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Jim Hall — The Concord Jazz Heritage Series (1998)

 Jim Hall — The Concord Jazz Heritage Series (August 25, 1998)

    Jim Hall — The Concord Jazz Heritage Series 
♣  Legendary guitarist known for his fluid, bebop–based style and his pioneering work as a soloist.
Birth name: James Stanley Hall
Born: December 4, 1930, Buffalo, New York, U.S.
Origin: Buffalo, New York
Died: December 10, 2013, New York City, New York, U.S.
Album release: August 25, 1998
Recording date: March, 1981 — May, 1989
Record Label: Concord Records | CCD–4831–2
Duration:     64:23
01. Love Letters (Edward Heyman / Victor Young)       7:01
02. Down from Antigua (Jim Hall)       6:40
03. Street of Dreams (Jim Hall)       4:03
04. Emily (Sam M. Lewis / Victor Young)       5:52
05. St. Thomas (Sonny Rollins)       4:40
06. Alone Together (Howard Dietz / Arthur Schwartz)       10:22
07. Two’s Blues (Jim Hall)       4:14
08. Bottlenose Blues (Jim Hall)       4:35
09. Poor Butterfly (John Golden / Raymond Hubbell)       5:59
10. All Across the City (Jim Hall)       5:27
11. Drop Shot (Jim Hall)       5:30
Album Moods: Intimate Laid–Back/Mellow Reserved Delicate Gentle Sophisticated Elegant Refined Reflective Calm/Peaceful Restrained Soothing
Jim Hall — guitar
Ron Carter, Steve La Spina, Don Thompson — bass
Terry Clarke — drums
George Shearing — piano
|  Jim Anderson  Engineer
|  Glen Barros  Executive Producer
|  John Burk  Executive Producer
|  Ron Carter  Bass
|  Terry Clarke  Drums
|  Howard Dietz  Composer
|  Phil Edwards  Assembly, Engineer, Mixing
|  John Golden  Composer
|  Gil Goldstein  Keyboards
|  Jim Hall  Composer, Guitar, Producer
|  Edward Heyman  Composer
|  Jim Hilson  Mixing
|  George Horn  Mastering
|  Raymond Hubbell  Composer
|  Sam M. Lewis  Composer
|  Johnny Mandel  Composer
|  Johnny Mercer  Composer
|  Sonny Rollins  Composer
|  Arthur Schwartz  Composer
|  George Shearing  Piano
|  John Snyder  Compilation Producer
|  Don Thompson  Bass
|  Ed Trabanco  Engineer, Mixing
|  Victor Young  Composer
Review by Scott Yanow:
  Guitarist Jim Hall was only an occasional Concord artist. He recorded three solo albums for the label, plus a duo set with pianist George Shearing and two with bassist Ron Carter. This 1998 sampler CD has at least one selection from each of the sets. Long underrated but a major influence on later generations of guitarists, the harmonically advanced Hall is heard playing two numbers (including “Love Letters”) in a trio with bassist Don Thompson and drummer Terry Clarke; performing “Street of Dreams” and “Emily” with Shearing and three selections (including “St. Thomas”) with Carter; taking a pair of unaccompanied solos; and performing two originals in 1989 with a quartet that includes keyboardist Gil Goldstein. One could not ask more from a sampler than this overview, which should lead listeners to exploring more of Jim Hall's work.

