Mosaic Records proudly announces the release of The Complete Verve Tal Farlow Sessions, a 7-CD set that covers the guitarist's output on the Verve, Norgran and Decca labels from 1952 to 1959.
Tal Farlow's incredible technique not only had guitarists shaking their heads in amazement, but other instrumentalists, during a time when bebop still captured the ears of the modern jazz listener and practitioner. He seemed more able than his peers to take what Charlie Christian had put forth on the guitar and bring it to the next level without losing any fire or inspiration.
Most of Farlow's work as a leader was for Verve Records, and all of it is collected for the first time in Mosaic's The Complete Verve Tal Farlow Sessions, when Farlow was at his peak. Much of it has been out of print for quite some time; very little of it has ever been available on CD; and all of it is worth hearing again for the modernity of his approach, the musicality of his thought process, and the virtuosity of his technique.
With other influences stemming from Art Tatum and Lester Young, Tal was weaving intricate ideas and soul into his playing. His enormous hands and long fingers enabled him to play the two lower strings of the standard guitar with his thumb in ways most guitarists hadn't explored. In later years, Farlow also experimented with the basic design of the guitar itself. Gibson built for him a special instrument with a shortened neck that allowed his long fingers to stretch even further. High notes that frequently sounded harsh and metallic were softer, mellower, even at the blistering speed with which Farlow could play.
These sessions (which begin with two Decca sessions from 1951 and 1952 with Red Norvo's Trio featuring Red Mitchell) are the hallmark of Tal's recording career. These recordings for Verve are a clear example of why a wide variety of guitarists to this day cite Tal Farlow as a major influence. If it's solos that interest you, his are disarmingly original and technically brilliant. If you are a fan of the harmonic possibilities of the instrument, Farlow explores it fully. If the sheer sound of the guitar is something you enjoy, Farlow makes his sing like no one else.
The seven CDs in this Mosaic set include 99 tracks, many of them jazz classics and riffs on popular tunes. “Tenderly", “Skylark", “Cherokee", “Autumn Leaves", “Stompin' At The Savoy", “Jordu", “Yardbird Suite" and dozens more get the Tal Farlow treatment, with support from such “sidemen" as bassists Red Mitchell, Oscar Pettiford, Milt Hinton, and Ray Brown; pianists Gerald Wiggins, Claude Williamson, and Eddie Costa; and drummers Joe Morello, Chico Hamilton, and Stan Levey. Trio and quartet dates predominate, but there are quintets, sextets and septet dates as well.
The package includes three previously unissued alternate takes, as well as a number of interesting breakdowns and alternates on seven tunes. The lavish booklet contains a complete discography and liner notes by guitarist Howard Alden.
For his innovations, his taste, and his tireless jazz explorations, Tal Farlow will be remembered. Thanks to this Mosaic release, he will also be heard.
It is requested that all reviews or articles include the following: “All recordings are available solely through Mosaic Records, 35 Melrose Place, Stamford, CT 06902; (203) 327-7111.
Tal Farlow's incredible technique not only had guitarists shaking their heads in amazement, but other instrumentalists, during a time when bebop still captured the ears of the modern jazz listener and practitioner. He seemed more able than his peers to take what Charlie Christian had put forth on the guitar and bring it to the next level without losing any fire or inspiration.
Most of Farlow's work as a leader was for Verve Records, and all of it is collected for the first time in Mosaic's The Complete Verve Tal Farlow Sessions, when Farlow was at his peak. Much of it has been out of print for quite some time; very little of it has ever been available on CD; and all of it is worth hearing again for the modernity of his approach, the musicality of his thought process, and the virtuosity of his technique.
With other influences stemming from Art Tatum and Lester Young, Tal was weaving intricate ideas and soul into his playing. His enormous hands and long fingers enabled him to play the two lower strings of the standard guitar with his thumb in ways most guitarists hadn't explored. In later years, Farlow also experimented with the basic design of the guitar itself. Gibson built for him a special instrument with a shortened neck that allowed his long fingers to stretch even further. High notes that frequently sounded harsh and metallic were softer, mellower, even at the blistering speed with which Farlow could play.
These sessions (which begin with two Decca sessions from 1951 and 1952 with Red Norvo's Trio featuring Red Mitchell) are the hallmark of Tal's recording career. These recordings for Verve are a clear example of why a wide variety of guitarists to this day cite Tal Farlow as a major influence. If it's solos that interest you, his are disarmingly original and technically brilliant. If you are a fan of the harmonic possibilities of the instrument, Farlow explores it fully. If the sheer sound of the guitar is something you enjoy, Farlow makes his sing like no one else.
The seven CDs in this Mosaic set include 99 tracks, many of them jazz classics and riffs on popular tunes. “Tenderly", “Skylark", “Cherokee", “Autumn Leaves", “Stompin' At The Savoy", “Jordu", “Yardbird Suite" and dozens more get the Tal Farlow treatment, with support from such “sidemen" as bassists Red Mitchell, Oscar Pettiford, Milt Hinton, and Ray Brown; pianists Gerald Wiggins, Claude Williamson, and Eddie Costa; and drummers Joe Morello, Chico Hamilton, and Stan Levey. Trio and quartet dates predominate, but there are quintets, sextets and septet dates as well.
The package includes three previously unissued alternate takes, as well as a number of interesting breakdowns and alternates on seven tunes. The lavish booklet contains a complete discography and liner notes by guitarist Howard Alden.
For his innovations, his taste, and his tireless jazz explorations, Tal Farlow will be remembered. Thanks to this Mosaic release, he will also be heard.
It is requested that all reviews or articles include the following: “All recordings are available solely through Mosaic Records, 35 Melrose Place, Stamford, CT 06902; (203) 327-7111.
For more information contact All About Jazz.
