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Jim Hall (musician)

James Stanley Hall (December 4, 1930 – December 10, 2013) was an American jazz guitarist, composer and
arranger.[1] Premier Guitar magazine stated that "It could be argued that the jazz guitar tree is rooted in four names:
Django [Reinhardt], Charlie [Christian], Wes [Montgomery], and Jim [Hall]".[2]

Jim Hall

Contents
Biography
Early life and career
Later life and career
Musical style
Equipment
Compositions
Discography
References Jim Hall in 2010
External links Background information
Birth name James Stanley Hall
Born December 4, 1930
Biography Buffalo, New York, U.S.
Origin Cleveland, Ohio
Early life and career Died December 10, 2013
Born in Buffalo, New York, before moving to Cleveland, Ohio, (aged 83)
Hall was from a musical family, his mother played the piano, New York City, U.S.
his grandfather violin, and his uncle guitar.[3] He began playing Genres Jazz, cool jazz, post-bop
the guitar at age ten when his mother gave him an instrument Occupation(s) Musician, composer,
as a Christmas present. At 13 he heard Charlie Christian play on arranger
a Benny Goodman record, which he calls his "spiritual
Instruments Guitar
awakening".[4] As a teenager in Cleveland, he performed
professionally, and also took up the double bass. Hall's major Years active 1955–2013
influences since childhood were tenor saxophonists Coleman Labels CTI, Concord, Telarc,
Hawkins, Lester Young, Paul Gonsalves, and Lucky ArtistShare
Thompson.[5] While he copied out solos by Charlie Christian, Associated acts Chico Hamilton Quintet,
and later Barney Kessel, it was horn players from whom he took Jimmy Giuffre Three, Art
the lead. Farmer Quartet, Sonny
Rollins, Paul Desmond, Bill
In 1955, Hall attended the Cleveland Institute of Music where
Evans
he majored in composition, studying piano and bass in addition
to theory. About a year later, he moved to Los Angeles, where Website www.jimhallmusic.com (htt
cool jazz was prominent at the time. He studied classical guitar p://www.jimhallmusic.com)
with Vincente Gomez, and, from 1955 to 1956, played in Chico www.jimhalljazz.com (http://
Hamilton's quintet. It was at this time that he began to gain www.jimhalljazz.com)
attention.[6]

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In the Jimmy Giuffre Three, Hall developed some of his own personal musical preferences, including "challenging
arrangements and interactive improvisation in duos and trios."[7] He taught at the Lenox School of Jazz in 1959; toured
with Jazz at the Philharmonic; and worked with Ben Webster (1959), Bill Evans (1959), Paul Desmond (1959–65), Ella
Fitzgerald in Europe (1960), Lee Konitz (1960–61), Sonny Rollins (1961-2, 1964), and Art Farmer (1962-1964).
Working with all of these prominent and established artists furthered Hall's career and aided in producing his own
bands and own styles.[7]

By 1960, Hall was living in New York. In 1962, he led a trio with Tommy Flanagan and Ron Carter—with the addition of
Red Mitchell in 1965. Furthermore, he landed a gig playing with Bill Berry, Bob Brookmeyer, Benny Powell, Art Davis
and Jake Hanna as a house band for The Merv Griffin Show on television. Most notably, he arranged and recorded
duos with Evans and Carter, which allowed his complex arrangements and improvisations to shine.[7]

Hall was an arranger and composer as much as a performer, known for

developing motives and using blues inflections. These characteristics are
showcased in his 1975 album Jim Hall Live!, with Don Thompson and Terry
Clarke. Around this time he also recorded with pianist George Shearing and
classical violinist Itzhak Perlman. He further continued creating music with
Mitchell and Ron Carter until 1985.[7]

Later life and career

In the 1990s, Hall continued to tour and record all over the world. His
sidemen included drummers Bill Stewart and Andy Watson; and Joey Jim Hall at Keystone Korner, San
Baron, bass players Scott Colley and Steve LaSpina; pianists Gil Goldstein Francisco 10/29/80.

