Tal Farlow – The Complete Verve Tal Farlow Sessions (2004) {7CD Box Set Mosaic MD7-224 rec 1951-1959}

Tal Farlow, was an innovative self-taught jazz guitarist who influenced generations of guitarists following in his footsteps. Although some of his peak years as a recording artist occurred during his association with Verve between 1954 and 1959, relatively few of the tracks were available for decades until the release of this comprehensive Mosaic box set. The music is consistently brilliant, as the leader's solos seem to evolve effortlessly, often finding fresh ground in the many standards and classic jazz compositions performed in this set. Aside from the three opening tracks from Farlow's days as a member of vibraphonist Red Norvo's trio, the guitarist is the leader.

His meeting with fellow guitarist Barry Galbraith (with bassist Oscar Pettiford and a surprisingly restrained Joe Morello on drums) is highlighted by his intricate original "Gibson Boy." The sessions with pianist Gerry Wiggins, bassist Ray Brown, and drummer Chico Hamilton focus primarily on standards, though "And She Remembers Me" is an obvious reworking of "I'll Remember April"; the rapid-fire take of "Cherokee" takes top honors. Two separate dates with pianist Claude Williamson and bassist Red Mitchell (one which adds drummer Stan Levey) stick exclusively to standards, with plenty of lively interplay. Two sessions with West Coast stylists including valve trombonist Bob Enevoldsen, tenor saxophonist Bill Perkins, and baritone saxophonist Bob Gordon complement Farlow's sound very well. It is surprising that producer Norman Granz did not initially release a unique date with Oscar Pettiford (on cello) as a second front-line instrument, with the outstanding rhythm section of Hank Jones, Ray Brown, and Louie Bellson. Highlights from this meeting include the cellist's "Swingin' Till the Girls Come Home," "Jordu," and two takes of "Bernie's Tune." A regular working trio led by Farlow with pianist Eddie Costa (who died far too young following a car wreck in 1962) and bassist Vinnie Burke produced three separate albums (with Knobby Totah or Bill Takas taking Burke's place on the final session). The chemistry between Farlow and Costa is readily apparent. Another musician who died far too young, Belgian flutist and tenor saxophonist Bobby Jaspar, joined the guitarist, bassist Milt Hinton, and drummer Osie Johnson for three numbers featuring Farlow on an acoustic instrument for the first time, producing the kind of jazz that only true aficionados can appreciate. A larger group with saxophonist and flutist Frank Wess, trombonist Benny Powell, pianist Dick Hyman, and baritone saxophonist Charles Fowlkes delves into the music of Harold Arlen, including several long overlooked songs composed for the musical Saratoga along with some of his best-known works, though at times their unfamiliarity with some of the tunes and each other is apparent. The detailed booklet contains many rare photos of Farlow and the men who worked with him, along with an informative analysis by fellow guitarist Howard Alden. This limited-edition collection should be on every jazz guitar fan's wish list.

Most of Tal Farlow's work as a leader was for Verve Records, and all of it is collected for the first time covering his work for the label from 1954 to 1959, when Farlow was at his peak. Much of it has been out of print for quite some time; very little of it has ever been available on CD in the U.S. (although much of it has been released on CD in Japan); and all of it is worth hearing again for the modernity of his approach, the musicality of his thought process, and the virtuosity of his technique.
When he began making recordings for the legendary perfectionist, Norman Granz, his personal style and technique were in full flower. These recordings for Verve are a clear example of why a wide variety of guitarists to this day cite Tal Farlow as a major influence. If it's solos that interest you, his are disarmingly original and technically brilliant. If you are a fan of the harmonic possibilities of the instrument, Farlow explores it fully. If the sheer sound of the guitar is something you enjoy, Farlow makes his sing like no one else.

