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Transcribed this today, intro and rhythm part to Paul Desmonds "bossa antigua."
Nobody else played like this...just brilliant.
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07-31-2017 10:57 PM
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I love that record! Hall's rhythm playing and solos on all the collaborations with Paul Desmond are some of my all-time favorites music. Nice job on the voicings! Seeing the positions is very instructive. Any chance you could post music and/or tab?
Last edited by AndyV; 08-01-2017 at 03:49 PM.
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Thanks for sharing this video!
Originally Posted by AndyV
That period of Jim Hall's work, particularly with Paul Desmond, is about my favorite all-time jazz.
Hall's comping is beyond brilliant.
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I just got the Jim Hall Live Vol 2-4 release from Artist Share. So nice to hear wonderful live sets from 1975. I've loved the first disc for years and somehow missed this when it was released. Such amazing lyrical invention!
Jim Hall, Terry Clarke, Don Thompson - Jim Hall Live! Vol. 2-4 (3 CD set) - Amazon.com Music
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A wonderful example of the highly sophisticated simplicity that Jim Hall found over and over. What a giant of the art form.
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a fave desmond-hall collab... halls playing around desmond is so untypical of the straight comping that many guitar players would have relied on...his solo (at the 4:30 mark) is great as well....his playing with jimmy giuffre in the trio really informed his playing style...dialog like counter melodies
cheers
ps- check out jims gritty solo tone..p90 es 175 thru his beloved gibby amp no doubtLast edited by neatomic; 08-02-2017 at 04:11 PM.
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Jim Hall started playing that way in the 50s.
I'm trying to think of anybody who did it earlier. For that matter, I'm trying to think of a group that used guitar as the only chording instrument -- prior to Jim Hall. I guess some guitarists did it as leader of the date, like Chuck Wayne. Not sure about as sidemen. Maybe Barney K.
But, those other players were, as I recall it, using full chords (Chuck was a master of 4 note chords on adjacent strings). Jim is the first one I can recall who was playing sparse harmony with that kind of contrapuntal movement.
It's interesting that, to my ear, Jim's work still sounds hip 50-60 years later. Whereas, guitar comping just 15 or 20 years before Jim, including, for example, Charlie Christian, was 4 to the bar grip-based - and sounds very dated.
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chet baker-gerry mulligan piano-less quartet was groundbreaking in eary 50's...drummer was the great chico hamilton...jim halls first (pro) group was the chico hamilton quintet (1955)...guitar, cello, sax, drum and bass...was called chamber jazz!!...after that, hall went with jimmy giuffre trio...guitar, sax/clarinet and bass or trombone!!..those two early experiences shaped jim halls style forever!
i've always considered him the first modernist jazz guitarist..he started out as another charlie christian inspired player and took it somewhere else
cheers
ps- prior to his quintet, chico did trio date recordings with the unheralded great guitarist howard roberts..who traded to jim hall his iconic es 175!! for jim's black beauty lpLast edited by neatomic; 08-02-2017 at 04:20 PM.
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Jim's background as a bass player might have informed these ideas...general knowledge would say a guitar player putting that much color into the low end would be mud, but Jim clearly talked to Eugene Wright beforehand...they almost become one instrument on this track.
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The live cuts with Art Farmer have been really capturing me lately. I have been using that version of Stomping at the Savoy to inform my students about comping a soloist , developing a solo (Jim's unfolding of melody and texture is genius) and most of all, how musical imagination is key to a great performance - not just the vehicle!
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Originally Posted by mr. beaumont
good (obscure) point!! totally can see that...coming from rythmic single line bass perspective...
kind of reminds me of steve swallow..a bass player..who is very guitaristic..exact opposite, but they actually meet
lots of rythmic melodic arpeggios and lines in common...not playing the changes, but always playing thru the changes ...& with deep regard to melody
cheers
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This inspired me to learn the solo as well, and I've been checking out "The Night has a Thousand Eyes" from the same album.... dig that intro... that's some crazy shit! And Hall's solo is beautiful
Sent from my iPhone using Tapatalk Pro
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The chamber jazz period in the 50s was beautiful. Hamilton's group and Giuffre's group stand out. Both, of course, featured Jim Hall.
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It may have helped that Jim used a 175 with a P90. Originally Posted by mr. beaumont
Anybody know the amp back then?
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gibson ga 50
jim used it for years...was beloved...
like his es 175, only stopped using when touring demands were putting too much stress on his gear...
but his iconic tone was 175 thru ga 50
cheers
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Indeed...Jim favored a dark tone, the single coil certainly helped add clarity... Originally Posted by rpjazzguitar
But Jim sounded like Jim after he went humbucker, too.
Actually, not to to toot my own horn...er...guitar, but I think I got pretty close on that tone here w I th humbuckers
Last edited by mr. beaumont; 08-02-2017 at 08:44 PM.
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All enlightening, well observed comments. I didn't know Jim played bass. What I never hear from Hall are cliche's or blues licks but rather a constant sense of melodic development that's improvised yet compositional in terms of the perfection of the note choices and theme and variations approach he used. He has a few stylistic quirks - early on, he liked runs of doubled notes (as you can hear the Cole Porter tune above). In many ways, Desmond was a perfect foil for Hall as they shared a deep melodic sense, a feeling for diatonic melodies that often eschewed bebop's chromaticism in general yet flowed with effortless chromaticism when the music required it. I have his instruction book. It revealed a lot about Jim the person but surprisingly little about the kind of playing you hear on Bossa Antigua. I've been transferring the intro over to C6th lap steel - a little tricky but cool!
Last edited by AndyV; 08-02-2017 at 09:20 PM.
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Well, I for one would love to hear this on steel!
Yeah, I think if you can say anything about Jim, maybe the highest compliment (among many) would be that his playing never sounded contrived...even something g like this--which was probably NOT improvised--sounds fresh.
Call me a fanboy, but there's just nobody like Jim who ever played the guitar. I find stuff he played before my dad was born hip and modern as anything...how cool is that?
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The records with the Jimmy Guiffre 3 are beyond brilliant. I had only given them a cursory listen before the last few days. Wow!
I've had this one for a few years. This obscure record with Hall and vocalist Lee Schaeffer is interesting because here we have a modern jazz guitarist recording folk songs played straight with a non-jazz vocalist (whose intonation is sometimes slightly challenged). Hall's accompaniment is pretty conventional harmonically and texturally yet you can tell just how intently he's listening and just how sensitively he's fulfilling the role of miniature orchestra behind the vocal.
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Jim Hall sounded great through his ES-175 and Gibson GA-50 (which was for sale online a few years ago), and he sounded great through his D'Aquisto and the GA-50.
Except for his live recordings, I don't believe that he recorded much, if at all, through his Polytone Mini Brute. He generally used the GA-50. However, if you saw him live in the 80s-2000s, you saw him play through a Polytone Mini Brute. He sounded superb with this rig, either using his ES-175 or the D'Aquisto...and later the Sadowsky.
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Jim also used a Walter woods amp for a while...don't know about the speaker cabinet.
Always sounded like Jim, though.
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I was just about to post a thread on this, but will post here instead. I'm just knocked out by "The Power Of Three":
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Now that's all the rhythm I need from 'jazz' guitar playing bossa nova in a four-piece with horn, no need to over-egg the pudding with partido alto. Time to call my alto-playing friend with the sweet tone. Originally Posted by Toddep
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This links to a recording of Glad To Be Unhappy, with another gorgeous intro lick.
This is the album that made me fall in love with Hall's playing more than 50 years ago.
I didn't know about Bossa Antigua (or the others that Desmond and Hall made together) until much more recently.
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