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Over on Reverb is a most interesting Gibson TF. The owner had it custom made to match Tal’s ‘Prototype #2’. Its accurate to having the pickup selector on the lower bout just like the real thing. A beautiful instrument.
No relation to the seller.
jk
Gibson Custom Shop Prototype Tal Farlow guitar 2003 blonde | Reverb
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10-19-2022 05:31 PM
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13K for a plywood reissue guitar?
Ambitious.....
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Not…a…prototype. I find the title extremely misleading. The alterations compared to any other ‘93 Tal Farlow are extremely minor. It’s a faux-totype.
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??
Originally Posted by wintermoon
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? Pretty much the same thing except grain layering. Originally Posted by BigDaddyLoveHandles
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Originally Posted by wintermoon
" Now you're talking ! And I expect 'bonded' too - - don't even think of trying to give me ' glued '. "
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I'm giving your Eagles a week off. Maybe they'll cool down a little... Originally Posted by wintermoon
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Likewise my friend, Big Blue surprised me so far. Originally Posted by sgcim
I'm giving your Eagles a week off. Maybe they'll cool down a little...
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When we beat Jacksonville this week, we'll just be a half game behind. We're comin' for you! Originally Posted by wintermoon
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You can't beat Doug, he has a statue outside our stadium Originally Posted by sgcim
When we beat Jacksonville this week, we'll just be a half game behind. We're comin' for you!
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Might point out that a lot of great jazz guitar playing was/is on plywood.
Hey Eagles fans….You still have the only NFL stadium with its own jail cells?
Y’all’s gonna be BLUE this year.
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Oh, when you said "Tal fans ..."
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Of course there was plenty of great jazz on plywood, much more than carved. But i doubt too many paid 13K for a reissue plywood guitar. Originally Posted by jazzkritter
Might point out that a lot of great jazz guitar playing was/is on plywood.
Hey Eagles fans….You still have the only NFL stadium with its own jail cells?
Y’all’s gonna be BLUE this year.
As for the Eagles, uh no, that was 30 yrs ago in the old stadium.
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Headstock looks not normal. Maybe it's just me.
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Wish I had the spare change for that one! Having gotten so much from my own time with Tal, I think it'd be nice to have such a beautiful tribute piece to remember him by. I guess the memories and stories will have to suffice for now.
I asked him "How do you feel your guitar (plywood, as many would point out) is different from an L-5? What is it that you like about it?" and he looked a bit apologetic for a moment. "I don't really know about the differences in guitars, there are lots of people who know more than me. I just love the way this guitar feels. I don't know about them, I just play." And the truth is, he had a solidity of sound, an acoustic bite to the attack that I NEVER heard in a recording but seemed to be infused into every note he played. No matter whether the guitar was solid European spruce or many different woods craftily joined, it was an instrument to him. He just used it as an instrument and it was truly an extension of him when his arms were around it. The guitar allowed him to make extraordinary music effortlessly, and he was a partner with that wood. Guess he was a player.
jazzkritter, did you ever talk to him about his guitar when you studied with him?
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Well put JBM, he was a player and today’s gear oriented guitar players could never in a million years understand his take on guitars. It was a tool, it worked, and gave him everything he needed. Why have another? Of course he was extraordinarily humble and just wouldn’t understand GAS.
So having said that heres my conversation on the topic:
I had been showing up with my L5 for a year or so. Around ‘90-91 i picked up a ‘79 175 and took it to my lesson. Tals comment: “Now you have a REAL working man’s guitar”. (His emphasis, I cant forget that one.) Went on to say that he felt carved tops were more for show than for tone, playability. And that for extensive travel he felt them too delicate. (Ha! Delicate L5s were 20 years in the future… Hutch built them to last.)
His live sound with that guitar was pretty unique. As you say, a percussive acoustic like bite that he used to great advantage. Even his chord melody work then used variations in attack that youre spot on… not recorded. Why didnt i run out and get a decent recorder and archive the Sea Girt Hotel brunches? He wouldn’t have minded.
As per Joni Mirchell: ‘You dont know what youve got till its gone.’
Last edited by jazzkritter; 10-20-2022 at 01:16 PM. Reason: Multiple pasties
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Sorry guys, all this talk brought up memories of Tal playing with his own "prototype" guitar. He used to play a place called The Sign of the Times in SeaBright. He'd finished a set and was hanging at the bar with his guitar relaxing with a relatively intimate crowd. Most of the people weren't aware of who Tal was, he was the local guy who made the signs for the gig.
I asked him if he took requests (his set list was pretty extensive but it was his favourites). I asked him if he might play Days of Wine and Roses next set. He picked up his guitar, played an unaccompanied chord solo of the tune, gorgeous almost Joe Pass Virtuoso quality to his acoustic sound, played the entire piece beautifully and stopped quickly after the last bar. "No, I'm sorry. I don't really know that tune well enough."
I was convinced at that point he should have done an unaccompanied solo record. But he never did. Too shy. Oh yeah, it was a plywood guitar and his sound was a million bucks.
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