And if it's just great music you're looking for, you'll find much to like. The seven CDs in this set include 99 tracks, many of them jazz classics and riffs on popular tunes. Trio and quartet dates predominate, but there are quintets, sextets and septet dates as well. We've even included one date from 1951 on Decca featuring the Red Norvo Trio of Norvo, Farlow and Red Mitchell.

For his innovations, his taste, and his tireless jazz explorations, Tal Farlow will be remembered. Thanks to this Mosaic release, he will also be heard.

"A fellow guitar player and I went to hear Tal and this guitar player said to me,"No wonder he can play so good, look at those long skinny fingers !" Well, I thought for a few moments and I said, "No, that's not right… Segovia had fat fingers and Django could only use two on his left hand." I said, "That kind of playing doesn't come from the fingers, that kind of playing comes from the heart and soul." -Johnny Smith, Guitarist

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Tal Farlow – The Complete Verve Tal Farlow Sessions (2004) {7CD Box Set Mosaic MD7-224 rec 1951-1959}

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“What Ever Happened to Tal Farlow?”
That question was asked often in the late 1950s, when this immensely talented and highly honored guitarist seemed to suddenly disappear. But there was no mystery over his whereabouts if you lived in Sea Bright, New Jersey, and needed a sign painted.

We expect musicians with extraordinary talent to pursue their musical dreams to the exclusion of sanity, family, personal health, and financial stability. But Tal Farlow, who The New York Times called “one of the most accomplished jazz guitarists playing today,” also loved painting signs. And when he decided the life of a musician didn’t suit his temperament, he left it largely behind.

Talmadge Farlow grew up in Greensboro, North Carolina, a textile center. That industry employed his dad, who worried that his frail kid wouldn’t survive the dust and industrial chemicals. He got the boy an apprenticeship as a sign painter instead. Everyone around him was listening to hillbilly music on the radio, but Tal, painting at night, began pulling in distant radio stations. That’s how he discovered Charlie Christian.

He also came under the spell of Art Tatum’s layered chords and the simplicity of Lester Young, whose solos reminded him of what he had heard Christian doing (proof, in Farlow’s mind, that Christian bore a strong debt to the horn player’s work).

As a child, he played mandolin. Later , when he developed enormous hands and long fingers, he found he could play the two lower strings of the standard guitar with his thumb in ways most guitarists hadn’t explored.

In later years, Farlow also experimented with the basic design of the guitar itself. Gibson built for him a special instrument with a shortened neck that allowed his long fingers to stretch even further. High notes that frequently sound harsh and metallic were softer, mellower, even at the blistering speed with which Farlow could play.

At first the music was a hobby – Saturday night dance hall gigs – but eventually, music won out. The pianist Dardanelle brought him to New York in 1944, which meant exposure to the 52nd Street music scene that was blazing just then. Parker, Gillespie, Webster, Tatum, Powell, Roach. . . Farlow was mesmerized. He lived it. Devoured it. He even managed to master Parker’s solos on guitar. Not easy to do. Real fame came soon in the Red Norvo Trio with Charles Mingus.

tracklist & personnel:
THE COMPLETE VERVE TAL FARLOW SESSIONS
DISC ONE:
1. Tenderly (A) 2:49
(W.Gross-J.Lawrence)
2. I Remember You (A) 3:23
(V. Schertszinger-J. Mercer)
3. Skylark (A) 3:15
(H. Carmichael-J. Mercer)
4. If There's Someone Lovelier Than You (B) 2:42
(A. Schwartz-H. Deitz)
5. With The Wind And The Rain In Your Hair (10' LP take) (B) 2:59
(C. Edwards-J. Lawrence)
6. My Old Flame (B) 3:33
(A. Johnston-S. Coslow)
7. Gibson Boy (B) 2:43
(Tal Farlow)
8. You And The Night And The Music (B) 3:40
(A. Schwartz-H. Deitz)
9. Love Nest (B) 2:42
(L. Hirsch-O. Harbach)
10. Blues In The Closet (B) 2:48
(Oscar Pettiford)
11. Everything I've Got (B) 3:27
(R. Rodgers-L. Hart)
12. With The Wind And The Rain In Your Hair (12' LP take) (B) 3:00
(C. Edwards-J. Lawrence)
13. Everything I've Got (alternate take) (B) 3:27
(R. Rodgers-L. Hart)
14. I Like To Recognize The Tune (C) 3:09
(R. Rodgers-L. Hart)
15. Strike Up The Band (C) 3:25
(G. Gershwin-I. Gershwin)
16. Autumn In New York (C) 5:03
(Vernon Duke)
17. And She Remembers Me (C) 4:22
(Tal Farlow)
18. Little Girl Blue (C) 3:22
(R. Rodgers-L. Hart)
19. Have You Met Miss Jones? (C) 4:56
(R. Rodgers-L. Hart)
20. Tal's Blues (C) 5:09
(Tal Farlow)
21. Cherokee (C) 4:51
(Ray Noble)



