Farlow was born in Greensboro, North Carolina in 1921, with his first introduction to a stringed instrument being the mandolin (tuned like a uke), as a young child. Nearly as famous for his reluctance to perform publicly as for his outstanding abilities, he did not take up the instrument until he was 21, but within a year was playing professionally and in 1948 was with Marjorie Hyams' band. While with the Red Norvo Trio from 1949–1953, Farlow became famous in the jazz world. His huge hands and ability to play rapid yet light lines, which earned him the nickname "Octopus", made him one of the top guitarists of the era. Where other similar players of his day combined rhythmic chords with linear melodies, Farlow preferred placing single notes together in clusters, varying between harmonically enriched tones based on a startling new technique.
After six months with Artie Shaw's Gramercy Five in 1953, Farlow put together his own group, which for a time included pianist Eddie Costa. In 1958, Farlow retired from full-time performing and settled in Sea Bright, New Jersey, returning to a career as a sign painter. He continued to play occasional dates in local clubs, however. In 1962 the Gibson Guitar Corporation, with Farlow's participation, produced the "Tal Farlow" model in their prestigious Artist Model line. The production model has a mandolin-style scroll at the top of the body.
In 1968 while living in Sea Bright, Tal Farlow visited Phil Petillo's Studio Workshop every Saturday up until the early 1980s. Dr. Petillo, with legendary Tal Farlow, built what was known as the Full House Concept First Octave Divider, which was a stool that had a built-in amplifier and a pedal to control it. It provided smooth, rich warmth to the sound of the guitar with volume without distortion while allowing the artist more freedom of movement when performing. At this time, Phillip designed Tal a specialized guitar with a moving pickup that had nylon tracks underneath the pickguard to adjust the pickup in any position between the end of the fingerboard and bridge for jazz performances to suit his own individual needs, and to introduce young players to jazz and its components. They had a good creative working relationship for many years.
Farlow only made one record as a leader during 1960–1975, but emerged a bit more often during 1976–1984, recording for Concord fairly regularly before largely disappearing again. He was profiled in the documentary film, Talmage Farlow, made in 1980/81. The guitarist can be heard on his records for Blue Note (a 10" LP in 1954), Norgran (later Verve, 1954–60), and Prestige (1969), as well as those for Concord.
Farlow died in New York City on July 25, 1998.
Autumn In New York
Tal Farlow Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Miscellaneous
I Guess The Lord Must Be In New York City
I say goodbye to all my sorrows
And by tomorrow I'll be on my way
I guess the lord must be in New York City
I'm so tired of getting nowhere
I guess the lord must be in New York City
Well here I am Lord
Knocking on your back door
Ain't it wonderful to be
Where I've always wanted to be
For the first time I'll be free
In New York City
I say goodbye to all my sorrows
And by tomorrow I'll be on my way
I guess the lord must be in New York City
I'm so tired of getting nowhere
Seein' my prayers going unanswered
I guess the lord must be in New York City
Well here I am Lord
Knocking on your back door
Ain't it wonderful to be
Where I've always wanted to be
For the first time I'll be free
In New York City
The lyrics of Tal Farlow's instrumental song, "Autumn in New York" are focused on imagery and atmosphere, reflecting on the changing season and the vibrancy of the city during that particular time. The song is primarily driven by Farlow's guitar playing, which evokes the breezy and reflective feeling of the season. The melody is gentle and mellifluous, carrying the listener through the song as if they are walking through Central Park or strolling down Fifth Avenue.
The lyrics seem to suggest a departure from sorrows and a search for freedom. The lines "I say goodbye to all my sorrows / And by tomorrow I'll be on my way" reflect a sense of hopefulness and an urge to break free. The repetition of "I guess the lord must be in New York City" suggests that there is something unique and special about the city that inspires this sense of hope and freedom.
The lines "Well here I am Lord / Knocking on your back door" also suggest a spiritual aspect to the song. The idea of knocking on the back door of the divine, rather than approaching with reverence, implies a familiarity and a sense of closeness. The singer seems to be seeking both physical and emotional liberation, and is hopeful that being in the city will provide that for them. Overall, the song is a testament to the power of location and atmosphere in influencing our emotional states.
Line by Line Meaning
I say goodbye to all my sorrows
I am leaving behind all my troubles and worries
And by tomorrow I'll be on my way
I am leaving soon, perhaps tomorrow
I guess the lord must be in New York City
I feel like God's presence is in this city, and it is drawing me to it
I'm so tired of getting nowhere
I am exhausted from feeling like I am constantly failing and making no progress
Seein' my prayers going unanswered
I am frustrated because it seems like my prayers are not being heard or answered
Well here I am Lord
I am calling out to God directly
Knocking on your back door
I am seeking a personal, intimate connection with God
Ain't it wonderful to be
Isn't it amazing and truly special
Where I've always wanted to be
To finally be in the place I have always dreamed of being
For the first time I'll be free
I will finally experience true freedom for the first time
In New York City
In this city that I feel is calling out to me and where I hope to find that freedom and connection with God
Writer(s): VERNON DUKE
Contributed by David D. Suggest a correction in the comments below.
@jg11x11
Phenomenal job on this and the channel. Thank you greatly
@oldreddragon1579
I bought this album years ago and recommend it.
@ninoruggieri1332
Meisterhaft wunderschön 🤩
@nadasonic6
0:48 😭😭😭🐙
@apresmidi153
This is such a useful video, especially the visual component. To me, you can really see the influence of Coleman Hawkins on him here as well as just how un-guitiaristic and full of big intervals a lot of his lines were. The chord melody portion reinforces a suspicion I have had for a bit a suspicion that his thinking about chords was a bit like slash chords in the sense that he was fitting various triads against a bass note moreso than thinking about each shape as a self contained thing.
@BryanWoy
Génial !!
@railcar123
Nice work.
@railcar123
Thank you so much for this.
@JulianWegner
Bonjour. I practice the solo intro and came across a problem. In measure 3. When he comes from the Ab9 to the Dbmaj7. How does one finder that? Or how do you guys play it? Cheers
@GillJazzTranscriptions
All in description vidéo!