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things, is, is quite different because Pat likes to do something in a studio and then take it home and mess with it and fix it, take all the mistakes out of it and all....So Pat wanted to blah, blah, blah, and do this and that so… And I was really against that because it just takes all the spontaneity out, I think. He likes to take things home and then fix them up—recording, I mean. So finally I sent him this, this fax. I said, I said, “Pat, what you’re describing sounds more like embalming than recording to me.” (laughs) So finally, we got together for lunch and we talked, and we agreed that we’d do part of it in the studio and then part of it down at the
Manchester Craftsmen’s Guild. But listening to the CD, I know that he tampered with it, ‘cause it’s just all the…there’s just no, nothing to catch your attention. Nice playing but it’s just, it’s just all slick and all the life is taken out of it, you know. And I even insisted on doing some “free pieces,” ‘cause I figured that would loosen everything up. But even those, you can, you can hear they’re, they’re iced over. (laughs) I kind of resent that, in a way. That’s why I didn’t even have one of those records. I got about a zillion of ‘em and I left them out in the country or something.
796:"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."
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858:"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 musical situations that just weren't thought of as a possibility prior to his emergence as a player. He reinvented what the guitar could be as a jazz instrument... Jim transcends the instrument... the meaning behind the notes is what speaks to people." - Pat Metheny
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Hall married Jane Hall (née Jane
Herbert) on September 9, 1965. Jane, a psychoanalyst by profession, was also an occasional composer and singer. Hall recorded several of her compositions, including "O Gato", "It's Nice to Be with You", "Where Would I Be?", "Goodbye, My Love", "The Answer Is Yes", and
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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
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I had lot of difficulty with Pat. We did a record together.....I think it could have been more unusual. (laughs) Pat is… I admire him in a lot of ways. He’s very inventive and he’s got a lot of technique and everything. But we… I kind of insisted… Well, our whole approach, I assume to life and other
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Hall 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
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Reflecting Hall's broad musical tendencies, the album contains originals by Hall, Metheny, mutual friends Steve
Swallow and Zoller, and two standards. Hall and Metheny's expertise and virtuosity allowed for much improvisation, usually spurred by mood, which led to different compositions,"at times
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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,
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Silence is as much a part of Hall's music as is sound. Intimate settings, such as smaller clubs, showcase this strength. Hall "carefully 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
975:, one of which was all-acoustic, and the other of which had an electric pickup, and Hall began to use these instruments professionally. Also in the 1970s, Hall started using solid-state amplifiers, including those made by Polytone, Walter Woods, and Roland. Hall started working with luthier
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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."
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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."
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during this time, appearing on five albums with Evans from 1962 to 1966. Hall also worked as a studio guitarist for commercial recording dates during the early and mid-1960s. As a freelance studio musician, he appeared on albums by singers
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I'm not sure I have what's called a style, but I have an approach to 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 jazz music or music in general.
260:, during his childhood. Hall's mother played the piano, his grandfather's violin, and his uncle's guitar. He began playing the guitar at the age of 10, when his mother gave him an instrument as a Christmas present. At 13 he heard
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For many years Jim Hall was named “Best Jazz
Guitarist” by both the Critics and the Readers in annual Downbeat Magazine Polls. His lengthy career has garnered him many laudatory endorsements from around the world, including:
827:, 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.
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record, which he calls his "spiritual awakening". As a teenager in
Cleveland, he performed professionally, and also took up the double bass. Hall's major influences since childhood were tenor saxophonists
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in 1982, initially using
Sadowsky for repair and maintenance work. Eventually the two collaborated on Sadowsky's Jim Hall Model guitar, a commercially available guitar based on Hall's original D'Aquisto.