and Larry Goldings. At times, Hall included Chris Potter and Greg Osby on
the tenor saxophone. These players are featured on Hall's video Master
Sessions with Jim Hall from 1993. Hall appeared as a guest soloist in Michel Petrucciani's trio with Wayne Shorter in
1986 and performed at the Village Vanguard with Bill Frisell. In 1990, he hosted the JVC Jazz Festival New York, which
also featured Pat Metheny and John Scofield. After this, he played a number of duo concerts with Metheny. In 1994,
Hall recorded a solo album. Furthermore, in 1996, he returned to Europe to lead a quartet with Joe Lovano.[7]

In 1995, Hall was awarded an Honorary Doctorate of Music from Berklee College of Music. [8] In 1997, Hall received the
New York Jazz Critics Award for Best Jazz Composer/Arranger, which was a very important milestone in his career.
His pieces for string, brass, and vocal ensembles can be heard on his Textures and By Arrangement recordings. His
original composition, "Quartet Plus Four", a piece for jazz quartet featuring the Zapolski string quartet, was debuted in
Denmark, where he was awarded the Jazzpar Prize.[3]

His last orchestral composition was a concerto for guitar and orchestra, commissioned by Towson University in
Maryland for The First World Guitar Congress, which was debuted in June 2004 with the Baltimore Symphony. He
was awarded an NEA Jazz Masters Fellowship award in January 2004. Hall was one of the first artists to join the fan-
funded label ArtistShare and released Magic Meeting in 2005. In 2006, on behalf of the French Minister of Culture,
Kareen Rispal, Cultural Counselor of the Embassy of France, bestowed Hall with the honor of Chevalier dans l'ordre
des Arts et des Lettres, saying, in part, "We honor you, Jim Hall, for expanding the musical universe, for your
innovations and contributions to musical expression. We salute your ongoing experimentation which has been known
countless times to bring people around the world together."[9] In November 2008 the double album Hemispheres was
released through ArtistShare, featuring fellow guitarist and former student Bill Frisell[10] with Scott Colley (bass), Joey
Baron (drums) and produced by Brian Camelio.

Hall married Jane Herbert who took his name on September 9, 1965, a songwriter and psychoanalyst.

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Hall performed in a project titled The Live Project, where he shared his music making process through ArtistShare as
well as interviews with other musicians about his lasting influence. In 2010, Hall and Baron recorded a duo album
entitled Conversations.[11] In 2012 at the age of 81, Hall had gigs at the Blue Note in New York City and at a number of
jazz festivals in the US as well as in Europe.

Hall died in his sleep in his Manhattan, New York apartment on December 10, 2013, six days after his 83rd
birthday.[12][13]

Musical style
Hall's musical style develops with every
new album and collaboration he "With each new concert tour and recording Jim reveals yet another
facet of himself."[3]
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.[3] 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.[3]

Jim Hall insisted a lot on the aural aspect of improvising music, stating that "Players should force themselves to hear
something and then play it, rather than just do whatever comes under their fingers. I try to make my playing as fresh as
possible by not relying on set patterns."[14]

Hall's tone has been described as mellow, warm, gentle, subtle, rich, and lightly amplified.[3] Unlike other musicians,
Hall's work is not necessarily recognized by a signature riff but rather his expressive capabilities.[3] As an arranger, his
solos are aptly constructed, taking into account harmonic, melodic and rhythmic elements.[3] They are composed with
both feeling and technique with clarity as the ultimate goal.[3]

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.[3] Similar to Duke Ellington, the other artists on the record influence the composition and he
creates music to showcase their talents as well.[15] Furthermore, he is always open to what is new and what others are
playing, including the guitar synthesizer.[16]

Silence is as much a part of Hall's music

I'm not sure I have what's called a style, but I have an approach to as is sound. Intimate settings, such as
music, an attitude to consciously allow myself to grow. I don't like
to be boxed in or labeled as having to do with any certain period of smaller clubs, showcase this
jazz music or music in general.[17] strength.[18] Hall "carefully [chooses] a
few notes instead, one after another,
and placed them with the care of
someone setting an elegant table."[19] Although Hall is generally a leader, his excellent listening skills allow him to aid
other musicians harmonically when required and staying silent when needed.[18] 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."[18]