DISC TWO
1. These Foolish Things (D) 2:51
(Strachey-Marvell-Link)
2. I Remember You (D) 4:13
(V. Schertzing-J. Mercer)
3. How Deep Is The Ocean (D) 3:58
(Irving Berlin)
4. Fascinating Rhythm (D) 3:49
(G. Gershwin-I. Gershwin)
5. Manhattan (D) 3:16
(R. Rodgers-L. Hart)
6. Autumn Leaves (D) 1:41
(Prevert-Kozma-Mercer)
7. It's You Or No One (D) 3:26
(J. Styne-S. Cahn)
8. Tenderly (D) 4:34
(W. Gross-J. Lawrence)
9. There Will Never Be Another You (D) 3:46
(M. Gordon-H. Warren)
10. Just One Of Those Things (D) 3:01
(Cole Porter)
11. Out Of Nowhere (F) 5:27
(J. Green-E. Heyman)
12. Walkin' (F) 5:26
(Richard Carpenter)
13. Moonlight Becomes You (F) 4:23
(J. Burke-J. Van Heusen)
14. On The Alamo (F) 4:07
(I. Jones-G. Kahn)
15. Will You Still Be Mine (F) 4:00
(M. Dennis-T. Adair)
16. Lorinesque (F) 4:15
(Tal Farlow)
17. Bye Bye Baby (F) 4:07
(J. Styne-L. Robin)



DISC THREE
1. Lullaby Of The Leaves (E) 3:45
(B. Petkere-J. Young)
2. Stompin' At The Savoy (E) 3:15
(Sampson-Webb-Razaf-Goodman)
3. This Is Always (E) 3:04
(H. Warren-M. Gordon)
4. Tea For Two (E) 2:55
(V. Youmans-I. Caesar)
5. I Wished On The Moon (G) 7:07
(R. Rainger-D. Parker)
6. Swingin' Till The Girls Come Home (G) 6:45
(Oscar Pettiford)
7. Jordu (G) 5:35
(Duke Jordan)
8. The Way You Look Tonight (G) 4:40
(D. Fields-J. Kern)
9. Bernie's Tune (G) 8:34
(Bernie Miller)
10. I Wished On The Moon (alternate take) (G) 7:06
(R. Rainger-D. Parker)
11. Bernie's Tune (alternate take) (G) 8:37
(Bernie Miller)



DISC FOUR
1. Taking A Chance On Love (H) 4:42
(Duke-Fetter-Latouche)
2. Yardbird Suite (H) 5:15
(Charlie Parker)
3. You Stepped Out Of A Dream (H) 5:40
(N.H. Brown-G. Kahn)
4. They Can't Take That Away From Me (H) 5:42
(G. Gershwin-I. Gershwin)
5. Like Someone In Love (H) 6:38
(J. Burke-J. Van Heusen)
6. Meteor (H) 6:36
(Tal Farlow)
7. I Love You (H) 5:31
(Cole Porter)
8. Gone With The Wind (H) 5:19
(A. Wrubel-H. Magidson)
9. Taking A Chance On Love (alternate take) (H) 4:46
(Duke-Fetter-Latouche)
10. Yardbird Suite (alternate take) (H) 4:49
(Charlie Parker)
11. Gone With The Wind (alternate take) (H) 5:25
(A. Wrubel-H. Magidson)
12. Taking A Chance On Love (breakdown) (H) 1:06
(Duke-Fetter-Latouche)