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Exemplifying how Hall's musical style and approach could clash with more pre-planned approaches is his collaboration with guitarist Pat
Metheny (1999). The duo had met 30 years previously, when guitarist
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brought 15-year-old
Metheny to The Guitar, a club where Hall and bassist Carter had a standing position. Hall described the collaboration in a 2011 interview recorded for the Smithsonian Institution:
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and contributions to musical expression. We salute your ongoing experimentation which has been known countless times to bring people around the world together." In
November 2008 the double album
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albums. His original composition, "Quartet Plus Four", a piece for jazz quartet and string quartet featuring the Zapolski string quartet, was debuted in Denmark, where he was awarded the
679:. After this, he played a number of duo concerts with Metheny. In 1994, Hall recorded a solo guitar album. Furthermore, in 1996, he returned to Europe to lead a quartet with saxophonist
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acoustic, soft, reverential, melodic, cacophonous, outlandish, humorous, and upbeat." Apart from Metheny, he influenced other then contemporary guitarists such as Bill Frisell,
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Hall was an arranger and composer as much as a performer, known for developing motifs and using blues inflections. These characteristics are showcased in his 1975 album
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Chevalier dans l’Ordre des Arts et des Lettres (Knight in the Order of Arts and Letters) granted by the French Minister of Culture and Communication (January 2006).
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During the late 1950s and early 1960s, Hall developed a preference for "challenging arrangements and interactive improvisation in duos and trios." He taught at the
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In the late 1960s, Hall decided to leave his TV job and pursue a solo career more actively. He recorded and performed in Germany and Japan, appearing on the
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Hall was a part of several groups that had unusual instrumentation in the context of jazz. In his first high-profile professional group, led by
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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".
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Hall always used an extremely simple approach regarding his instruments. In the very beginning of his tenure with Chico Hamilton, he used a
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as well as interviews with other musicians about his lasting influence. In 2010, Hall and Baron recorded a duo album entitled
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893:(1998), an award of international, cultural significance sometimes referred to as The Oscar or The Nobel Prize of Jazz.
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melodic and rhythmic elements. They are composed with both feeling and technique with clarity as the ultimate goal.
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in 1957, though the album made only a modest impact, and Hall did not get to record a follow-up until 1969.
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Hall continued to tour all over the world during these years as well. His band members included drummers
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This article is about the jazz guitarist Jim Hall. For the other guitarist, a retired professor from the
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Hall performed in a project titled “The Live Project”, where he shared his music making process through
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Three, and he worked on and off with Giuffre from 1957 to 1960. Hall recorded his first solo album for
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Hall died in his sleep of heart failure in his Manhattan, New York apartment on December 10, 2013.
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His last orchestral composition was a concerto for guitar and orchestra, commissioned by
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Hall moved to New York City around 1960 and began performing with band leaders including
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movement, and Hall's playing began to gain attention from critics and fellow musicians.
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award in January 2004. Hall was one of the first artists to join the fan-funded label
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played in Hall’s groups as well. Some of these musicians are featured in Hall's video
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791:"With each new concert tour and recording Jim reveals yet another facet of himself."
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and Terry Clarke. During the late 1970s and early 1980s, Hall recorded with pianist
1554:(Interview). Interviewed by Devra Hall Levy. New York City: Smithsonian Institution
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in New York City and at a number of jazz festivals in the US as well as in Europe.
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1718:"Jim Hall & Pat Metheny – Jim Hall & Pat Metheny (1998; remastered 2011)"
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in Massachusetts in the summer of 1959. Hall toured during the late 1950s with
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1270:"Chevalier dans l'ordre des Arts et des Lettres | Jim Hall: 1930–2013"
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Hall recorded steadily from the 1970s until 2010, releasing albums on the
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for The First World Guitar Congress, which debuted in June 2004 with the
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Ferguson, Jim; Kernfeld, Barry (April 19, 2012). Kernfeld, Barry (ed.).
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had produced several records with Hall when running his previous label,
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Hall, Devra "Sketches from PROS Folios: Jim Hall". Copyright 1988-2004.
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guitar. This guitar, which Hall used for many years with its original
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Hall sometimes used a Boss Chorus pedal and a Digitech whammy pedal.
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in 1965). Starting in 1963, Hall played in the studio orchestra at
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Hall left Hamilton's group to join another cool jazz ensemble, the
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Jim's picks Heavy (white), Medium (tortoise shell), Light (black)
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1226:"Bill Frisell Receives Honorary Degree and Is Subject of Film"
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In 1995, Hall was awarded an Honorary Doctorate of Music from
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National Endowment for the Arts Jazz Master Fellowship (2004)
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Jim Hall at Keystone Korner, San Francisco, October 29, 1980.
