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16 is like the high string on a dobro, lol
Originally Posted by garybaldy
Tal is one of my all time favorites in the jazz realm. The flow, the creativity of the runs. He's like the Art Tatum of guitar, and most people can't do what he did, and so there are always a few cork sniffers out there that turn their nose up at it for that reason and whatever other criticisms they can muster.
Love this one of him and Breau. Breay us amazing but then Tal takes his turn and it's another level. His playing is so happy and upbeat and grooving sounding to me.
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05-31-2025 08:00 PM
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So, I'm going to ask the same question I asked recently about Kenny Burrell, only this time about Tal Farlow* Originally Posted by DawgBone
Tal is woefully under-represented in my album collection and listening experience. [Embarassingly, I own none of his records, and have only ever listened to his music two or three times in my life. Mea culpa.] So...which one of his albums would you say is the best "gateway drug" to fully understand the scope of his playing, and his impact on the instrument? i.e., which album should I get first that will make me want to buy more Tal Farlow albums?**
*btw, for those of you who are perhaps gobsmacked that a self-proclaimed jazz guitarist isn't deeply familiar with both Kenny Burrell and Tal Farlow: Bite me. Life is too short to hear everybody. I feel my total immersion in Wes Montgomery, Joe Pass, George Benson, Pat Martino, John McLaughlin, Allan Holdsworth, Terje Rypdal, Pat Metheny, and Bill Frisell*** plus a comprehensive familiarity with Herb Ellis, Charlie Byrd, George Van Eps, Jim Hall, Les Paul, George Barnes, Mike Stern, John Scofield, Julian Lage, Sylvain Luc, Marc Ducret, James Emery, Chuck Loeb, Gray Sargent, Kazumi Watanabe, and prolly a few others, qualifies me to hang out with y'alls.
**okay, but here's the kicker: The two or three pieces by Kenny Burrell I had heard before asking that question all made me instantly aware of how he could (should?) be a major force in jazz guitar. The two or three pieces by Tal Farlow I have heard before asking that same question now all reminded me of kids who tried to emulate Al DiMeola by playing as fast as they possibly could with little regard for tone, touch, taste, or clarity. Did I just stumble upon the worst of Tal, or is that a valid (though perhaps uncharitable) criticism of his approach to the instrument?
***apropos of nothing: I am confident that I was aware of what a force in the jazz guitar world Bill Friell would be long before any of y'alls. Come at me.
Okay but seriously: What Tal Farlow album(s) should I check out? Thanks.
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Imo the best ones are the 50s trio records w Eddie Costa and Vinnie Burke, he was as good as anyone at the time. Originally Posted by Bob_Ross
His playing from the 60s on isn't as good, seemed like he lost his chops after he quit the scene for some years.
His early recordings w the Red Norvo trio are worth checking out as well.
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For me : Originally Posted by Bob_Ross
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The Swinging Guitar of Tal Farlow in particular is outstanding, a great introduction.
As for the rest of it, is the pugnacious attitude necessary? Once you find out who the asshats are, ignore 'em.
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I'm not coming at you, but I had his album Before We Were Born when it came out in 89, when i was in high school. Between that and a Jan Garbarek album he was on called Wayfarer, I thought he was absolutely brilliant. Maybe you're older and liked him in the early 80s, but then I'd be under 10 and that's not really a fair competition! Originally Posted by Bob_Ross
As far as Tal goes, I think it's hard to go wrong with him. All of the suggestions are totally great. One other cool one is a trio album with Red Norvo and Charles Mingus, from 1950 or something. Mingus and Tal are both pretty young and formative, while Red Norvo is a swing guy who was pushing forward into bebop. Mingus hadn't really developed as a composer/bandleader yet, but his bass playing is amazing.
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I listened to this album so much when I was in high school. Great stuff. Originally Posted by Cunamara
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I like a lot of Tal's recordings but this one is a particular favorite. Don Arnone is on rhythm guitar.
【Tal Farlow】The Tal Farlow Album - YouTube
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Ok I'll bite. You've been missing out on a couple of my favorite jazz guitarists. My favorites are the ones who are the most blue. Grant, Kenny, Tal, and Sal. I hope someone recommended Kenny Burrell's Midnight Blue when you asked. I didn't see any Grant Green on your list either so here's one for you. I hope you enjoy it. Originally Posted by Bob_Ross
So, I'm going to ask the same question I asked recently about Kenny Burrell, only this time about Tal Farlow*
Tal is woefully under-represented in my album collection and listening experience. [Embarassingly, I own none of his records, and have only ever listened to his music two or three times in my life. Mea culpa.] So...which one of his albums would you say is the best "gateway drug" to fully understand the scope of his playing, and his impact on the instrument? i.e., which album should I get first that will make me want to buy more Tal Farlow albums?**
*btw, for those of you who are perhaps gobsmacked that a self-proclaimed jazz guitarist isn't deeply familiar with both Kenny Burrell and Tal Farlow: Bite me. Life is too short to hear everybody. I feel my total immersion in Wes Montgomery, Joe Pass, George Benson, Pat Martino, John McLaughlin, Allan Holdsworth, Terje Rypdal, Pat Metheny, and Bill Frisell*** plus a comprehensive familiarity with Herb Ellis, Charlie Byrd, George Van Eps, Jim Hall, Les Paul, George Barnes, Mike Stern, John Scofield, Julian Lage, Sylvain Luc, Marc Ducret, James Emery, Chuck Loeb, Gray Sargent, Kazumi Watanabe, and prolly a few others, qualifies me to hang out with y'alls.
