- published: 15 May 2014
- views: 214837
Jim Hall may refer to:
In architecture, a hall is a relatively large space enclosed by a roof and walls. In the Iron Age, a mead hall was such a simple building and was the residence of a lord and his retainers. Later, rooms were partitioned from it, and the space next to the front door became the entrance hall. Today, the (entrance) hall of a house is the space next to the front door or vestibule leading to the rooms directly and/or indirectly. Where the hall inside the front door of a house is elongated, it may be called a passage, corridor (from Spanish corredor used in El Escorial and 100 years later in Castle Howard) or hallway.
The term hall is often used to designate a British or Irish country house such as a hall house, or specifically a Wealden hall house, and manor houses.
In later medieval Europe, the main room of a castle or manor house was the great hall. In a medieval building, the hall was where the fire was kept. With time, its functions as dormitory, kitchen, parlour and so on were divided off to separate rooms or, in the case of the kitchen, a separate building.
Charles Edward "Charlie" Haden (August 6, 1937 – July 11, 2014) was an American jazz double bass player, bandleader, composer and educator known for his long association with saxophonist Ornette Coleman, pianist Keith Jarrett, his Liberation Music Orchestra, with arrangements by pianist Carla Bley, and his band formed in the 1980s, Quartet West.
Haden was born in Shenandoah, Iowa. His family was exceptionally musical and performed on the radio as the Haden Family, playing country music and American folk songs. Haden made his professional debut as a singer on the Haden Family's radio show when he was just two years old. He continued singing with his family until he was 15 when he contracted a bulbar form of polio affecting his throat and facial muscles. At age 14, Haden had become interested in jazz after hearing Charlie Parker and Stan Kenton in concert. Once he recovered from his bout with polio, Haden began in earnest to concentrate on playing the bass. Haden's interest in the instrument was not sparked by jazz bass alone, but also by the harmonies and chords he heard in compositions by Bach. Haden soon set his sights on moving to Los Angeles to pursue his dream of becoming a jazz musician, and to save money for the trip, took a job as house bassist for ABC-TV's Ozark Jubilee in Springfield, Missouri.
Patrick Bruce "Pat" Metheny (/məˈθiːni/ mə-THEE-nee; born August 12, 1954) is an American jazz guitarist and composer.
He is the leader of the Pat Metheny Group and is also involved in duets, solo works and other side projects. His style incorporates elements of progressive and contemporary jazz, post-bop, Latin jazz and jazz fusion. Metheny has three gold albums and 20 Grammy Awards. He is the brother of jazz flugelhornist and journalist Mike Metheny.
Metheny was born and raised in Lee's Summit, Missouri, a suburb southeast of Kansas City. At age 15, he won a Down Beat scholarship to a one-week jazz camp and was taken under the wing of guitarist Attila Zoller. Zoller also invited the young Metheny to New York City to see the likes of Jim Hall and Ron Carter. Following his graduation from Lee's Summit High School, Metheny briefly attended the University of Miami in Coral Gables, Florida in 1972, where he was quickly offered a teaching position. He then moved to Boston to take a teaching assistantship at the Berklee College of Music with jazz vibraphonist Gary Burton. He first made his name as a teenage prodigy under the wing of Burton. In 1974 he made his recording debut on two sessions for pianist Paul Bley and Carol Goss' Improvising Artists label, along with fretless electric bassist Jaco Pastorius.
The term jazz guitar may refer to either a type of guitar or to the variety of guitar playing styles used in the various genres which are commonly termed "jazz". The jazz-type guitar was born as a result of using electric amplification to increase the volume of conventional acoustic guitars.
Conceived in the early 1930s, the electric guitar became a necessity as jazz musicians sought to amplify their sound to be heard over big bands. Arguably, no other musical instrument had greater influence on how music evolved since the beginning of the twentieth century. Although the earliest guitars used in jazz were acoustic and acoustic guitars are still sometimes used in jazz, most jazz guitarists since the 1940s have performed on an electrically amplified guitar or electric guitar.