DISC FIVE
1.Isn't It Romantic (I) 10:08
(R. Rodgers-L. Hart)
2. (There Is) No Greater Love (I) 3:55
(I. Jones-M. Symes)
3. How About You? (I) 6:01
(B. Lane-R. Freed)
4. Anything Goes (I) 5:08
(Cole Porter)
5. Yesterdays (I) 5:51
(J. Kern-O. Harbach)
6. You Don't Know What Love Is (I) 4:19
(D. Raye-G. DePaul)
7. Chuckles (I) 4:56
(Clark Terry)
8. Broadway (I) 6:16
(Woode-McRae-Bird)



DISC SIX
1. Lean On Me (J) 4:10
(A. Greene-E. Waldman)
2. Wonder Why (J) 4:51
(N. Brodszky-S. Cahn)
3. Night And Day (J) 4:20
(Cole Porter)
4. Stella By Starlight (J) 3:32
(V. Young-N. Washington)
5. The More I See You (J) 4:49
(H. Warren-M. Gordon)
6. All The Things You Are (J) 4:22
(J. Kern-O. Hammerstein)
7. How Long Has This Been Going On? (J) 4:12
(G. Gershwin-I. Gershwin)
8. Topsy (J) 3:37
(Eddie Durham)
9. 'Deed I Do (J) 3:27
(W. Hirsch-F. Rose)
10. We'll Be Together Again (J) 3:23
(C. Fischer-F. Laine)
11. We'll Be Together Again (alt 1) (J) 4:30
(C. Fischer-F. Laine)
12. We'll Be Together Again (alt 2) (J) 3:18
(C. Fischer-F. Laine)
13. The More I See You (breakdowns) (J) 3:53
(H. Warren-M. Gordon)
14. 'Deed I Do (breakdowns) (J) 5:24
(W. Hirsch-F. Rose)
15. We'll Be Together Again (breakdowns) (J) 2:00
(C. Fischer-F. Laine)



DISC SEVEN
1. A Foggy Day (L) 3:21
(G. Gershwin-I. Gershwin)
2. The Man In My Life (K) 4:45
(H. Arlen-J. Mercer)
3. Sweet Lorraine (L) 5:26
(C. Burwell-M. Parish)
4. Wess Side (K) 4:36
(Frank Wess)
5. Telefunky (L) 6:26
(Tal Farlow)
6. Blue Funk (K) 7:39
(Leroy Williams)
7. Saratoga (K) 5:13
(H. Arlen-J. Mercer)
8. Blues In The Night (K) 6:47
(H. Arlen-J. Mercer)
9. Hit The Road To Dreamland (K) 4:54
(H. Arlen-J. Mercer)
10. For Every Man There's A Woman (K) 4:22
(H. Arlen-L. Robin)
11. As Long As I Live (K) 6:31
(H. Arlen-T. Koehler)
12. Between The Devil And The Deep Blue Sea (K) 3:05
(H. Arlen-T. Koehler)
13. Petticoat High (K) 4:40
(H. Arlen-J. Mercer)
14. One Step ' Two Step (K) 3:09
(H. Arlen-J. Mercer)
15. Lessons In Love (K) 3:11
(H. Arlen-J. Mercer)



DISCOGRAPHY
(A) RED NORVO TRIO Red Norvo (vbs), Tal Farlow (g), Red Mitchell (b)
LA July 1, 1952
DLA 6824 Tenderly Decca DL 5501
DLA 6825 Aren't You Glad You're You unissued, tape no longer exits

