7/4 Posted June 26, 2004 Report Posted June 26, 2004 Serious question for the guitarists In the cover photo is that a solid guitar he's playing? Didn't think he ever did And the guitar strap is classic. I don't think so. I do think it's a early Gibson ES-175. It looks like one because we can't see the arch top. Better light would show more of the knobs and the tail piece. We can't even see the headstock. Quote
Sundog Posted June 27, 2004 Report Posted June 27, 2004 I do think it's a early Gibson ES-175. I would concur, based on the shape of the cutaway, the tailpiece, and the one "speed" knob in view. It's pre 1957 vintage for sure (tailpiece became more ornate on the 57 models among other things). My guess would be 49-53 era. I wish I could see the pickup(s) that would really help. Additionally, you can see part of the f-hole below the pickguard. It's hollow. The only thing I don't know, is if dots or trapezoid fret board markers were used on 49-53 vintage 175's. Seems like a question for Jim R. Any idea when that picture was taken? Whatever it is, it looks awfully small in Tal's hands. Quote
7/4 Posted June 27, 2004 Report Posted June 27, 2004 I do think it's a early Gibson ES-175. I would concur, based on the shape of the cutaway, the tailpiece, and the one "speed" knob in view. It's pre 1957 vintage for sure (tailpiece became more ornate on the 57 models among other things). My guess would be 49-53 era. I wish I could see the pickup(s) that would really help. Additionally, you can see part of the f-hole below the pickguard. It's hollow. The only thing I don't know, is if dots or trapezoid fret board markers were used on 49-53 vintage 175's. Seems like a question for Jim R. Any idea when that picture was taken? Whatever it is, it looks awfully small in Tal's hands. He had huge hands. Quote
clandy44 Posted June 27, 2004 Author Report Posted June 27, 2004 By the way, are there others like me who never look at whether there is a number in the booklet and who could care less what it is..if it's there? Quote
Matthew Posted June 27, 2004 Report Posted June 27, 2004 By the way, are there others like me who never look at whether there is a number in the booklet and who could care less what it is..if it's there? Sounds like you have a case of Mosaicphobia. It's a condition of a person that is scared to take in the full Mosaic experience, which involves the set number, keeping the payment receipt, keeping the shipping box, using gloves to take the cds out, etc. I'm sure with years of expensive therapy you'll get over it. Quote
wesbed Posted June 27, 2004 Report Posted June 27, 2004 By the way, are there others like me who never look at whether there is a number in the booklet and who could care less what it is..if it's there? For me, there are three points of enjoyment of a Mosaic box. One: The anticipation of the Mosaic box. Scanning the Mosaic web site, deciding which Mosaic box to purchase, making the purchase, tracking the delivery of the Mosaic box via the DHL web site, opening the box upon arrival. Two: The music. The music is the most important reason to purchase a Mosaic box. The music speaks for itself. Three: The collectablility of the Mosaic box. Yes, reading the liner notes and looking at the pictures. Checking the number in the manual versus the number on the Mosaic sales receipt. Looking at the big picture on the Mosaic box cover. Storing the receipt under the plastic tray within the Mosaic box. Posting about the music, the box contents, and the set number on a favorite jazz discussion board. Quote
Matthew Posted June 27, 2004 Report Posted June 27, 2004 I do think it's a early Gibson ES-175. I would concur, based on the shape of the cutaway, the tailpiece, and the one "speed" knob in view. It's pre 1957 vintage for sure (tailpiece became more ornate on the 57 models among other things). My guess would be 49-53 era. I wish I could see the pickup(s) that would really help. Additionally, you can see part of the f-hole below the pickguard. It's hollow. The only thing I don't know, is if dots or trapezoid fret board markers were used on 49-53 vintage 175's. Seems like a question for Jim R. Any idea when that picture was taken? Whatever it is, it looks awfully small in Tal's hands. He had huge hands. Just for my own information: What are the qualities that jazz guitarists look for in a guitar? What would Farlow look for in a guitar? Quote
7/4 Posted June 27, 2004 Report Posted June 27, 2004 I do think it's a early Gibson ES-175. I would concur, based on the shape of the cutaway, the tailpiece, and the one "speed" knob in view. It's pre 1957 vintage for sure (tailpiece became more ornate on the 57 models among other things). My guess would be 49-53 era. I wish I could see the pickup(s) that would really help. Additionally, you can see part of the f-hole below the pickguard. It's hollow. The only thing I don't know, is if dots or trapezoid fret board markers were used on 49-53 vintage 175's. Seems like a question for Jim R. Any idea when that picture was taken? Whatever it is, it looks awfully small in Tal's hands. He had huge hands. Just for my own information: What are the qualities that jazz guitarists look for in a guitar? What would Farlow look for in a guitar? Tone & playability. Tone: gotta sound good! Playability: it's gotta feel right! One thing about Tal, since he had huge hands, he could play some unique chord voicings because he could reach those notes. Quote
Leeway Posted June 27, 2004 Report Posted June 27, 2004 By the way, are there others like me who never look at whether there is a number in the booklet and who could care less what it is..if it's there? Mosaic sets are limited, numbered sets, ipso, the concern for numbering. That is doesn't bother you is OK, your mellowness is enviable. There is a practical downside. If you ever want to sell the set, your potential buyer will probably be a neurotic number counter Quote