Traditionally, jazz electric guitarists use an archtop with a relatively broad hollow sound-box, violin-style f-holes, a "floating bridge", and a magnetic pickup. Solid body guitars, mass-produced since the early 1950s, are also used.
Vinylsoundbox Guitar -- Jim Hall Bass -- Red Mitchell Piano -- Carl Perkins Recorded in LA, Pacific Jazz Records: 1957 Released: 1959 1. 00:00 "Stompin' At The Savoy" 2. 04:03 "Things Ain't What They Used To Be" 3. 09:50 "Thanks For The Memory" 4. 15:03 "Tangerine " 5. 18:57 "Stella By Starlight" 6. 22:08 " 9: 20 Special" 7. 27:49 "Deep In A Dream" 8. 32:21 "Look For The Silver Lining" 9. 35:35 "Seven Come Eleven" 10. 39:28 "Too Close For Comfort" If there are any faults in this description please tell me, because I'm not to sure about this Album and I couldn't find out that much about it in the internet.
"Guitarist Jim Hall is the sort of musician who displays such technical expertise, imaginative conception, and elegance of line and phrase that almost any recording of his is worth hearing. Still, Concierto ranks among the best albums of his superb catalog. For starters, the personnel here is a jazz lover's dream come true. Paul Desmond (saxophone), Chet Baker (trumpet), Roland Hanna (piano), Ron Carter (bass), and Steve Gadd (drums) are on board, creating -- along with Hall -- one of the highest profile lineups ever put to tape. Yet Concierto is not about star power and showboating. As subtle, nuanced, and considered as any of Hall's output, the ensemble playing here demonstrates great group sensitivity and interplay, giving precedence to mood and atmosphere over powerhouse soloing. Condu...
cineryong http://about.me/neryongc This recorded, intimate document was recorded at Jazz Beat during the Montreal Jazz Festival in 1990 and sees its first official release on this Impulse! volume. Bassist Charlie Haden and guitarist Jim Hall played a number of duet concerts together over the years, but this was certainly among the very earliest. Given their respective careers up to this point, both men had nearly perfected the artistry of playing in this particular chamber jazz setting. That all said, it does not prepare the listener for the canny, intimate, yet absolutely electric interplay on offer here. From readings of standards such as "Bemsha Swing," "Body and Soul," and Skylark" through to Ornette Coleman's "Turnaround" and excellent originals by both men -- including Haden's...
1. My Funny Valentine 2. I Hear a Rhapsody 3. Dream Gypsy 4. Romain 5. Skating in Central Park 6. Darn that Dream 7. Stairway to the Stars 8. I'm Getting Sentimental Over You 9. My Funny Valentine [Alternate Take] 10. Romain" [Alternate Take] Bill Evans - Piano Jim Hall - Guitar
Flugelhorn -- Art Farmer Guitar -- Jim Hall Bass -- Steve Swallow Drums -- Walter Perkins
Legends of Jazz with Ramsey Lewis - The Great Guitars (with Pat Metheny & Jim Hall. Season One, 2006 ep. 03) - My Funny Valentine - So May It Secretly Begin - All The Things You Are - Jam The guitar episode features Jim Hall with Pat Metheny, and it's probably the series at its best. The idea, generally, is to pair an older master with a younger figure. (Mr. Hall is 75, Mr. Metheny 51.) The mild-looking Mr. Hall is brave enough to utter actual thoughts: first he claims to harbor no nostalgia for the past, then he casually mentions that Ben Webster taught him how to breathe through the guitar like a saxophonist. And bang! comes the edit. (Jazz is so cerebral, you know. It scares people.) But both musicians' performances are worth watching. There's a sense of digging in, and Mr. Metheny...
