Jim Hall (musician) - Musical Style

Musical Style

“With each new concert tour and recording Jim reveals yet another facet of himself."

Jim Hall’s musical style develops with every new album and collaboration he engages in. His approach to music is very 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.

Hall’s tone has been described as mellow, warm, gentle, subtle, rich, and lightly amplified. Like the guitarist Charlie Christian, his solo work is influenced by the horns, specifically saxophonist Sonny Rollins and his virtuosic and adventurous licks. Unlike other musicians, Hall’s work is not necessarily recognized by a signature riff but rather his expressive capabilities. As an expert arranger, his solos are aptly constructed, taking into account harmonic, melodic and rhythmic elements. They are composed with both feeling and technique with clarity as the ultimate goal.

For Hall, experimentation is key. He is 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. Similar to Duke Ellington, 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.

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 listening skills allow him to aid other musicians harmonically when needed 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."

Exemplifying Hall's musical technique is his collaboration with guitarist Pat Metheny (1990). The duo met thirty years previous, when guitarist Attila Zoller brought 15-year-old Metheny to The Guitar, a club where Hall and bassist Ron Carter had a standing position. In response to this record, Hall explains

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.

Because of his desire for spontaneity and emphasis on communication with other musicians and others, Hall prefers live venues. However, Metheny is the opposite, so the album contains pieces recorded live and in the studio. Reflecting Hall's broad musical tendencies, this album contains originals by him, Metheny, mutual friends Steve Swallow and Atilla Zoller, and two standards. Hall and Metheny's expertise and virtuosity allowed for much improvisation, usually spurred by mood, which lead to different compositions,"at times acoustic, soft, reverential, melodic, cacophonous, outlandish, humorous, and upbeat."

Metheny praises Jim, commenting,

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.

In sum, Hall's musical style is both artistic and expressive. Other players are equally part of his creative process as he experiments with new and old sounds, pushing the boundaries of the instrument.