Classic Gibson ES-175 Recordings

[Tal_175]

Everything by my favourite jazz guitarist of all time:

This is also that same modern sound. Kreisberg video earlier in the thread is another example.

[icr]

Will Bernard.

What is your current gear setup?
I just started playing a ’70 Gibson ES-175—which is fun, because I haven’t had a big hollowbody for a really long time. :Sep 30, 2007

[Dennis D]

i think i remember reading somewhere that 'Incredible Jazz Guitar' was
actually cut with an L-4 that belonged to Kenny Burrell, but i can't remember
the source.

The L-4 looks quite similar to the ES-175 (including the parallelogram
fingerboard inlays), but has a carved top like the L-5.
But then, you all knew that bit already...

I sure wish I'd have known that back in the day.......I didn't learn about L-4's 'til much later.......(( Hint - guess what my first guitar would've been, rather than a 175.. ))

[Tal_175]

Based on what I've seen on this forum, people who don't jibe well with ES 175 tone often express preference for the carved spruce sound. Especially when it comes to the treble notes.

I have a Byrdland and an ES 175, I see where they are coming from. The highs on the Byrdland are smoother and more complex. When I first got my Byrdland I was very charmed with it's layered tone compared to my ES 175. After a while though, when the honeymoon was over, I realized I actually preferred the simple, dry and immediate but sweet tone of my ES 175. Both very good guitars.

[tomassplatch]

Sorry for resurrecting this thread, but here are some iconic recordings for your playlists (many were previously mentioned already, sorry):

Herb Ellis (ES 175 with P90 from 1953, later replaced with a humbucker ? )Oscar Peterson Trio & Ella Fitzgerald - Jazz At The Philharmonic - 1957 :

Ellis in wonderland :

Nothing but the Blues :

Thank you Charlie Christian :

Howard Roberts
Mr. Roberts Plays Guitar :

Jim Hall
Jazz Guitar :

Two Jims and Zoot (with Jimmy Raney):

Intermodulation (with Bill Evans) :

It's Nice to Be With You :

Where would I be ?

Alone Together :

Concierto :

Commitment :

Big Blues :

Concierto De Aranjuez Dave Mathews Orchestra :

...and many more

[sgosnell]

While Tal Farlow is known for playing his signature guitar, it came along relatively late. His iconic 50s recordings were done with an ES175, AFAIK.

[wintermoon]

while tal farlow is known for playing his signature guitar, it came along relatively late. His iconic 50s recordings were done with an es175, afaik.

After his ES-250 in the early 50s he switched to an ES-350 for the remainder of the decade

[burchyk]

Can't pass an opportunity to plug the wonderful Mr. Will Brahm. Wonderful tone, and I feel it is very representative of how my 59 RI sounds, sans talent and magic touch obviously

[Fred Archtop]

Hey Jazzers,

Don't forget "the master" in his '70s - '80s recordings with his blondy 175.

Can't be wrong with Tommy Flanagan either

Not too shaby too with his son

And an hidden gem, to wrap it up, duet with French pianist Martial Solal in 1981:
https://www.youtube.com/playlist?lis...bKg7_aVWD34iEl

Jimmy, my best heroe.

Best and take care.

[Cunamara]

After his ES-250 in the early 50s he switched to an ES-350 for the remainder of the decade

Tal also had an ES-140 which was custom colored red by Gibson for use on a TV show (this was one of the first color broadcasts with, I think, Mel Torme; the Red Norvo trio with Tal and Mingus were on the show and the producers wanted their instruments red, white and blue. Unsurprisingly, the band was not gung-ho on painting their high-quality instruments funny colors. Someone reached out to Gibson who called Tal for an explanation and when they found out the deal, they sent him the little ES 140 painted red. This was also the infamous situation where the producers didn't want Mingus to play because they didn't want to offend southern audiences and advertisers. Norvo badly wanted the gig, asked Mingus if he would mind a different bassist sitting in and Mingus promptly quit the band. Well, he went on to reasonably good things after that and got to hold on to his dignity. Very different from how Dave Brubeck handled a similar incident). The ES-140 had the same general shape as an ES-175 but three-quarter sized.