Exemplifying Hall's musical style is his collaboration with guitarist Pat Metheny (1999). 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.[20]

Because of his desire for spontaneity

and emphasis on communication with "Jim is father of modern jazz guitar to me, he's the guy who
invented a conception that has allowed guitar to function in a lot of
other musicians and others, Hall musical situations that just weren't thought of as a possibility prior
preferred live venues.[17] However, to his emergence as a player. He reinvented what the guitar could
be as a jazz instrument... Jim transcends the instrument... the
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Metheny is the opposite, so the album meaning behind the notes is what speaks to people." - Pat
contains pieces recorded live and in the Metheny[17]
studio. Reflecting Hall's broad musical
tendencies, this album contains originals by him, Metheny, mutual friends Steve Swallow and Zoller, and two
standards.[17] Hall and Metheny's expertise and virtuosity allowed for much improvisation, usually spurred by mood,
which led to different compositions,"at times acoustic, soft, reverential, melodic, cacophonous, outlandish, humorous,
and upbeat."[17] Apart from Metheny, he influenced other contemporary artists such as Bill Frisell, Mick Goodrick,
John Scofield, and John Abercrombie.[17]

Equipment
Hall always used an extremely simple approach regarding his instruments. In the early stages of his career, playing
with Chico Hamilton, he used a Gibson Les Paul Custom. From that period on, he was associated with the Gibson ES-
175 guitar. This guitar, originally with a single P90 pickup, was used with a Gibson GA50 amplifier. He then switched
to a humbucking pickup before acquiring a custom made D'Aquisto guitar. After the GA50 he started using solid-state
amplifiers, mostly Polytones (although he also used Walter Woods Amp and Harry Kolbe GP-1 Pre-Amp and Cab). He
also used his signature Sadowsky guitar, based on his original D'Aquisto.[21][22]

He used flatwound strings gauges 11, 15, 20 (unwound), 30, 40, 50 (from high E to low E) and picks of varying
thickness whose usage depended on what part he was playing. He would usually use medium picks for playing
melodies, a thin pick if he would play a calypso, or 'some kind of zany rhythmic thing' and heavy picks for ballads. [23]
Hall sometimes used a Boss Chorus pedal and a Digitech whammy pedal.

When asked if he ever tried playing solid-body guitars again, he said "solid bodies are strange to me, I need to feel the
body resonating". [24]

Compositions

Discography

References
1. Yanow, Scott (1930-12-04). "Jim Hall" (https://www.allmusic.com/artist/p6645). AllMusic. Retrieved 2011-11-04.
2. Shadrick, Jason (December 12, 2013). "Remembering Jim Hall (1930-2013)" (http://www.premierguitar.com/article
s/20043-remembering-jim-hall-1930-2013). Premier Guitar.
3. Hall, Devra "Sketches from PROS Folios: Jim Hall". Copyright 1988-2004.
4. "Pat Metheny & Jim Hall - The Great Guitars" (https://www.youtube.com/watch?v=kpXsgiv0Jw0). JazzBluesRock,
accessed via YouTube. Retrieved 26 June 2016.
5. Pete Watrous (June 1990). "How Music Has Followed Jim Hall Through Life" (https://www.nytimes.com/1990/06/2
6/arts/jazz-festival-how-music-has-followed-jim-hall-through-life.html?ref=jimhall). The New York Times. Retrieved
29 September 2014.
6. Ferguson, Jim; Kernfeld, Barry (19 April 2012). Kernfeld, Barry, ed. The New Grove Dictionary of Jazz (http://www.
oxfordmusiconline.com/subscriber/article/grove/music/J184700) (Second ed.). Grove Music Online.
7. Grove Music Online
8. https://jazztimes.com/news/bill-frisell-honorary-degree-film/
9. "Chevalier dans l'ordre des Arts et des Lettres" (http://www.jimhalljazz.com/chevalier-dans-lordre-des-arts-et-des-l
ettres).
10. DeLuke, R J (2009-03-16). "Jim Hall: The Elegant Guitarist" (http://www.allaboutjazz.com/php/article.php?id=3215
5). All About Jazz. Retrieved 2010-09-12.

https://en.wikipedia.org/wiki/Jim_Hall_(musician) 4/5
1/24/2018 Jim Hall (musician) - Wikipedia

11. "Jim Hall" (http://www.jimhallmusic.com). Jimhallmusic.com. Retrieved 29 September 2014.