Same personnel
LA October 16, 1951
DLA 6907 I Remember You Decca DL 5501
DLA 6908 Skylark Decca DL 5501

__________________________________________________
(B) Tal Farlow, Barry Galbraith (g), Oscar Pettiford (b),Joe Morello (d).
Fine Sound, NYC June 2,1954
1730-3 If There Is Someone Lovelier Than You Norgran EPN35
1731-? With The Wind And The Rain In Your Hair (10' LP take) - ,MGN19
1731-4 With The Wind And The Rain In Your Hair (12' LP take)
1732-3 My Old Flame Norgran EPN35
1733-9 Gibson Boy -
1734-5 You And The Night And The Music Norgran EPN36
1735-13 Love Nest -
1736-2 Blues In The Closet -
1737-5 Everything I've Got (alternate take) previously unissued
1737-9 Everything I've Got Norgran EPN36
All titles, except 1731-4 and 1737-3, issued On Norgran MGN19
All titles, except 1731-? And 1737-3, issued on MGN1047 and Verve MGV8138

______________________________________________________________________
(C) Tal Farlow (g), Gerald Wiggins (p), Ray Brown (b),Chico Hamilton (d)
Radio Recorders, LA November 15 & 16,1954
2050-4 I Like To Recognize The Tune Norgran EPN84
2051-4 Strike Up The Band -
2052-1/2 Autumn In New York -
2053-1 And She Remembers Me Norgran EPN85
2054-2/3 Little Girl Blue -
2055-1 Have You Met Miss Jones? -
2056-4 Tal's Blues Norgran EPN86
2057-2 Cherokee -
All titles issued on Norgran MGN1014, MGN1097 and Verve MGV8184.

________________________________________________________________
(D) Tal Farlow (g), Claude Williamson (p), Red Mitchell (b),Stan Levey (d).
Radio Recorders, LA January 17,1955
2176-2 These Foolish Things Norgran EPN125
2177-2 I Remember You -
2178-2 How Deep Is The Ocean Norgran EPN126
2179-8 Fascinating Rhythm Norgran EPN125
2180-2 Manhattan Norgran EPN126
2181-4 Autumn Leaves (solo g) Norgran EPN127
2182-5 It's You Or No One -
2183-4 Tenderly Norgran EPN126
2184-1 There Will Never Be Another You
2185-6 Just One Of Those Things Norgran EPN127
All titles issued on Norgran MGN1027 and Verve MGV8011.

_____________________________________________
(E) Tal Farlow (g), Claude Williamson (p), Red Mitchell (b)
Radio Recorders, LA, April 25,1955
2318-2 Lullaby Of The Leaves
2319-1Stompin' At The Savoy
2320-4 This Is Always
2321-7 Tea For Two
All titles Issued On Norgran MGN1033, MGN1047, Verve MGV8124 and MGV 8138

_________________________________________________________
(F) Bob Enevoldsen (v tb), Bill Perkins (ts), Bob Gordon (bari), Tal Farlow (g), Monte Budwig (b), Larance Marable (d).
Radio Recorders LA, May 3, 1955
2322-1 On The Alamo
2323-3 Will You Still Be Mine?
2324-5 Walkin' Norgran EPN134

Same personnel, May 4, 1955:
2325-4 Moonlight Becomes You
2326-1 Out Of Nowhere Norgran EPN134
2327-3 Lorinesque
2328-9 Bye Bye Baby
All titles issued on Norgran MGN1030 and Verve MGV8123.

