bassist Gary Mazzaroppi completing the trio, the musicians perform Tal's "Blue Art, Too" (based on a blues), plus seven superior standards, including "Nuages," "If I Were a Bell" and "St. Thomas." In general, the music is on the relaxed side but there is plenty of inner heat to be felt on the fine set.
Other than a Prestige date in 1969, this was guitarist Tal Farlow's first recording in nearly 17 years. He is heard at a reunion with vibraphonist Red Norvo and matching wits with pianist Hank Jones, bassist Ray Brown and drummer Jake Hanna. Recorded at the 1976 Concord Jazz Festival, this was Farlow's first of six Concord albums, and it led to a slightly higher profile for him than during the past decade. Highlights of the joyous occasion include Norvo's feature on "The One I Love Belongs to Somebody Else," a heated "Lullaby of Birdland" and a colorful rendition of "My Shining Hour." Highly recommended to straight-ahead jazz fans.