Jim Hall - Blues & Jazz

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 83:18
Size: 191,2 MB
Art: Front

(8:35)  1. I Get A Kick Out Of You
(7:09)  2. Bill Not Phil
(2:02)  3. Greensleeves
(6:24)  4. You Go To My Head
(7:24)  5. 2 Degrees East, 3 Degrees West
(5:29)  6. For All We Know
(5:54)  7. Good Friday Blues
(3:29)  8. Reuben, Reuben
(5:41)  9. East Of The Sun
(4:43) 10. I Was Doing All Right
(6:09) 11. Time After Time
(7:23) 12. I Remember You
(6:21) 13. Willow Weep For Me
(6:29) 14. When I Have You

Born in Buffalo, New York, before moving to Cleveland, Ohio, Hall was from a musical family, his mother played the piano, his grandfather violin, and his uncle guitar. He began playing the guitar at age ten when his mother gave him an instrument as a Christmas present. As a teenager in Cleveland, he performed professionally, and also took up the double bass. Hall's major influences since childhood were tenor saxophonists Coleman Hawkins, Lester Young, Paul Gonsalves, and Lucky Thompson. While he copied out solos by guitarist Charlie Christian (and later Barney Kessel), it was horn players from which he took a lead. In 1955, Hall attended the Cleveland Institute of Music where he studied piano and bass, in addition to theory. About a year later, he moved to Los Angeles, where cool jazz was prominent at the time. He focused on classical guitar, and, from 1955 to 1956, played in Chico Hamilton's quintet. It was at this time that he began to gain attention. In the Jimmy Giuffre Three, Hall developed some of his own personal musical preferences, including "challenging arrangements and interactive improvisation in duos and trios." 

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. 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. Hall had incredible improvisational ability and creativity. He was an arranger as much as an artist, 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. 

More Bio ~ http://en.wikipedia.org/wiki/Jim_Hall_%28musician%29

Blues & Jazz

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