NY, 4/8/1972 Jim Hall (g) Ron Carter (b)
1. I've Got You Under My Skin (Cole Porter) 0:00 2. My Man's Gone Now (George & Ira Gershwin) 3:25 3. Turn Out The Stars (Bill Evans) 10:13 4. Angel Face (Joe Zawinul) 17:51 5. Jazz Samba (Claus Ogerman) 24:30 6. All Across The City (Jim Hall) 27:41
Jim Hall Trio - Stella by Starlight (1957) Personnel: Jim Hall (guitar), Carl Perkins (piano), Red Mitchell (bass) from the album 'JAZZ GUITAR' (Pacific Jazz Records)
Jazz guitarist and composer Jim Hall talks about his life in music with Larry Appelbaum, senior music reference specialist in the Library's Music Division. Speaker Biography: Jim [James Stanley] Hall was born in Buffalo, Dec. 4, 1930. After studying composition at the Cleveland Institute of Music, Hall moved to Los Angeles where he studied classical guitar and began working with Chico Hamilton's Quintet and the Jimmy Giuffre Three. A gifted, thoughtful improviser, Hall is best known for his collaborations with Sonny Rollins, Bill Evans and Ron Carter, as well as highly regarded recordings with Ella Fitzgerald, Art Farmer, Paul Desmond and his own trios. Hall is a serious composer of formal music, the author of several books on jazz guitar and the subject of a 1998 documentary film, "Jim...
There have been four guitarists that changed and defined the jazz medium for many generations to come. Django Reinhardt, Charlie Christian, Wes Montgomery, and Jim Hall. These musicians were some of the most important guitar architects that influenced how musicians played, thought, and conceived how the technique of instrument should be taken seriously. At 81 years young, Jim Hall continues to shine a light not only on his artistry, but continues to openly give his musical gift to music fans all over the world. Jim is celebrating this year by touring as well as releasing two new live recordings on the ArtistShare label. "Jim Hall Live at Bourbon Street volumes 3 & 4" was recorded at the famed Bourbon Street club in Toronto, Canada featuring a trio that consisted of Terry Clarke and Don Th...
In this interview done backstage at the Newport Jazz Festival, guitarist Mike Stern talks about two of his longtime friends and associates—Jim Hall and Miles Davis. Stern was performing at the festival with a group dedicated to the music of Miles Davis. Interview by Irene Lee. Video production by Paul Park. Editing by Lee Mergner & Melissa Mergner. Thanks to Carolyn McClair, Melanie Nanez, Danny Melnick and the staff of the Newport Jazz Festival. For more information about Mike Stern, go to www.mikestern.org For more information about the Newport Jazz Festival, go to www.newportjazzfest.org For more information about JazzTimes, go to www.jazztimes.com
In this interview done backstage at the 2016 Newport Jazz Festival, guitarist Nels Cline talks about his relationship with the late Jim Hall. Cline was performing his “Lovers” suite at the festival. Interview by Irene Lee. Video production by Will DiGravio. Editing by Lee Mergner & Melissa Mergner. Thanks to Carolyn McClair, Melanie Nanez, Danny Melnick, Jay Sweet and the staff of the Newport Jazz Festival. For more information about Nels Cline, go to www.nelscline.com For more information about the Newport Jazz Festival, go to www.newportjazzfest.org For more information about JazzTimes, go to www.jazztimes.com
Exclusive interview with Jim Hall and his producer Brian Camelio (the founder of ArtistShare) @ Eddie Lang Jazz Festival in Monteroduni, Isernia (Italy), august 8th 2010. Interviewer: Mariarosa Tartaglione Italian translation by Alessandro Aucelli also available on: http://www.infiltrato.it/intrattenimento/musica/jim-hall-in-viaggio-verso-leddie-lang Intervista esclusiva con Jim Hall ed il suo produttore Brian Camelio all'Eddie Lang Jazz Festival di Monteroduni (Isernia) l'8 agosto 2010. Intervistatrice: Mariarosa Tartaglione Traduzione in italiano: Alessandro Aucelli
Jazz guitar icon Jim Hall sits in with Mort Lindsey and the band but Merv insists on putting him through his paces in a mock audition from 1965. Merv shows off his own chops on the piano in this clip as well. Hall later became a regular member of the band. Merv Griffin had over 5000 guests appear on his show from 1963-1986. Footage from the Merv Griffin Show is available for licensing to all forms of media through Reelin' In The Years Productions. http://www.reelinintheyears.com.