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285:. While he copied out solos by Charlie Christian, and later
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1649:"Guitar Equipment | Jim Hall Guitars, Amps & Effects"
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227:(December 4, 1930 – December 10, 2013) was an American
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1401:"Jim Hall: Biography, Style, Licks and Transcriptions"
2011:
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667:in 1986 and performed at the Village Vanguard with
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1457:Bill Milkowski. "New Notes from a Guitar Master".
1185:https://www.jazzdisco.org/bill-evans/discography/
765:. In 2012 at the age of 81, Hall had gigs at the
1094:"Pat Metheny & Jim Hall - The Great Guitars"
964:pickup in his guitar. In the mid-to-late 1970s,
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339:and worked around this time in Los Angeles with
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659:from 1993. Hall appeared as a guest soloist in
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370:(1962–64). He formed a studio partnership with
1125:"How Music Has Followed Jim Hall Through Life"
351:. In 1960, Hall also toured and recorded with
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16:American jazz guitarist, composer (1930–2013)
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563:. Moving to CTI Records, Hall made the 1975
21:University of South Carolina School of Music
1432:"A Guitarist Who Can Build Jazz on Silence"
1340:"Jazz guitarist master Jim Hall dies at 83"
463:session with Hammond organist Paul Bryant.
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1461:, Vol. 53, issue 10 (October 1986): 23–25.
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547:in 1969. In 1971, he began recording for
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313:'s quintet, a group associated with the
1796:"Review/Jazz; Jim Hall, Intense Guitar"
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2080:Panorama: Live at the Village Vanguard
1338:Gans, Charles J. (December 10, 2013).
1157:(Second ed.). Grove Music Online.
1104:from the original on December 21, 2021
27:. For the New Mexico politician, see
7:
2180:20th-century American male musicians
2175:Jazz musicians from New York (state)
1674:"Jim Hall's Gear – Modern Guitarist"
466:In 1962, he led a trio with pianist
2135:Cleveland Institute of Music alumni
984:thing" and heavy picks for ballads.
309:. In 1955 and 1956, Hall played in
1549:"Jim Hall: NEA Jazz Master (2004)"
1371:"Guitar Great Jim Hall Dies at 83"
1346:. Associated Press. Archived from
920:– France) 2006 – Free Association
14:
1289:"Jim Hall: The Elegant Guitarist"
1037:Yanow, Scott (December 4, 1930).
819:records with classical violinist
2170:20th-century American guitarists
2150:Musicians from Buffalo, New York
1794:Watrous, Pete (March 12, 1988).
1244:"Jazz guitar icon Jim Hall dies"
1154:The New Grove Dictionary of Jazz
256:, Hall moved with his family to
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1775:"In Conversation with Jim Hall"
1430:Pete Watrous (September 1995).
515:Berlin Festival Guitar Workshop
1287:DeLuke, R J (March 16, 2009).
926:Downbeat Hall of Fame (2014) (
908:– France) 2005 – Magic Meeting
631:and Andy Watson, bass players
345:Ben Webster at the Renaissance
1:
971:supplied Hall with a pair of
657:Master Sessions with Jim Hall
2185:American male jazz musicians
291:Cleveland Institute of Music
141:Musician, composer, arranger
1741:Jim Hall's official website
719:NEA Jazz Masters Fellowship
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2190:Dukes of Dixieland members
1993:Jim Hall & Pat Metheny
1547:Hall, Jim (May 12, 2011).
1533:Jim Hall and Pat Metheny.
1183:"Bill Evans Discography,"
1123:Pete Watrous (June 1990).
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2145:Milestone Records artists
1506:John Wilson (July 1991).
1479:Jim Hall and Pat Metheny.
647:. At times, saxophonists
297:Early professional career
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2195:Orchestra U.S.A. members
2165:American male guitarists
2130:American jazz guitarists
1909:It's Nice to Be With You
1537:. A&M Records. 1999.
1535:Jim Hall and Pat Metheny
1187:, Accessed 27 June 2024.
750:(drums) and produced by
688:Berklee College of Music
544:It's Nice to Be With You
337:Jazz at the Philharmonic
248:Early life and education
2125:A&M Records artists
2059:(with Ron Carter, 1984)
2051:(with Ron Carter, 1982)
1904:(with Bill Evans, 1966)
301:In 1956, Hall moved to
2155:Telarc Records artists
2088:Charlie Haden/Jim Hall
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778:"Something Tells Me".
