VOLUME 1 - Jazz Basics is designed for the newcomer to jazz guitar. It covers all of the fundamentals and basic concepts essential for jazz improvisation, and features performances with Satoshi Inoue on guitar. Songs include Big Blues and Whistle Stop. VOLUME 2 - second video is designed for intermediate to advanced guitarists. It introduces varous ideas and methods for practicing improvisation and self-expression, and features performances with Satshi Inoue on guitar. Songs include: Waltz New, Miro, and Seseragi. In VOLUME 3, the Jim Hall Quartet plays original tunes in varous styles, including swing, bossa nova, blues and calypso. Jim analyzes each composition and explains the role of the guitar in different ensemble formats. Features performances with Scott Colley (bass), Andy Watson (drums) and Rasmus Lee (tenor sax). Songs include: Why Not Dance, Joao, Mr. Blues, and Street Dance.
A magnificent follow up to the Undercurrent album from the team of Bill Evans and Jim Hall – and like that one, a set that features amazing interplay between piano and guitar! Hall's guitar has never sounded better – and in the airy company of Evans, it takes on many of the same qualities as on his famous late 50s recordings in the Jimmy Guiffre trio. Bill's work is great too – almost more tonally focused than before, with perfectly chosen notes that resonate beautifully in this very spare space. Titles include "Jazz Samba", "All Across The City", "Angel Face", and "Turn Out The Stars".
This 1988 studio date is one of the overlooked treasures in the considerable discography of Jim Hall, possibly due to the label's low-key promotion and less than eye-catching cover art. It is easy to understand why artists like Art Farmer and Paul Desmond omitted a pianist after hearing a release such as this one, because it would only clutter Hall's soft yet complete accompaniment. Joined by Tom Harrell (heard mostly on flügelhorn), bassist Steve LaSpina, and drummer Joey Baron, this CD is a delight from start to finish. The interaction of the musicians in the opener, a lively, waltzing "With a Song in My Heart," makes it sound like they have been a working unit for years.
This fine club date features guitarist Jim Hall in Toronto with two of the top Canadian jazzmen, bassist Don Thompson and drummer Terry Clarke. The interplay between the three players is sometimes wondrous, and although the five selections are all familiar standards (such as "'Round Midnight," "Scrapple From the Apple" and "The Way You Look Tonight"), Hall makes the music sound fresh and full of subtleties. This enjoyable LP has yet to be reissued on CD.
As the Paul Desmond/Jim Hall quartet's recording activities gradually came to a halt by 1965, RCA Victor assembled the remains of a number of their later sessions into one last album, adding two outtakes, "All Through the Night" and "Rude Old Man," when the album was transferred to CD in 1990. These are, however, anything but leftovers; indeed, they constitute the best Desmond/Hall album since Take Ten, more varied in texture and mood and by and large more inspired in solo content than Bossa Antigua and Glad to Be Unhappy. As a near-ideal example of this collaboration at its intuitive peak, "Polka Dots and Moonbeams" opens with Hall paraphrasing the tune, and Desmond comes in on the bridge with a perfectly timed rejoinder that sounds as if he's asking a question.
This [reissue] restores to circulation a strong Atlantic date from Art Farmer's immediate post-Jazztet period and features Farmer's quartet playing standards with swinging subtlety. Interaction, from 1963, is a vehicle for the intertwining improvisations of guitarist Jim Hall and Farmer, on flügelhorn, who weaves through and around Hall's sublimely understated lines with disarming ease, elegance, and sensitivity.