  One of the giants of jazz guitar, Jim Hall (b. 1930) has always had a quiet sound, a harmonically adventurous style, and the desire to look ahead rather than behind.
  Hall studied at the Cleveland Institute of Music and classical guitar with Vincente Gomez. The guitarist first gained attention during 1955–1956 as an original member of the Chico Hamilton Quintet, one of the major West Coast chamber–jazz groups. Hall followed that up by being with a few versions of the Jimmy Giuffre Three during 1956–1959 including a period when the group was a trio consisting of Giuffre’s reeds, valve trombonist Bob Brookmeyer and Hall’s guitar, which functioned as the entire rhythm section. Hall also worked with Ella Fitzgerald, Lee Konitz, Sonny Rollins (recording the classic album The Bridge), Art Farmer, and Paul Desmond in addition to working in New York as a studio musician.
  During 1971–1972 Hall led two albums for Milestone. Where Would I Be? is a well-rounded quartet outing that features keyboardist Benny Aronov and Airto on drums while Alone Together, a set of duets with bassist Ron Carter, is considered one of Hall’s classics. The subtle interplay between the two musicians makes the standards sound brand–new and full of surprises.
  Since then, Jim Hall has led many small groups. In the 1980s he recorded a trio of rewarding projects for Concord. Circles teams him with Don Thompson (doubling on bass and piano) and drummer Terry Clarke. Jim Hall’s Three has Hall stretching out on two guitar solos and a set of trio numbers with bassist Steve La Spina and drummer Akira Tana. And 1989’s All Across the City has an eclectic program performed with keyboardist Gil Goldstein, LaSpina, and Clarke.
  Cited as a major inspiration by many guitarists from later generations, including Pat Metheny, John Scofield, and Bill Frisell, Jim Hall continues in the 21st century as one of the most vital jazz guitarists alive.
Musical style:
  Hall’s musical style develops with every new album and collaboration he engages in. His approach to music is unique — he views music as a way to break all barriers, not limited to music, as well as to share his discoveries with others. Music is a vehicle of peace for Hall and he therefore makes it a goal to reach out to others and communicate his music, teaching seminars all over the world. He is innovative and always interested in new modes of musical expression to further his ability.
  Hall’s tone has been described as mellow, warm, gentle, subtle, rich, and lightly amplified. Unlike other musicians, Hall’s work is not necessarily recognized by a signature riff but rather his expressive capabilities. As an arranger, his solos are aptly constructed, taking into account harmonic, melodic and rhythmic elements. They are composed with both feeling and technique with clarity as the ultimate goal.
  Hall was especially innovative with instrumentation, mixing classical with jazz by adding violinist Itzhak Perlman into the mix. Furthermore, in 1957, he played in a trio with saxophonist Jimmy Giuffre and trombonist Bob Brookmeyer, without any rhythm section. Without piano, bass, or drums, the three musicians improvise at the same time, keeping rhythm themselves. Similar to Duke Ellington, the other artists on the record influence the composition and he creates music to showcase their talents as well. Furthermore, he is always open to what is new and what others are playing, including the guitar synthesizer.
  Silence is as much a part of Hall’s music as is sound. Intimate settings, such as smaller clubs, showcase this strength. Hall „carefully [chooses] a few notes instead, one after another, and placed them with the care of someone setting an elegant table.”  Although Hall is generally a leader, his excellent listening skills allow him to aid other musicians harmonically when required and staying silent when needed. Everyone is equal in Hall's groups, he explains, „each one of these guys is a creative, growing musician, and I treat them that way.”
  Exemplifying Hall’s musical technique is his collaboration with guitarist Pat Metheny (1990). The duo had met thirty years previously, when guitarist Attila Zoller brought 15–year–old Metheny to The Guitar, a club where Hall and bassist Carter had a standing position.
Website: http://www.jimhallmusic.com/
Label:  http://cmgsite-staging.herokuapp.com/
As leader:
|  Jazz Guitar (Pacific Jazz, 1957)
|  It’s Nice to Be With You (MPS Records, 1969)
|  Where Would I Be? (Milestone, 1971)
|  Alone Together (Milestone, 1972) — with Ron Carter
|  Concierto (with Chet Baker and Paul Desmond, CTI, 1975)
|  Live! (Verve, 1975)
|  Live in Tokyo (Paddle Wheel, 1976)
|  Commitment (A&M, 1976)
|  Jim Hall and Red Mitchell (duo recorded live at Sweet Basil, Artists House, 1978)
|  Big Blues (with Art Farmer, CTI, 1978)
|  Circles (Concord, 1981)
|  Studio Trieste (CTI, 1982)
|  Live at the Village West (with Ron Carter, Concord, 1984)
|  Telephone (with Ron Carter, Concord, 1985)
|  Power of Three (with Michel Petrucciani and Wayne Shorter, Blue Note, 1986)
|  Jim Hall’s Three (with Steve La Spina and Akira Tana, Concord, 1986)
|  These Rooms (Denon, 1988)
|  All Across the City (Concord, 1989)
|  Live at Town Hall, Vols. 1 & 2 (Music Masters, 1990)
|  Subsequently (Music Masters, 1991)
|  Youkali (CTI, 1993)
|  Something Special (Inner City, 1993)
|  Dedications & Inspirations (Telarc, 1993)
|  Dialogues (Telarc, 1995)
|  Textures (Telarc, 1996)
|  Panorama: Live at the Village Vanguard (Telarc, 1997)
|  By Arrangement (Telarc, 1998)
|  Jim Hall & Pat Metheny (Telarc, 1999)
|  Grand Slam: Live at the Regatta Bar (with Joe Lovano, Telarc, 2000)
|  Jim Hall & Basses (Telarc, 2001)
|  Duologues (with Enrico Pieranunzi, Cam Jaz, 2004)
|  Magic Meeting (with Scott Colley and Lewis Nash, ArtistShare, 2005)
|  Free Association (with Geoffrey Keezer, ArtistShare, 2006)
|  Hemispheres (with Bill Frisell, Joey Baron and Scott Colley, ArtistShare, 2008)
|  Conversations (with Joey Baron, ArtistShare, 2010)
|  Live at Birdland (with Joey Baron, Greg Osby, Steve Laspina, ArtistShare, 2013)
|  Live! vol. 2–4 (with Don Thompson and Terry Clarke, ArtistShare, 2013)
By CHARLES J. GANS | 12/10/13 | 06:58 PM ET EST | AP
||  http://www.huffingtonpost.com/2013/12/11/jim-hall-dead-jazz-guitar-master-obituary_n_4424175.html
Photo credit: Eric Risberg |

Jim Hall — The Concord Jazz Heritage Series (1998)


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