There were several fine jazz guitarists--Billy Bauer, Jimmy Raney, and Johnny Smith among them--who emerged in the late '40s and early '50s only to leave the spotlight within a few years. Tal Farlow, who died in 1998, stoo... more »d out even among this gifted group, a brilliant musician who chose to spend much of his life working as a sign painter in North Carolina, playing locally and occasionally returning to the recording studios. On this 1956 session, Farlow led a trio with pianist Eddie Costa and bassist Vinnie Burke. The style of the group--without horns or drums--might be described as "chamber bop," relatively quiet music that swings mightily with complex and mutually supportive interaction, rhythmic verve and fluid invention. Farlow spins out stunning, seemingly effortless, lines of melody, both on bop tunes like Charlie Parker's "Yardbird Suite" and standards such as "Like Someone in Love." His overlapping exchanges with Costa--who possessed a Bud Powell-like fluency--are inspired. --Stuart Broomer« less
There were several fine jazz guitarists--Billy Bauer, Jimmy Raney, and Johnny Smith among them--who emerged in the late '40s and early '50s only to leave the spotlight within a few years. Tal Farlow, who died in 1998, stood out even among this gifted group, a brilliant musician who chose to spend much of his life working as a sign painter in North Carolina, playing locally and occasionally returning to the recording studios. On this 1956 session, Farlow led a trio with pianist Eddie Costa and bassist Vinnie Burke. The style of the group--without horns or drums--might be described as "chamber bop," relatively quiet music that swings mightily with complex and mutually supportive interaction, rhythmic verve and fluid invention. Farlow spins out stunning, seemingly effortless, lines of melody, both on bop tunes like Charlie Parker's "Yardbird Suite" and standards such as "Like Someone in Love." His overlapping exchanges with Costa--who possessed a Bud Powell-like fluency--are inspired. --Stuart Broomer
Ian Muldoon | Coffs Harbour, NSW Australia | 03/17/2002
(4 out of 5 stars)
"Very few guitar players move me. Joe Pass I admire but am not moved by. Considering this album was made nearly half a century ago, I was more than surprised by the quality of the playing, its freshness and its ability to move me. Incredible support provided by a rock solid bass player and Eddie Costa is a revelation on piano. An excellent jazz album of guitar music up there with Jim Hall. It was standard procedure by Norman Granz to fill most albums with standard warhorse melodies such as "Gone with the Wind" but there is one original - Meteor - by the leader and master musician Talmadge Holt Farlow who also manages to make the standards fresh. A terrific album, and one of Verve's "By Request" series."
Another fine recording from one of the best jazz guitarists.
Brian Kelly | 07/10/1999
(5 out of 5 stars)
"Supple and always swinging, Tal Farlow is in fine form on this reissue. Because Farlow went years between recordings, it is often hard to find Farlow albums. This would be a great companion listen to the "Tal Farlow Returns - 1969" album. Farlow will be greatly missed."
A Master at his work
Jorge Barbarosa | the back 9 | 02/20/2005
(5 out of 5 stars)
"Several reviews have covered in minute detail the excellence of this project. I have to agree, plus I have to express my sincere gratitude to those engineers who are bringing matieral of this caliber back into circulation via remastering and digitalizing. It's wonderful to be to enjoy the sounds of the masters during their heyday, plus listen to alternate takes, and other bonus material from the sessions. Thanks and hats off to a bunch of dedicated "philes" of the process.
Respectfully
gb"
Near-forgotten master of jazz guitar: buy this if you can...
William E. Adams | Midland, Texas USA | 11/18/2003
(5 out of 5 stars)
"Mr. Farlow came along years before Wes Montgomery, and never achieved Wes's level of mass appeal. Listen to this 1956 album, however, and you will be amazed. This expanded CD has 63 swinging minutes of guitar, piano and bass, but the trio sounds like a quintet at least. The old standards are recognizable, the tunes written without lyrics are interesting, and the absence of horns or drums isn't noticed at all. I wanted this when it was an LP but never got my hands on it. I have coveted it on CD the last few years, looking for a bargain price, but finally settled on something close to full retail. It's worth it. Enjoyable all the way through, I could see how a real guitar lover might declare this to be his favorite jazz disc ever. I expect to hear this one a lot over the next year or two, and to be fully satisfied. Read the other reviews posted here for "why" it works, and "how" Tal was so good. As a non-musician, all I can say is "This one is great fun and what 50's jazz was all about.""
Young and Hot!!!
Brian Kelly | Music City, TN USA | 05/16/2001
(5 out of 5 stars)
"For those of you who own a few of Tal's later recordings and think you've heard him don't wait another moment before buying this CD. I had always heard that his later recordings, while good, are not his best and do not show the tremendous techncal command he had of the instrument when he was young. While I still can't say that Tal ever made a bad record I will say that this one is quite a shock if all you ever heard were the later realeases. On this recording Tal is absolutely one fire and he swings like a madman through ever peice on here. It's almost inconceivable how easily he plays the most difficult material and at incredible tempos. Do yourself a favor and buy this CD now!!!"