592:, classical violinist
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527:Guitar Genius In Japan
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58:Background information
2160:Verve Records artists
2040:Jim Hall/Red Mitchell
2001:Jim Hall & Basses
1777:by Patrick Spurling (
1405:JazzGuitarLessons.net
1197:Tognazzini, Anthony.
1008:Jim Hall compositions
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734:was released through
600:Later life and career
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480:The Merv Griffin Show
474:(who was replaced by
366:(1961–62, 1964), and
2140:Cool jazz guitarists
2048:Live at Village West
1350:on December 26, 2013
1019:Jim Hall discography
717:. He was awarded an
529:LP (1970) alongside
517:LP (1968) alongside
333:Lenox School of Jazz
2205:ArtistShare artists
2200:CTI Records artists
1865:The Street Swingers
1678:Modernguitarist.com
1624:"DownBeat Archives"
1250:. December 11, 2013
639:, and keyboardists
551:, whose co-founder
2069:Michel Petrucciani
1801:The New York Times
1787:The New York Times
1784:Other articles in
1513:The New York Times
1494:The New York Times
1437:The New York Times
1411:on August 31, 2017
1174:Grove Music Online
1130:The New York Times
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715:Baltimore Symphony
661:Michel Petrucciani
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225:James Stanley Hall
68:James Stanley Hall
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1917:Where Would I Be?
1893:Two Jims and Zoot
1873:Jazz Abstractions
1381:on April 23, 2016
880:Awards and honors
707:Towson University
557:Riverside Records
549:Milestone Records
262:Charlie Christian
254:Buffalo, New York
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106:December 10, 2013
86:Buffalo, New York
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1973:Jim Hall's Three
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1508:"Pop in Review"
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973:archtop guitars
969:Jimmy D'Aquisto
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912:Choc de l'année
900:Choc de l'année
882:
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813:Jimmy Giuffre 3
794:
787:
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620:record labels.
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590:George Shearing
482:, working with
353:Ella Fitzgerald
343:, appearing on
299:
271:Coleman Hawkins
258:Cleveland, Ohio
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2032:Jim Hall Live!
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2020:Alone Together
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809:Chico Hamilton
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696:By Arrangement
645:Larry Goldings
601:
598:
594:Itzhak Perlman
582:Jim Hall Live!
553:Orrin Keepnews
488:Bob Brookmeyer
468:Tommy Flanagan
447:sessions with
433:Bob Brookmeyer
429:Gerry Mulligan
423:albums led by
409:Gary McFarland
381:Johnny Hartman
377:Big Joe Turner
311:Chico Hamilton
298:
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283:Lucky Thompson
279:Paul Gonsalves
249:
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229:jazz guitarist
221:Musical artist
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29:Jimmie C. Hall
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840:
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823:. Similar to
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785:Musical style
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760:
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727:Magic Meeting
725:and released
724:
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700:Jazzpar Prize
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663:'s trio with
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536:
535:Attila Zoller
532:
531:Kenny Burrell
528:
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524:
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519:Barney Kessel
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1683:November 18,
1681:. Retrieved
1677:
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1658:November 18,
1656:. Retrieved
1652:
1643:
1631:. Retrieved
1628:Downbeat.com
1627:
1618:
1606:. Retrieved
1602:
1593:
1581:. Retrieved
1577:
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1542:
1534:
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1517:. Retrieved
1511:
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1441:. Retrieved
1435:
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1413:. Retrieved
1409:the original
1404:
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1383:. Retrieved
1379:the original
1374:
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1354:December 10,
1352:. Retrieved
1348:the original
1333:
1321:. Retrieved
1317:
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1296:. Retrieved
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1202:
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1128:
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1002:Compositions
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740:Bill Frisell
731:
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669:Bill Frisell
656:
649:Chris Potter
633:Scott Colley
625:Bill Stewart
622:
614:MusicMasters
603:
586:Don Thompson
581:
579:
571:Paul Desmond
564:
542:
526:
523:Baden Powell
514:
512:
492:Benny Powell
476:Red Mitchell
470:and bassist
465:
453:Nat Adderley
437:Paul Desmond
421:third stream
397:Quincy Jones
385:June Christy
357:
349:Paul Desmond
330:
326:Pacific Jazz
319:
300:
275:Lester Young
251:
224:
223:
211:.jimhalljazz
184:Pacific Jazz
155:Years active
108:(2013-12-10)
33:
2120:2013 deaths
2115:1930 births
2012:Live albums
1986:Tom Harrell
1981:These Rooms
1966:Hubert Laws
1857:Jazz Guitar
1210:January 11,
1199:"Concierto"
1050:November 4,
1013:Discography
759:ArtistShare
736:ArtistShare
732:Hemispheres
723:ArtistShare
673:Pat Metheny
449:Sonny Stitt
393:Freda Payne
362:(1960–61),
355:in Europe.