At the 2012 Long Beach Grand Prix, The Road Racing Drivers Club paid tribute to Jim Hall 1963 Monaco footage courtesy of Steve Earle.
This is a rare mini documentary that should be of interest to to those that know the finished work of Jimmy D'Aquisto. There is a convergence of art .. you'll want to rerun. This what handmade guitar making is all about. Sweat, lungs .. and a vision. And building for Jim Hall .. where do you go from there? On to the next one .. There are questions I get about the health issues of spraying lacquer, and did this cause the early deaths of Jimmy and John D'Angelico, both at 59 years of age. What we know is that lung cancer can be caused by anything from shop dust to cigarettes when artists are more interested in their work than anything in thier environment. John D'Angelico suffered with heart disease and eventually had a final attack. It might have been the stress of working extremely hard ...
5 septembre 1969 Jim Hall joue à la guitare : In A Sentimental Mood (Duke Ellington) Émissions TV, Archive tv, Archive television, tv replay live, live music, french tv Images d'archive INA Institut National de l'Audiovisuel http://www.ina.fr Abonnez-vous http://www.youtube.com/subscription_center?add_user=inachansons
Vinylsoundbox Guitar -- Jim Hall Bass -- Red Mitchell Piano -- Carl Perkins Recorded in LA, Pacific Jazz Records: 1957 Released: 1959 1. 00:00 "Stompin' At The Savoy" 2. 04:03 "Things Ain't What They Used To Be" 3. 09:50 "Thanks For The Memory" 4. 15:03 "Tangerine " 5. 18:57 "Stella By Starlight" 6. 22:08 " 9: 20 Special" 7. 27:49 "Deep In A Dream" 8. 32:21 "Look For The Silver Lining" 9. 35:35 "Seven Come Eleven" 10. 39:28 "Too Close For Comfort" If there are any faults in this description please tell me, because I'm not to sure about this Album and I couldn't find out that much about it in the internet.
"Guitarist Jim Hall is the sort of musician who displays such technical expertise, imaginative conception, and elegance of line and phrase that almost any recording of his is worth hearing. Still, Concierto ranks among the best albums of his superb catalog. For starters, the personnel here is a jazz lover's dream come true. Paul Desmond (saxophone), Chet Baker (trumpet), Roland Hanna (piano), Ron Carter (bass), and Steve Gadd (drums) are on board, creating -- along with Hall -- one of the highest profile lineups ever put to tape. Yet Concierto is not about star power and showboating. As subtle, nuanced, and considered as any of Hall's output, the ensemble playing here demonstrates great group sensitivity and interplay, giving precedence to mood and atmosphere over powerhouse soloing. Condu...
cineryong http://about.me/neryongc This recorded, intimate document was recorded at Jazz Beat during the Montreal Jazz Festival in 1990 and sees its first official release on this Impulse! volume. Bassist Charlie Haden and guitarist Jim Hall played a number of duet concerts together over the years, but this was certainly among the very earliest. Given their respective careers up to this point, both men had nearly perfected the artistry of playing in this particular chamber jazz setting. That all said, it does not prepare the listener for the canny, intimate, yet absolutely electric interplay on offer here. From readings of standards such as "Bemsha Swing," "Body and Soul," and Skylark" through to Ornette Coleman's "Turnaround" and excellent originals by both men -- including Haden's...