[Cunamara]

Note that the Gibson ES-175 pictured behind Mr. Roberts on his album cover is the very same ES-175 that Jim Hall played for many years. Jim had been playing a Les Paul custom with the Chico Hamilton group and didn't like the guitar, so he traded it to Howard Roberts for the ES-175. Later that guitar had the fingerboard replaced by Jimmy D'Aquisto who also changed the P90 pickup to (I believe it was a Guild) humbucker.

[wintermoon]

Note that the Gibson ES-175 pictured behind Mr. Roberts on his album cover is the very same ES-175 that Jim Hall played for many years. Jim had been playing a Les Paul custom with the Chico Hamilton group and didn't like the guitar, so he traded it to Howard Roberts for the ES-175. Later that guitar had the fingerboard replaced by Jimmy D'Aquisto who also changed the P90 pickup to (I believe it was a Guild) humbucker.

Yes, and I believe he had an L-5 around then but said it sounded "tubby" and he didn't bond w it.

[wintermoon]

Tal also had an ES-140 which was custom colored red by Gibson for use on a TV show (this was one of the first color broadcasts with, I think, Mel Torme; the Red Norvo trio with Tal and Mingus were on the show and the producers wanted their instruments red, white and blue. Unsurprisingly, the band was not gung-ho on painting their high-quality instruments funny colors. Someone reached out to Gibson who called Tal for an explanation and when they found out the deal, they sent him the little ES 140 painted red. This was also the infamous situation where the producers didn't want Mingus to play because they didn't want to offend southern audiences and advertisers. Norvo badly wanted the gig, asked Mingus if he would mind a different bassist sitting in and Mingus promptly quit the band. Well, he went on to reasonably good things after that and got to hold on to his dignity. Very different from how Dave Brubeck handled a similar incident). The ES-140 had the same general shape as an ES-175 but three-quarter sized.

know that story but never got why a huge dude like Tal settled on that little model since it was considerably smaller than the ES-250 he was using at the time unless Gibson wasn't willing to foot the bill for a larger more deluxe instrument to be painted for a one off tv show. Afaik Tal never used anything smaller than a 17" wide axe 250, 350, Tal models. Though Kenny Burrell, another big guy, recorded w a 175 before switching to L-5s and Supers. There's a really early shot floating around of KB playing a prewar ES-100 w cc pu. These were only 14 3/4" wide.

[Cunamara]

I think you hit it, that the ES-140 was all they were willing to spring for under those circumstances.

I would've liked to have heard Jim Hall in an L-5. Although I really loved his sound on the ES 175 better than his other instruments, particularly with the P90.

[wintermoon]

I think you hit it, that the ES-140 was all they were willing to spring for under those circumstances.

I would've liked to have heard Jim Hall in an L-5. Although I really loved his sound on the ES 175 better than his other instruments, particularly with the P90.

Yeah man, would be very interesting, but I suspect he'd just sound like Jim Hall.
Too a great degree the greats almost always sound like themselves regardless of instrument, nes't pas?

[jazzkritter]

I played the that little red beast a couple of times during lessons. Tal had a kind of soft spot for the ES140, I think because of the whole crazy stuff around the tv show. Suffice to say it was one odd little guitar, sounded odd and played odd.
The story i was told is different from whats been discussed. Tal said it was sent up specifically by Gibson for promoting the 140. They rarely denied him anything, even in those days. It arrived as a sunburst and the TV people came up with this whole red/white/blue thing. Again according to Tal, it had to be repainted, fast, and someone spray painted the poor thing. If you saw it in person, it looked like an eighth grade shop project. The paint is uneven, runny, overall ick. There was no time to send it back to Gibson, this had to happen in a day or so.
In fact calling it ‘red’ is kind of off. It does not look like any care was taken to remove or prep the sunburst under the red paint so as i recall it was dark and spotty with the original finish sort of showing through.
A truly odd little guitar with a cool history.

Given Tals massive hands hiw ever he played that little thing is beyond me!)

Tal retained a great respect for Mingus. They were apparently close; Norvo seemed to be tough to get along with. Never heard the Mingus walk out story but it sounds right. I believe it was then that Tal loaned Mingus his car in order to drive cross country to LA.

Talking about his choice in guitars, Tal played only ‘prototype #2’ from when #1 was stolen at the Miami airport (1964?) up till a few years before he passed, mid 90’s. Used to kid him he had scalloped frets cause it was so worn out. Puts our trading and multiple guitars in perspective, right?
jk