Jim Hall, a jazz guitarist who for more than 50 years was admired by critics, aficionados and especially his fellow musicians for his impeccable technique and the warmth and subtlety of his playing, died on Tuesday at his home in Greenwich Village. He was 83.Pat Metheny has said:
The cause was heart failure, his wife, Jane, said.
The list of important musicians with whom Mr. Hall worked was enough to earn him a place in jazz history. It includes the pianist Bill Evans, with whom he recorded two acclaimed duet albums, and the singer Ella Fitzgerald, as well as the saxophonists Sonny Rollins and Paul Desmond, the drummer Chico Hamilton and the bassist Ron Carter, his frequent partner in a duo.
But with his distinctive touch, his inviting sound and his finely developed sense of melody, Mr. Hall made it clear early in his career that he was an important musician in his own right.
He was an influential one as well. Pat Metheny, Bill Frisell and John Scofield are among the numerous younger guitarists who acknowledge him as an inspiration. Mr. Hall, who never stopped being open to new ideas and new challenges, worked at various times with all three.
In his later years Mr. Hall composed many pieces for large ensembles, drawing on both his jazz roots and his classical training. Works like “Quartet Plus Four” for jazz quartet and string quartet, and “Peace Movement,” a concerto for guitar and orchestra, were performed internationally and widely praised.
If the critics tended to use the same words over and over to describe Mr. Hall’s playing — graceful, understated, fluent — that was as much a tribute to his consistency as to his talent. As Nate Chinen wrote recently in The New York Times, Mr. Hall’s style, “with the austere grace of a Shaker chair,” has sounded “effortlessly modern at almost every juncture” of his long career.
Within a day or two of expressing any interest in the two words "jazz guitar," you will come across Jim Hall. He is in many ways the father of modern jazz guitar. To me, he’s the guy who invented a conception that has allowed the 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.That quote is from the liner notes to the album called Jim Hall & Pat Metheny (downloadable on Hall's website). Here's Hall and Metheny playing "All the Things You Are":
It’s not about the guitar, it’s about music which is the thing you would say about any great musician. Jim transcends the instrument. The notes that he plays, if they were played by any other player on any other instrument, would have the same kind of value and the same kind of impact and effect. And that is, to me, the quality that separates someone who’s an important musician from somebody who’s just a really good player on their instrument. The meaning behind the notes is what speaks to people. It’s not necessarily the sound or the technique of it, it’s more the spirit of it and that’s the thing that Jim is about for me.
Here's Jim Hall and Sonny Rollins playing "The Bridge" (incredibly manic):
Here's an early (1959) clip of Jim Hall, in the Jimmy Giuffre Trio, playing "A Little Melody" (remarkably understated):
Here he is accompanying Ella Fitzgerald on "Summertime" (Hall's guitar playing gets interesting after 1:20):
Jim Hall and Michel Petrucciani play "My Funny Valentine" (Petrucciani was a pianist as great as his stature was small — the result of a congenital condition):
But to me, the recording that best sums up Jim Hall's enigmatic expressiveness and daringly original approach to the guitar is "Angel Eyes," from his 1975 album Jim Hall Live (just Jim Hall, Don Thompson on bass, and Terry Clarke on drums):
Here's an hour-long documentary about him from 1999, called "Jim Hall: A Life in Progress":
Guitarists might want to watch this hour-long "master class."
NPR has collected some quotes from other musicians talking about Hall. Sonny Rollins: "He was able to be a dominant player, a very forceful player but he was also sensitive. You know, that was remarkable. So he was ideal as far as I was concerned for the band that we had together."
John Scofield: "It was just [a] very elegant, elegant thing that he did that affected all of, just about all of the guitar players after him I think."
Julian Lage, a young, excellent guitarist who played with Jim Hall in concert earlier this year, said: "For someone who has had such an impact on just the aesthetic of improvised music and guitar, as a total guitar hero, there was such a degree of humility that — it wasn't that he downplayed what he did — he had this sense that it was part of something way bigger."
A guitarist named Victor Magnani has written a whole essay called "Everything I Need to Know I Learned From Jim Hall." Read the whole thing for the many lessons (including "trust," "respect," "take risks," "don't waste words/notes/time," "keep growing," and "keep good company"). Magnani sums up how he's been affected by Hall:
Of all the great jazz artists, no one has had a more profound impact on me than guitarist Jim Hall. As a guitarist myself there are times when I look to his music to teach me purely technical things - how does he play through certain chord changes, how does he voice his chords, how does he produce that miraculous sound of his? But if this were all his art had to offer, it would be fairly shallow. His work speaks as much to the human condition as any artist past or present, and if one looks and listens attentively, there are great rewards to be found there.Indeed.