1. My Funny Valentine 2. I Hear a Rhapsody 3. Dream Gypsy 4. Romain 5. Skating in Central Park 6. Darn that Dream 7. Stairway to the Stars 8. I'm Getting Sentimental Over You 9. My Funny Valentine [Alternate Take] 10. Romain" [Alternate Take] Bill Evans - Piano Jim Hall - Guitar
Flugelhorn -- Art Farmer Guitar -- Jim Hall Bass -- Steve Swallow Drums -- Walter Perkins
Legends of Jazz with Ramsey Lewis - The Great Guitars (with Pat Metheny & Jim Hall. Season One, 2006 ep. 03) - My Funny Valentine - So May It Secretly Begin - All The Things You Are - Jam The guitar episode features Jim Hall with Pat Metheny, and it's probably the series at its best. The idea, generally, is to pair an older master with a younger figure. (Mr. Hall is 75, Mr. Metheny 51.) The mild-looking Mr. Hall is brave enough to utter actual thoughts: first he claims to harbor no nostalgia for the past, then he casually mentions that Ben Webster taught him how to breathe through the guitar like a saxophonist. And bang! comes the edit. (Jazz is so cerebral, you know. It scares people.) But both musicians' performances are worth watching. There's a sense of digging in, and Mr. Metheny...
NY, 4/8/1972 Jim Hall (g) Ron Carter (b)
1. I've Got You Under My Skin (Cole Porter) 0:00 2. My Man's Gone Now (George & Ira Gershwin) 3:25 3. Turn Out The Stars (Bill Evans) 10:13 4. Angel Face (Joe Zawinul) 17:51 5. Jazz Samba (Claus Ogerman) 24:30 6. All Across The City (Jim Hall) 27:41
Jim Hall Trio - Stella by Starlight (1957) Personnel: Jim Hall (guitar), Carl Perkins (piano), Red Mitchell (bass) from the album 'JAZZ GUITAR' (Pacific Jazz Records)
Ay, Check this out,This the Carolina Birddog
AKA Ginboy, Mister Ginboy, Y'all know what it is
I got my man Gotto in the house tonight
I got my homeboy Bryan in the house tonight
We gone represent, Carolina we back baby
Holla atcha boy
We came to fill the gap in the game
The helicopter man took and bought him a plane
Now I guess I'm just gone have to pick me a name
To place cross the face of my new runway
International roller, while y'all still ridin round local
Crusin through in somethin' chopped off at the roof
Tearin up my baby doll new hair-do
Candy painted sittin on some brand new shoes
Aint studying nothin' lesser than them 22's
Actin a fool, by the hip-hop and the music
Doin tricks, hittin switches like (uh uh uh)
All us sittin on dubs, and all our guls cut cuz
Y'all broke, and can't get shit from us
Besides a motherfuckin dick to suck (C'mon)
Shit, Gotdamn, get off yo ass and jam
Awww Shit, gotdamn, get off yo ass and jam
Carolina nigga got the game on lock
You can tell a pimp nigga when you see his car
Still tickin passin him with two bad hoes
Window rolled down so his curls can blow
That boy from the west coast, naw I don't thank so
I thank he from down south, where they get low
(To the windowwwwwwwwww!) dual pipes and vogues
Sippin gin, head in the wind, you seen it before
You know how we roll, cars both sides of the road
Like a motherfuckin pimp nigga, watch me hoe
Cut that shit down, what he talking bout
He just mad cuz, his girlfriend turned out
Look at that bitch in that truck, bouncin that butt
(Look at that bitch in that truck, bouncin that butt)
Aight, now what we do right now, we gone go back
Way back, c'mon c'mon
Yo momma, yo daddy, yo greasy greasy grandmammy
These girls scandalous, got holes in they panties
Got big behinds like Frankenstein
Breathe smeel just as shitty
And meatballs on they titty
And scrambled eggs down 'tween they legs
Aint yo girlfriend pretty
YEEAAAAH! This is another Lil'Jon production
Petey Pablo, y'all what it is
Set it off
you know I'd like to come over there