Jim Hall Appreciation Thread!

**Dennis D** · 07-31-2015, 10:30 AM

Two duet LP's - --

Bill Evans and Jim Hall - - Undercurrent and Intermodulation

Yes - -'that' Bill Evans !!

**Irez87** · 07-31-2015, 04:28 PM

Originally Posted by erhansen96

You should check out some of the stuff he did with Art Farmer if you have not yet, I know this is an older thread. If you're looking for a good record check out To Sweden With Love by the Art Farmer Quartet

I love introducing players to that album! I love it as well!

**Irez87** · 07-31-2015, 04:33 PM

Jim Hall's stuff with Paul Desmond is so good, the stuff Paul did with Ed Bickert caught me off guard and left me disappointed. However, Ed's stuff with Frank Rosalino and Don Thompson is on another level.

**Flat** · 07-31-2015, 05:02 PM

I asked Jim for his autograph after a show one night. Get this: HE thanked ME!

And he was totally sincere. Like I was doing him a favor by listening. How humble is that?

A truly great musician, and an amazing human being.

**Irez87** · 07-31-2015, 06:53 PM

Yeah, Jim Hall seems like a chill dude. Love his playing, but wow... his posture went to hell in his later years. Makes me scared about having good posture when I play. He's still my favorite guitarist. His sympatio chords, his counterpoint lines, his story telling solos.

I got to talk to Howard Alden on two occasions and Bucky Pizzarelli as well. They were both really warm and spoke to me like an equal. We had a conversation about picks and strings and Howard even tried out my gem stone pick. May get a lesson with him one of these days.

**mooncef** · 09-22-2016, 06:19 PM

Jim hall was a very aquiered taste for me , i was expecting some lines and a lot of notes , but this player is unique , he melts inside the tune like no other and his level of rythmic awarness as well as interractions , interplay is just unparalleled!
In what areas do you think hall excels ?

**whiskey02** · 09-25-2016, 06:03 PM

Originally Posted by erhansen96

I love Jim's playing, he is just my favorite player. I love all his soloing and comping. I unfortunately got into Jim after he passed away. I have been looking for live bootlegs of Jim would anyone happen to know where to find those sorts of shows? Please let me know it would be greatly appreciated!

Not a bootleg but this long out of print LP is great!

**ronjazz** · 09-25-2016, 06:58 PM

Jim excelled at being Jim. Never afraid of space, never afraid to play slowly and thoughtfully, just never afraid. Art Farmer 4's "Live at the Half Note" contains Jim's incendiary, blues-drenched solo on Stompin' at The Savoy, sounding like Jeff Beck in places, but starting out with the rhythm section laying back, amazing stuff.

I was fortunate to know Jim, produced him live several times, he used my amps when he came to Boston, always gentle, self-deprecating, but very quick and appreciative of the small things. Played with and challenged the greatest players, from Evans to Rollins to Carter to Metheny, and so many more. When I want pure, unalloyed beauty in jazz, it's Hall and Desmond.

**fasstrack** · 09-25-2016, 07:29 PM

He and Barry Galbraith IMO were the 2 greatest musicians ever to pick up guitars.

Over and out for now...

**PMB** · 09-25-2016, 09:04 PM

Originally Posted by fasstrack

He and Barry Galbraith IMO were the 2 greatest musicians ever to pick up guitars.

Over and out for now...

Big BG fan here as well. Such a beautiful sound he had, fit into every situation with ease and his comping and line books still stand as some of the best available.

**fasstrack** · 09-25-2016, 09:52 PM

Originally Posted by PMB

Big BG fan here as well. Such a beautiful sound he had, fit into every situation with ease and his comping and line books still stand as some of the best available.

His time was also unbelievable, could read flys%%t, play difficult music by aggressive, envelope-pushing composers like George Russell and John Carisi. He was a way better improviser than he gave himself credit for and Thornhill's Freddie Green.

On a personal note: I studied with him in '81---when he was already sick. There are no words for the many kindesses he did me or how much he helped my playing.

Jim Hall when I think more about him. It's gonna be deep, I promise...

**fasstrack** · 09-25-2016, 09:57 PM

Originally Posted by ronjazz

Jim excelled at being Jim. Never afraid of space, never afraid to play slowly and thoughtfully, just never afraid. Art Farmer 4's "Live at the Half Note" contains Jim's incendiary, blues-drenched solo on Stompin' at The Savoy, sounding like Jeff Beck in places, but starting out with the rhythm section laying back, amazing stuff.

I was fortunate to know Jim, produced him live several times, he used my amps when he came to Boston, always gentle, self-deprecating, but very quick and appreciative of the small things. Played with and challenged the greatest players, from Evans to Rollins to Carter to Metheny, and so many more. When I want pure, unalloyed beauty in jazz, it's Hall and Desmond.

HUGE (:

Yes, you were lucky.

The late Bill Finegan recommended a couple of guys including me to Mr. Hall to please help out and rub off on. He did take my # at Jimmy Raney's memorial but we never did get together, to my eternal regret.

A great, great and gentle man and musician was he...

**mr. beaumont** · 09-25-2016, 10:26 PM

Jim created the concept of modern jazz guitar. He's the single most important guitarist of the last 60 years.

**fasstrack** · 09-25-2016, 10:41 PM

Originally Posted by mr. beaumont

Jim created the concept of modern jazz guitar. He's the single most important guitarist of the last 60 years.

Much as I would like to believe that, there's one tiny problem:

Wes Montgomery...