12. Gans, Charles J. (December 10, 2013). "Jazz guitarist master Jim Hall dies at 83" (https://web.archive.org/web/20
131226043559/http://www.wboc.com/story/24185674/jazz-guitarist-master-jim-hall-dies-at-83). WBOC-TV.
Associated Press. Archived from the original (http://www.wboc.com/story/24185674/jazz-guitarist-master-jim-hall-d
ies-at-83) on December 26, 2013. Retrieved December 10, 2013.
13. "Jazz Articles: Guitar Great Jim Hall Dies at 83 - By Jeff Tamarkin — Jazz Articles" (https://web.archive.org/web/20
160423133952/https://jazztimes.com/sections/news/articles/113968-guitar-great-jim-hall-dies-at-83).
Jazztimes.com. Archived from the original (http://jazztimes.com/sections/news/articles/113968-guitar-great-jim-hall
-dies-at-83) on 23 April 2016. Retrieved 29 September 2014.
14. "Jim Hall: Biography, Style, Licks and Transcriptions" (http://www.jazzguitarlessons.net/jim-hall.html).
JazzGuitarLessons.net. Retrieved 2017-05-05.
15. Pete Watrous (September 1995). "A Guitarist Who Can Build Jazz on Silence" (https://www.nytimes.com/1995/09/
26/arts/a-guitarist-who-can-build-jazz-on-silence.html). The New York Times. Retrieved 29 September 2014.
16. Bill Milkowski. "New Notes from a Guitar Master". Downbeat Vol. 53 issue 10 (October, 1986): 23-25.
17. Jim Hall and Pat Metheny
18. The New York Times
19. John Wilson (July 1991). "Pop in Review" (https://www.nytimes.com/1991/07/25/arts/pop-in-review-336291.html?r
ef=jimhall). The New York Times. Retrieved 29 September 2014.
20. Jim Hall and Pat Metheny. Jim Hall and Pat Metheny. A&M Records. 1999.
21. "Guitar Equipment | Jim Hall Guitars, Amps & Effects" (http://www.jazzguitar.be/guitar_equipment_jim_hall.html).
www.jazzguitar.be. Retrieved 2015-11-18.
22. "Jim Hall's Gear – Modern Guitarist" (http://www.modernguitarist.com/equipment/jimhall/).
www.modernguitarist.com. Retrieved 2015-11-18.
23. "Jim Hall" (http://www.guitarplayer.com/artists/1013/jim-hall/16942).
24. "Jim Hall & Pat Metheny – Jim Hall & Pat Metheny (1998, Remastered 2011)" (https://www.taisawards.com/inpag
e/jim-hall-pat-metheny-422/).

External links
Jim Hall's official website (http://www.jimhallmusic.com)
Jim Hall's fan website (http://www.jimhalljazz.com)
Jim Hall (http://www.imdb.com/name/nm0355726/) on IMDb
Jim Hall (https://www.allmusic.com/artist/p6645) at AllMusic
Jim Hall (https://www.discogs.com/artist/257025-Jim-Hall) discography at Discogs
"In Conversation with Jim Hall" (https://web.archive.org/web/20080924120838/http://www.jazz.com/features-and-in
terviews/2008/9/12/in-conversation-with-jim-hall) by Patrick Spurling (Jazz.com (http://www.jazz.com))
Other articles in The New York Times:

Watrous, Pete (March 12, 1988). "Review/Jazz; Jim Hall, Intense Guitar" (https://www.nytimes.com/1988/03/1
2/arts/review-jazz-jim-hall-intense-guitarist.html). The New York Times.

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