Matthew Posted June 29, 2004 Report Posted June 29, 2004 I received my set today, #201, so it looks like a number of people pre-ordered this one. I put the first cd in and start to read the brochure. As I'm reading, I begin to hear the music, saying: "This is good." Keep reading, then I start to listen more and read less, saying: "This is really good." Finally, I stop reading and just listen, then say: "This is really good music! It is great jazz, and the sound the Farlow gets out of his guitar is an unique, deep sound. The Addey remastering is crystal clear, but yet has a warm quality to it. The brochure is a very interesting read, with a lot of detail for those of us who do not know too much about Farlow. Just on disk two right now, but I know this set will be played many times over the coming years. Glad I got it. Quote
Matthew Posted June 30, 2004 Report Posted June 30, 2004 I'll keep flying the freak flag for this set. Musically, this is one of the most impressive Mosaic's that I own (have 41 sets), and the music is of a very high level throughout this set. I can see why Farlow is is rated so highly by other guitarists, it seems like he never repeats himself, and he is always creative in his approach. It's too bad that he didn't record any Monk tunes during this era, Farlow playing Monk would have been a very interesting combination. And Mosaic absolutely has to do a Eddie Costa set pronto! Quote
P.D. Posted June 30, 2004 Report Posted June 30, 2004 And Mosaic absolutely has to do a Eddie Costa set pronto! There are not many record dates with Costa as a leader.. They'd make a good select though. The date with Farmer and Woods is probably the easiest to find. The Dot album House of Blue Lights seems to get the most accolades. I believe it was recently put out on CD in Japan Quote
Matthew Posted June 30, 2004 Report Posted June 30, 2004 And Mosaic absolutely has to do a Eddie Costa set pronto! There are not many record dates with Costa as a leader.. They'd make a good select though. The date with Farmer and Woods is probably the easiest to find. The Dot album House of Blue Lights seems to get the most accolades. I believe it was recently put out on CD in Japan Wonder if there are any unreleased tapes of Costa around. After all, there is the import cd of private tapes of the Farlow/Costa/Burke trio. In fact, it would be nice if those tapes were part of a Costa set, that way, the proper people would get paid. On another note, I'm just wondering if the bass was as prominent on the original Verve/Clef recordings as the Farlow Mosaic makes it. I mean, the bass is way up in the mix; there are points when the bass overwhelms the piano on some songs. Quote
P.D. Posted June 30, 2004 Report Posted June 30, 2004 (edited) It's too bad that he didn't record any Monk tunes during this era, Farlow playing Monk would have been a very interesting combination. I don't think Farlow was much into Monk tunes. Even his later recordings seem to lean heavily on the " classic" standards from the Great American Songbook He did record Straight No Chaser on the Return of Tal Farlow 1969 A Prestige OJC now. Pianist John Scully tries to do a bit of the Eddie Costa " routine" on this one. I have quite an extensive Farlow collection and this seems to be the only Monk tune in it. Edited June 30, 2004 by P.D. Quote
garthsj Posted July 1, 2004 Report Posted July 1, 2004 (edited) Once again, I am very interested and pleased to see this "rediscovery" of Eddie Costa. His early death (yet another car accident) in 1962 was a real blow to us jazz fans at the time. I remember first hearing his dynamic lower register piano on the "Kenton Presents Sal Salvador" album in 1955 ... and loved everything he did. (This has, of course, been reissued as part of the Blue Note "Modern Jazz Series") One very nice album. not yet mentioned, featuring Costa on vibes is "Guys and Dolls like Vibes" on Coral .. with Bill Evans, Paul Motian, and Wendell Marshall. I have this on a Japanese CD. Edited July 1, 2004 by garthsj Quote
Edward Posted July 2, 2004 Report Posted July 2, 2004 I just received my set today. I pre-ordered it, but I ran into trouble because I had to cancel one of my credit cards last week Monday and I forgot to contact Mosaic with new credit card information. My set is numbered 30. I cannot wait to sink into this Mosaic over the weekend. I have heard quite a bit of this material before, but a good chunk of it will be new to me. Quote
Eloe Omoe Posted July 2, 2004 Report Posted July 2, 2004 I just received my set today. [...] My set is numbered 30. I received my set yesterday as well, but it's already #462 Luca Quote
Matthew Posted July 2, 2004 Report Posted July 2, 2004 I just received my set today. [...] My set is numbered 30. I received my set yesterday as well, but it's already #462 Luca Just think a ton of people pre-ordered this set since these Verve sides were so hard to get, and so famous. This is a great set that Mosaic put out and is, to my mind, the reissue of the year. One thing this set has done is cost me more money; this morning I went to Amoeba Records and was able to pick up 4 of the 6 Concord Jazz records Farlow released. The Concords have a different quality of playing to them, very interesting to hear. Also picked up this reissue lp of his early Blue Note sessions, supposedly "unrealeased". I'll have to check to see if those made to cd yet. Quote
jazzbo Posted July 2, 2004 Report Posted July 2, 2004 The Blue Note recordings WERE out on cd but seem to be out of print now; they were part of the 10" series of Connoisseurs. Quote
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