_______________________________________________________
(G) Tal Farlow (g), Hank Jones (p), Oscar Pettiford (cello), Ray Brown(b), Henry Bellson(d).
Fine Sound, NYC February 11,1956
2750-3 I Wished On The Moon (alt) previously unissued
2750-7 I Wished On The Moon Verve 815236-1
2751-9 Swingin' Till The Girls Come Home -
2752-16 Jordu -
2753-3 The Way You Look Tonight -
2754-2 Bernie's Tune (alt) previously unissued
2754-5 Bernie's Tune Verve 815236-1

_________________________________________________________
(H) Tal Farlow (g), Eddie Costa (p), Vinnie Burke (b).
Fine Sound, NYC May 31,1956
2807-1 Gone With The Wind (alt)
2807-2 Gone With The Wind
2808-1 Taking A Chance On Love (breakdown)
2808-2 Taking a Chance on Love (alt)
2808-3 Taking a Chance On Love Verve MGV8201
2809-2 Yardbird Suite (alt)
2809-3 Yardbird Suite Verve MGV8201
2810-4 You Stepped Out Of A Dream -
2811-3 They Can't Take That Away From Me -
2812-4 Meteor -
2813-3 Like Someone In Love -
2814-2 I Love You -
All titles on CD 314 559 515-2.

Note: The CD issue of this album includes an eight-second false start of Yardbird Suite, which is essentially a flub that makes for unpleasant listening; it has been excluded from this set.

____________________________________________________________
(I) Tal Farlow (g), Eddie Costa (p), Vinnie Burke (b).
Fine Sound, NYC June 5, 1956
2823-6 Chuckles
2824-1 You Don't Know What Love Is
2825-3 How About You
2826-2 Broadway
2827-2 Anything Goes
2828-2 Isn't It Romantic?
2829-2 Yesterdays
2830-4 There Is No Greater Love
All titles issued on Norgran MGN1102, Verve MGV8021 and CD 422-829 580-2

______________________________________________________________
(J) Tal Farlow (g), Eddie Costa (p), Knobby Totah (b),Jimmy Campbell (d).
WOR Studios, NYC February 17, 1958
22026-5 Lean On Me
22027-9 Wonder Why
22028-13 Night And Day
22029-16 Stella By Starlight
All titles issued on Verve MGV8289

As above, except Bill Takas (b) replaces Knobby Totah
WOR Studios, NYC February 18, 1958
22030-32 'Deed I Do (breakdown)
22030-33A 'Deed I Do (breakdown)
22030-33B 'Deed I Do (breakdown)
22030-34 'Deed I Do
22031-35 We'll Be Together Again (alt 1)
22031-36 We'll Be Together Again (alt 2)
22031-37 We'll Be Together Again (breakdown)
22031-38 We'll Be Together Again (breakdown)
22031-39 We'll Be Together Again (breakdown)
22031-40 We'll Be Together Again
22032-41 The More I See You (false start)
22032-42 The More I See You (breakdown)
22032-43 The More I See You Verve MGV8289
22032-44 The More I See You (false start)
22032-45 The More I See You (incomplete take)
22033-11 All The Things You Are Verve MGV8289
22034-17 How Long Has This Been Going On? -
22035-31 Topsy -
All titles issued on CD 314 557 746-2

_______________________________________________________________
(K) Benny Powell (tb), Frank Wess (fl,as,ts), Charlie Fowlkes (bari), Tal Farlow (g), Dick Hyman (p), Wendell Marshall (b), Osie Johnson (d).
NYC December 15 & 16,1959
26527-10 Petticoat High Verve MGV8371
26528-6 One Step-Two Step -
26529-4 For Every Man There's A Woman -

Same sessions, except omit Powell and Fowkles:
26533-5 The Man In My Life Verve MGV8370
26534-4 As Long As I Live Verve MGV8371
26535-4 Blues In The Night -
26536-10 Between The Devil & The Deep Blue Sea -
26538-1 Wess Side Verve MGV8370

Same sessions, except Joe Benjamin (b) replaces Wendell Marshall.
26530-7 Saratoga Verve MGV8370
26531-3 Hit The Road To Dreamland Verve MGV8371
26532-7 Lessons In Love -
26537-1 Blue Funk Verve MGV8370