341:Ben Webster
303:Los Angeles
180:ArtistShare
2109:Categories
2025:Ron Carter
1962:Chet Baker
1933:Commitment
1886:Bill Evans
1700:"Jim Hall"
1599:"Jim Hall"
1574:"Jim Hall"
1314:"Jim Hall"
1039:"Jim Hall"
1024:References
748:Joey Baron
681:Joe Lovano
629:Joey Baron
575:Chet Baker
561:Ron Carter
500:Jake Hanna
484:Bill Berry
472:Ron Carter
425:John Lewis
417:bossa nova
389:Big Miller
372:Bill Evans
368:Art Farmer
360:Lee Konitz
264:play on a
146:Instrument
79:1930-12-04
64:Birth name
2056:Telephone
1941:Big Blues
1925:Concierto
962:humbucker
937:Equipment
767:Blue Note
653:Greg Osby
566:Concierto
496:Art Davis
461:soul jazz
413:cool jazz
315:cool jazz
243:Biography
159:1955–2013
128:cool jazz
1842:Jim Hall
1779:Jazz.com
1766:Jim Hall
1761:AllMusic
1757:Jim Hall
1748:Jim Hall
1633:July 27,
1608:July 27,
1583:July 27,
1459:Downbeat
1254:July 23,
1204:AllMusic
1108:June 26,
1102:Archived
1044:AllMusic
929:Downbeat
746:(bass),
711:Maryland
692:Textures
445:hard bop
252:Born in
237:arranger
233:composer
132:post-bop
40:Jim Hall
2095:, 2014)
2075:, 1986)
2027:, 1972)
1988:, 1988)
1888:, 1962)
1770:Discogs
1558:May 24,
1344:WBOC-TV
1248:Express
1098:YouTube
966:luthier
960:-brand
932:) 2014
917:Jazzman
914:Award (
905:Jazzman
902:Award (
889:Danish
610:Concord
606:Horizon
584:, with
194:Website
172:Concord
2091:(with
2083:(1997)
2067:(with
2043:(1978)
2035:(1975)
2023:(with
2004:(2001)
1996:(1999)
1984:(with
1976:(1986)
1952:(1981)
1944:(1978)
1936:(1976)
1928:(1975)
1920:(1971)
1912:(1969)
1896:(1964)
1884:(with
1876:(1960)
1868:(1957)
1860:(1957)
1415:May 5,
954:pickup
872:, and
618:Telarc
616:, and
455:, and
435:, and
419:, and
407:, and
391:, and
281:, and
176:Telarc
164:Labels
149:Guitar
120:Genres
115:, U.S.
93:Origin
88:, U.S.
23:, see
1552:(PDF)
958:Guild
742:with
441:bebop
2071:and
1964:and
1752:IMDb
1685:2015
1660:2015
1635:2021
1610:2021
1585:2021
1560:2023
1521:2014
1445:2014
1417:2017
1387:2014
1356:2013
1325:2014
1300:2010
1256:2023
1212:2020
1138:2014
1110:2016
1052:2011
951:P-90
694:and
675:and
651:and
643:and
635:and
573:and
533:and
521:and
498:and
443:and
235:and
213:.com
203:.com
124:Jazz
103:Died
73:Born
1759:at
1750:at
709:in
539:MPS
209:www
199:www
168:CTI
2111::
1798:.
1790::
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77:(
31:.
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