**mr. beaumont** · 09-25-2016, 10:51 PM

What ground did Wes break?

Wes, in my opinion, is the best that ever lived...but he was a bopper, straight up. The commercial stuff he did later on did nothing to advance the craft. Wes represented the pinnacle of a style. Jim was different...maybe not the best at what he did...but often the ONLY who did what he did.

Jim Hall is the reason the guitar is still viable today, still doing new things.

**fasstrack** · 09-25-2016, 11:16 PM

Originally Posted by mr. beaumont

What ground did Wes break?

Wes, in my opinion, is the best that ever lived...but he was a bopper, straight up. The commercial stuff he did later on did nothing to advance the craft. Wes represented the pinnacle of a style. Jim was different...maybe not the best at what he did...but often the ONLY who did what he did.

Jim Hall is the reason the guitar is still viable today, still doing new things.

Geez, where do I even start? You are entitled to your views, but wow!

A 'bopper'? Strongly infuenced, yes, but to my ears a bluesman first and always. That was a main reference point, even on ballads.

"Nothing to advance the craft? I'll just leave that one alone, sigh and agree to disagree.

Wes and Jim Hall: 2 beautiful and different apples and/or oranges.

As they say in Le France:

'Viva (sp.?) la difference'...

**PMB** · 09-25-2016, 11:27 PM

True. Abercrombie, Metheny, Scofield and Frisell are all 'sons' of Jim Hall as are some of leading players of the younger generation such as Peter Bernstein and Julian Lage.

**fasstrack** · 09-25-2016, 11:34 PM

Originally Posted by PMB

True. Abercrombie, Metheny, Scofield and Frisell are all 'sons' of Jim Hall as are some of leading players of the younger generation such as Peter Bernstein and Julian Lage.

Good as those guys all play, very good, it strikes me that they all have 1 thing in common besides their fine playing, and please do not read too much into what is merely an observation---nothing more:

All white...

**fasstrack** · 09-25-2016, 11:44 PM

Before I get lynched here, please let me explain:

It troubles me greatly how mostly-white our art form of jazz guitar has, I'll say to keep this positive, become perceived. Outside of maybe Russell Malone (a friend, great player and guy) I never see discussions here or elsewhere about African-American players contributing right now. Ed Cherry and Jerome Harris come immediately to mind.

Not wanting to derail a thread about a musician whose work and personage I love dearly, I will come off the soapbox and just respectfully ask you nice guys and good players to think about it...

**fasstrack** · 09-26-2016, 12:16 AM

If the consensus is that I should delete the last 2 comments I will be happy to. I have posted a new thread about this topic---which I deem important, but probably does not belong here---in Everything Else, and certainly have no desire to derail a thread about a hero...

**PMB** · 09-26-2016, 01:29 AM

I certainly wasn't stating any preferences in my post. I'd love to see more recognition and involvement of African-American players both here and on the international stage. Interestingly enough, I'd say that George Benson has been a more important influence than Wes on most of the post-'70s guys (partly because Wes died at such a young age). A number of them such as Ed Cherry, Bobby Broom and Russell Malone have cited seeing GB on TV in the early '70s as pivotal in their careers, providing much the same fuel that the Beatles on Ed Sullivan provided for white pop/rock guitarists in the early '60s.

**fasstrack** · 09-26-2016, 02:03 AM

Originally Posted by PMB

I certainly wasn't stating any preferences in my post. I'd love to see more recognition and involvement of African-American players both here and on the international stage. Interestingly enough, I'd say that George Benson has been a more important influence than Wes on most of the post-'70s guys (partly because Wes died at such a young age). A number of them such as Ed Cherry, Bobby Broom and Russell Malone have cited seeing GB on TV in the early '70s as pivotal in their careers, providing much the same fuel that the Beatles on Ed Sullivan provided for white pop/rock guitarists in the early '60s.

To clarify, I never said you were, or intended to single out any one person here.

I'm glad to hear about your last sentences, man.

And it's been a very emotional week, guys. That Charles Davis memorial tore me up. Barry Harris, 86 going on 87, Richard Wyands, 88, and others played in a very moving and profound remembrance of Charles. The elders leaving has gotten me thinking about and feeling many things, so if I seem intense or over-wrought that is why. Understand?

**mr. beaumont** · 09-26-2016, 02:17 AM

Originally Posted by fasstrack

"Nothing to advance the craft? I'll just leave that one alone, sigh and agree to disagree.
.

Disagree, but give me something instead of just sighing and shaking your head.

Sure, Wes was blues to the core...ain't all hard bop players?

You completely ignore where I say Wes was as good as it got, too.

Seriously, you think Wes changed the music? I just think he raised the bar.

**fasstrack** · 09-26-2016, 07:32 AM

Originally Posted by mr. beaumont

Disagree, but give me something instead of just sighing and shaking your head.

Sure, Wes was blues to the core...ain't all hard bop players?

You completely ignore where I say Wes was as good as it got, too.

Seriously, you think Wes changed the music? I just think he raised the bar.

Not up for disagreements right now.

It has been a roller-coaster of a week, and I'm drained. Can you understand that? I was at a very emotional memorial, played with Gene Bertoncini, Johnny O' Neal, and other top players. listened to elders at that memorial. Lost it watching a video of Barry Harris with choir singing a song he originally wrote when Monk passed away, and now sings at all musician memorials.

So let's don't go there please, and agree to disagree. Just can't feature it right this moment, OK? Please, man...