_______________________________________________________________
(L) Bobby Jaspar (ts, fl)), Tal Farlow (g), Milt Hinton (b), Osie Johnson (d).
NYC December 15 & 16,1959
26539-12 A Foggy Day Verve MGV8370
26540-7 Telefunky -
26541-4 Sweet Lorraine - MGV 8370 (mono) = Verve MGVS6143 (stereo) MGV 8371 (mono) = Verve MGVS6144 (stereo)

_________________________________________________
ALBUM INDEX
EPs
Norgran EPN35 The Tal Farlow Album
Norgran EPN36 The Tal Farlow Album
Norgran EPN84 The Artistry Of Tal Tarlow
Norgran EPN85 The Artistry Of Tal Tarlow
Norgran EPN86 The Artistry Of Tal Tarlow
Norgran EPN125 The Interpretations Of Tal Farlow
Norgran EPN126 The Interpretations Of Tal Farlow
Norgran EPN127 The Interpretations Of Tal Farlow
Norgran EPN134 Tal Farlow

10' LPs
Norgran MGN19 The Tal Farlow Album

12' LPs:
Decca DL 5501 dancing on the ceiling - Red Norvo
Norgran MGN1014 the artistry of tal farlow ' autumn in new york
Norgran MGN1027 the interpretations of tal farlow
Norgran MGN1030 a recital by tal farlow
Norgran MGN1033 swing guitars (with Barney Kessel & Oscar Moore)
Norgran MGN1047 The Tal Farlow Album
Norgran MGN1097 The Guitar Artistry of Tal Farlow
Norgran MGN1102 Tal
Verve MGV8011 The Guitar Artistry of Tal Farlow ' Fascinatin' Rhythm
Verve MGV8021 Tal
Verve MGV8123 A Recital by Tal Farlow
Verve MGV8138 The Tal Farlow Album
Verve MGV8184 The Guitar Artistry of Tal Farlow ' Autumn in New York
Verve MGV8201 The Swinging Guitar of Tal Farlow
Verve MGV8289 This Is Tal Farlow
Verve MGV8370 The Guitar Artistry of Tal Farlow
Verve MGVS6143 stereo issue of above
Verve MGV8371 Tal Farlow Plays the Music of Harold Arlen
Verve MGVS6144 stereo issue of above
Verve 815236-1 (2 LPs) Poppin' and Burnin'

CDs
Verve 314 559 515-2. The Swinging Guitar of Tal Farlow
Verve 314 557 746-2 This is Tal Farlow
Verve 422-829 580-2 Tal

Original sessions produced by Norman Granz (A-N), unknown (O) and Val Valentin (P).
Produced for release by Michael Cuscuna and Scott Wenzel
Tape transfers: Ellen Fitton
Mastered using 24-bit resolution by Malcolm Addey at the Malcolm Addey Studio, New York City
Sessions K & L are stereo. All other selections are mono.

Special thanks to the Institute Of Jazz Studies and Lily Salinas and Jessica Ruiz at the Universal tape vault.

All tracks courtesy of The Verve Music Group.

This compilation (p)2004 Universal Music Enterprises, a Division of UMG Recordings Inc., Santa Monica, CA 90404-U.S.A. Manufactured by Universal Music Enterprises. Warning: All rights reserved. Unauthorized duplication is a violation of applicable laws.
Printed in the U.S.A. (B0002407-02)
'2004 Mosaic Records L.L.C., 35 Melrose Place, Stamford, CT 06902. All rights reserved.
Phone: 203-327-7111/Fax 203-323-3526/e-mail: info@mosaicrecords.com. Web site: www.mosaicrecords.com.

PRODUCER'S NOTE
Throughout the set, occasional ticks or clicks come from the electric guitar and buzzes come from the guitar amp. This is particularly noticeable on session B.
There is a jump due to a bad splice on If There's Someone Lovelier Than You (B) and at about 1:30 on It's You Or No One (D).