Sounds like it'll be pretty Warm and Fat sounding! Cool!
I'd be tempted to put a P-90 in the bridge, though! (That's just for me though. I LOVE the Soapbars!).
Cocobolo is really nice. It's a type (I think) of Rosewood. Beautiful looking, and also a Warm sounding wood. Pau Ferro is similar in appearance and tone also, I think. But, both are georgous.
You're gonna dig the Warmoth stuff! Top shelf. Also, check out USACG. They are (I think) ex-Warmoth employees, who also make top shelf stuff.
Are you going to assemble the guitar yourself? Or, have Warmoth do it?
I ask for a couple of reasons. One reason concerns Rosewood, Cocobolo, etc. When sanding these woods, you need to use a mask and LOTS of ventilation. These woods' dust and particles can cause some serious health problems. Cancer, lung problems, etc.
DON'T STRESS!
It's not a problem other than when sanding, etc. You guys with Rosewood Fretboards, etc. don't have to be worried about playing guitars with them. And I think problems usually only come up with people who work with these woods quite a lot. A "One or Two guitars" builder is probably never going to have to worry.
Also, simple precautions are all that is needed. No need for being scared. Just cautious and informed.
Another reason I ask, concerns Finishing and Assembly. Before painting or finishing the guitar, make sure you completely assemble it and set it up. Even though the Neck and Body may be made by one of the top parts suppliers like USACG or Warmoth, the Neck and Body will almost always need some sanding, and maybe a slight bit of carving to assure a proper fit.
You don't want to get them painted all pretty, and find out that the Neck Pocket needs a little wood shaved off of one side, etc. (Like I found out, during my first build! D'oh! 
).
Also, stringing it up and making sure the Low and High E Strings run along the edge of the Fretboard without getting too close to the edges, etc. is vital! On just about every guitar you see, you can look at how the E Strings are laying, as compared to the edges of the Fretboard.
Generally, one of the E Strings will get very close to the edge, at some point. So, it's usually best to have that happen on the Low Estring, up above the 12th. Fret. (As this area is usually the least used area of the Fretboard). You don't want the High E String running off, or too close to the edge!
Nothing too scary here! Just a couple of things to be aware of, before assembly and finishing.
If the Supplier is going to send them pre-finished, make sure to have them also "Fit" the Neck to the Body for you. That way, you don't screw up a perfectly good, brand new finish! LOL
And I gotta say this: The guitars you make from these parts can be every bit as good as the best dtuff on the market. Paying particular attention to the fitting of parts, and the set-up, etc. will yield a TOP QUALITY Instrument. Seriously good stuff.
Every time I go to Memphis and play the Tylers, Melancons, Suhrs, Andersons, etc., I start drooling over them, and seriously GASSING for one.
Then, I play my Warmoth "Soloist" styled guitar, and realize just how truly fine it is.
And it looks just the way I wanted it. Custom Shop? Yeah, my own "Custom Shop"! And 1/2 (or less!) the Price.
Rock On, Rock Soldier! You're gonna dig it!
As far as Scale Length, the shorter "Gibson" Scale Length, will yield easier String Bending, and less String Tension. This will yield (again) a Fatter, Warmer Tone to the guitar. However, the Clarity and String Definition will be different than the longer "Fender" Scale Length. The longer Scale yields a tighter feel, with more String Tension. And the Tone will have more emphasis on the higher end. It will also have more String to String Definition.
So, Scale Length is possibly the most important overall factor to consider. It affects the overall Tone, as well as the Feel of the Instrument. So, choose carefully here. Play a LOT of guitars at the Music Stores, compare (as much as possible) Apples to Apples.
For Example:
Putting Humbuckers into a 25 1/2" Scale, Bolt-On Neck Guitar, will not make it sound like a Les Paul. Even if you use a Mahogany Body with a Maple Cap, and a Mahogany Neck.
Just as putting Single Coils into a Les Paul, won't make it sound like a Strat.
Coil-Splitting HB PUs won't really yield "Strat Tones" either.
That type of thing. Not that any of those strategies is bad. Far from it! 
It's just that Scale Length and Neck Construction (Bolt-On vs. Dovetailed vs. Neck-Through), are (to me, anyway.), MUCH more important than the other choices you'll need to make.
Hope this helps.
Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30 or Custom 4 X 6v6 Head or Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats.
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner
