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Jim Hall: Live, Now and Then

I’m hoping to keep writing a bit every day and see what happens. I try to sort of push forward all the time. . . that’s really my basis of performing and being alive.
Widely acknowledged as one of the most influential guitarists in modern jazz, Jim Hall has had an extraordinary musical career that spans more than half a century. His style is marked not by soaring speed or virtuoso technique but by his explorative artistry in improvisation, his solos' beautiful melodic and harmonic construction and his warm and rich tone.
His discography includes more than three dozen recordings as a leader and an equal number as a sideman, including historic collaborations with

Sonny Rollins
saxophoneb.1930

Ron Carter
bassb.1937

Bill Evans
piano1929 - 1980

Art Farmer
flugelhorn1928 - 1999

Jimmy Giuffre
clarinet1921 - 2008

Don Thompson
bassb.1940

Terry Clarke
drumsb.1944

Pat Metheny
guitarb.1954
With three hours of additional recordings from that same stint in Toronto, Jim Hall Live, Vol. 2-4 (ArtistShare, 2012), released for the first time nearly four decades later, is clearly an important addition to Hall's discography. Remarkably, in tandem with this historic box set, Hall has released a recording that documents his recent work, Jim Hall Live at Birdland (ArtistShare, 2012), in which he's joined by saxophonist

Greg Osby
saxophoneb.1960

Joey Baron
drumsb.1955

Steve LaSpina
bassb.1954
Hall remembers events that led up to the 1974 club date in Toronto vividly. He had made other trips to Canada before then and had brought along other New York-based musicians who made up his trio. "I knew a terrific guitarist in Toronto named

Ed Bickert
guitar1932 - 2019
Thompson brought some recording equipment along for the trio's two- week gig in October at a club called Bourbon Street. "The club was noisy sometimes," recalls Hall. "I think it became strictly a jazz club little by little, but it was also a restaurant, and a couple times the waiters would come out with a cake right close to the bandstand, singing 'Happy Birthday' to someone. But we just had a lot of fun. It's some of my favorite stuff to listen to now, because it's just so loose. We're all exploring together and not particularly taking it seriously. Don had his tape machine on stage the whole time but didn't fully realize that he was recording or just sort of forgot about it. Things worked out pretty well."
Hall credits

Brian Camelio
producerb.1965

Hall's initial association with ArtistShare was another live recording, Magic Meeting (2005), featuring him in a trio setting with bassist

Scott Colley
bassb.1963

Lewis Nash
drumsb.1958

Another recent recording of special note is Hemispheres (ArtistShare, 2008), a two-disc set that pairs Hall with guitarist

Bill Frisell
guitar, electricb.1951
Free Association (ArtistShare, 2005) is another example of Hall working in a duet context, here with pianist

Geoffrey Keezer
keyboardsb.1970
Hall is reluctant to point to other recordings that stand out in his mind over his long career. "I rarely listen to my own records," he says. When pressed, though, he mentions his duets with pianist Bill EvansUndercurrent (Verve, 1963) and Intermodulation (Verve, 1966)as being especially satisfying. Hall remembers the events leading up to the first of the two. "

John Lewis
piano1920 - 2001
Hall's collaboration with Sonny Rollins on The Bridge (RCA, 1962) is another milestone recordingnot just for Hall and Rollins but in the history of jazz. Hall has continued his association and friendship with Rollins over the years and performed with the saxophonist, including a guest appearance with Rollins at a special 80th birthday concert at the Beacon Theatre in New York. "It was just amazing. It went on for quite a while. It was so great. And then a year or so ago, Sonny got an award at the Kennedy Center [the Kennedy Center Honors, 2011]. Christian McBride put together a bunch of musicians; we went down and played for that, too. Barack Obama was actually in the audience. We all went over to his house, the White House, for a whilethe next day, I think it was. It was great seeing Sonny get that award."


Lester Young
saxophone1909 - 1959

Ben Webster
saxophone, tenor1909 - 1973

Paul Desmond
saxophone, alto1924 - 1977
Another noted saxophonist whom Hall has been collaborating with in recent years is

Joe Lovano
drumsb.1952

George Mraz
bass1944 - 2021
Growing up in Cleveland was important in Hall's musical development beyond his coincidental tie with Lovano. "I was at the Cleveland Institute of Music for five years, and toward the end I was majoring in composition," says Hall. "It was a fantastic school and still is. I knew some people who worked there, so they allowed me to pay my tuition something like five dollars a month. I learned so much. When I started, I almost literally knew nothing about classical music. And then I discovered Bartok. Bartok became my hero after that. I had been working with a quartet in Cleveland, and we were going to start traveling together. I told the guys I was going to have to bail out because I was going to go to the Cleveland Institute of Music. It was kind of a disappointment for them, but it was a great decision for me. I wanted to be a better musician. And I hope it worked."
Hall sees a very direct relationship between his approach to jazz and early studies at the Cleveland Institute, given that jazz improvisation can be equated to spontaneous composition. "I think that is a proper connection there. I don't think of it literally too much, but it must have affected my way of playing. Also, I never felt that I had really speedy technique like a

Joe Pass
guitar1929 - 1994
Beyond improvisation, composing and arranging have long been an important side of Hall's work. It's true that Jim Hall Live! and Live, Vol. 2-4 focus largely on standards, but since the mid-'70s, Hall has increasingly featured his own original compositions on his recordings. And while he's had enormous artistic success working in duo and trio contexts, he has ventured into projects with mid-sized and larger ensembles, using varied instrumentation that displays his great capacities as an arranger. Two recordings from the late 1990s exemplify this in particular: Textures (Telarc, 1997) and By Arrangement (Telarc, 1998), which incorporate string and brass sections and feature guest appearances by the

New York Voices
vocalsb.1989
Hall has displayed his artistry in a variety of contexts with a variety of collaborators in live performance also, and he continues to do so. He performs in trios with Joey Baron and Scott Colley or Steve LaSpina and

Johnathan Blake
drums
Julian Lage
guitar, electric
John Abercrombie
guitar1944 - 2017

Peter Bernstein
guitarb.1967
Still, composing is a major day-to-day focus for Hall. "I'm hoping to keep writing a bit every day and see what happens. I try to sort of push forward all the time. I have music paper and pencils on my desk here to keep moving, and that's really my basis of performing and being alive."
Selected Discography
Jim Hall, Jim Hall Live, Vol. 2-4 (ArtistShare, 2012)
Jim Hall Quartet, Live at Birdland (ArtistShare, 2012)
Jim Hall & Joey Baron, Conversations (ArtistShare, 2010)
Jim Hall & Bill Frisell, Hemispheres (ArtistShare, 2008)
Jim Hall/Geoffrey Keezer, Free Association (ArtistShare, 2005)
Jim Hall/Enrico Pieranunzi, Duologues (Cam Jazz, 2005)
Jim Hall, Magic Meeting (ArtistShare, 2005)
Jim Hall, Jim Hall & Basses (Telarc, 2001)
Jim Hall, Joe Lovano, George Mraz, Lewis Nash, Grand Slam (Telarc, 2000)
Jim Hall & Pat Metheny, Jim Hall & Pat Metheny (Telarc, 1999)
Jim Hall, By Arrangement (Telarc, 1998)
Jim Hall, Textures (Telarc, 1997)
Jim Hall, Dialogues (Telarc, 1995)
Jim Hall and Friends, Live at Town Hall, Vol. 1 (Musicmasters, 1990)
Jim Hall Quartet, All Across the City (Concord, 1989)
Jim Hall, Jim Hall Live! (Verve, 1975)
Jim Hall, Concierto (CTI, 1975)
Jim Hall/Ron Carter Duo, Alone Together (Milestone, 1972)
Bill Evans/Jim Hall, Intermodulation (Verve, 1966)
Bill Evans/Jim Hall, Undercurrent (Verve, 1963)
Sonny Rollins, The Bridge (RCA, 1962)
Photo Credits
Page 1: Tom Beetz
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