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Wolf Marshall >> Best of Jazz Guitar >>

                          Tal Farlow - St Thomas


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1 Table of Contents
3 Preface
4 Axology
6 The Recording
6 Discography
8 ST THOMAS
15
21
27 ALL BLUES
35
39
42
47
57 ALL THE THINGS ...
63 HONEYSUCKLE ROSE
71
76
79 SATIN DOLL
86
92
95
102
108 MISTY
111
121
128 I'LL REMEMBER...
133
142 HOW INSENSITIVE
151
158 Notation Legand
 


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Fig. 2 - Head and Solo
Tal Farlow, the virtuoso of the 1950s jazz guitar, was a late bloomer who didn't pick up the instrument until he was in his 20s. A self-taught player, Farlow was originally inspired by Charlie Christian and subsequently made his name with Buddy DeFranco, Artie Shaw, and the Red Norvo Trio. His brilliant bop-oriented passagework was the guiding light for a slew of guitarist who came of age in the 1950s including Pat Martino and John McLaughlin. Farlow harbored a distaste for the music business which resulted in unpredictable periods of absence from the public eye after 1958. He resurfaced at the jazz festivals and with irregular guest appearances by the late 1960s, and began recording again as a leader for the Concord in 1976. Farlow passed away in 1998, leaving a legacy as large as his gigantic hands and a musical catalog which continues to inspire.

Tal Farlow tackled "St. Thomas" on his 1981 Chromatic Palette record, providing a look at his later style. By contrast with Hall's tight thematic treatment, Farlow interprets "St. Thomas" as a straight-ahead blowing piece. His version is a showcase for his formidable technique and adventurous harmonic approach; it reflects a well-known penchant for long phrases of a fleet of single-note lines, faster tempos, and a sharper, more aggressive approach.
Click Here for more information on the recording, arrangement, and performance.

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