**okay, but here's the kicker: The two or three pieces by Kenny Burrell I had heard before asking that question all made me instantly aware of how he could (should?) be a major force in jazz guitar. The two or three pieces by Tal Farlow I have heard before asking that same question now all reminded me of kids who tried to emulate Al DiMeola by playing as fast as they possibly could with little regard for tone, touch, taste, or clarity. Did I just stumble upon the worst of Tal, or is that a valid (though perhaps uncharitable) criticism of his approach to the instrument?
***apropos of nothing: I am confident that I was aware of what a force in the jazz guitar world Bill Friell would be long before any of y'alls. Come at me.
Okay but seriously: What Tal Farlow album(s) should I check out? Thanks.
The Latin Bit
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That's cool that you were in high school and got into Frisell! I was too...but I'm at least a decade older than you. I took a 6-week summer course at the Berklee College Of Music in 1977 between my junior and senior year in high school, and one of the faculty recitals I saw at the Berklee Performance Center that summer featured a very young -- and very long-haired -- guitarist weilding an SG, a MXR Distortion+ pedal, and a tiny Gibson combo amp, who was playing the most incredibly unique and engaging stuff. I turned to my friend and said "this guy is going places!" We checked the program so we could make note of his name: Bill Frisell. (Not sure if he was still enrolled as a student there in 1977.) Originally Posted by supersoul
Yeah, sorry, I know it's not a competition, I'm just so stoked that at the age of 16 I was able to see a nascent groundbreaker and recognize his potential. I'm 1 for 10,000,000!
Okay, back to Tal Farlow. Thanks for all the suggestions so far. I did a deep dive into The Complete Verve Sessions last night and got almost halfway through it...good lord, 99 tracks?!?! I'll listen to the second half tonight. Definitely much better guitar playing than the few Farlow cuts I'd previously heard.
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I read an interview with Tal Farlow in which he said Norman Granz loved fast tempos, which helps explain why those are so often recorded. It wasn't necessarily that Tal loved playing that fast, but rather that the head of his label wanted it. Supposedly that also explains the recording of Cherokee at an insane tempo, as sort of a jab at Granz, to show that he could do it. Back then the bebop guitar niche was pretty much filled only by Tal Farlow and Jimmy Raney, who was also a force to be reckoned with. If you don't like Farlow and Raney, it's not really possible to have a conversation, because they're at the top of my list. Not that your preferences are wrong, everyone's taste is valid for them, but because our tastes are so far apart.
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I saw Tal live in a club in Boston in the early '80s. I would agree that his playing after the '50s is inconsistent compared to his earlier, groundbreaking playing but that night, he was on fire. He had a terrible cold and should have been home in bed but here he was playing a gig in a hotel near Kenmore Square. I recall that he played chorus after chorus in harmonics on Body and Soul and it was awe-inspiring to see and hear.
If I'm honest, the flaw in his playing for me, is the streams of 8th notes that have pretty much the same inflection. He didn't have the feel for dynamics and texture of a player like Barney Kessel but man, what an ear for reharmonization and what power and drive in his 50s recordings!
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If you like Tal and Jimmy Raney, check out Jimmy's son Doug Raney. Amazing player with a wonderful tone.
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I know about Doug, and I have a couple of his albums with Jimmy. He was good.
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SGCIM explains why in this thread from 2024: Why Tal played Cherokee too fast back in the 50s Originally Posted by sgosnell
John Galich
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John, did you check out my post on Barry Galbraith and Johnny Smith (and later Howard Alden) being used by Tom Talbert in the Barry Galbraith thread? And also the post that Talbert did those two great arrangements on the cuts from Moonlight in Vermont "Cherokee" and "Yesterdays", and that Talbert wrote a piece for JS and orchestra? Originally Posted by jmgalich
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I would have to go with The Swinging Guitar of Tal Farlow, as well representing Tal at his best during the mid 50s.
As for Doug Raney: I likely listen to him more than anyone else. He has that Raney sound, but the recordings and playing are more modern, than that of the 50s guitarist. This is why I listen to 70s and 80s Jimmy Raney, more than his 50s recordings. (but with Tal, there was a decline, so I listen mostly to his 50s work).
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A lot of people say there was a decline in Tal's playing as he got older. Sometimes he sounds a little sloppy in his timing and accuracy, but that was also true at times in the 50s. Tal apparently drank quite a bit for a lot of his life, which could have contributed. And of course his health declined with cancer and what have you. But he also deliberately changed his technique, focusing more on chordal playing/chord melody and away from the blazing bop single note lines. I find some appeal in Tal's later work, which sort of stands in a different place than his earlier stuff.
I was listening to Jimmy Raney's "The Master" yesterday and jeez, he continued to be great despite his own health problems (hearing loss and Meniere's disease). And listening to Doug's 'You Go To My Head" which is just stellar. I like their duo recording, "Nardis," A lot.
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