Jim Hall is perhaps most well-known for collaborating with other soloists, with some of the most acclaimed recordings he made being with the virtuoso pianist and jazz giant Bill Evans – Undercurrent and Intermodulation. The album this week shows a different side to Hall. One that I always know to be there (given that he’s release loads of trio albums) but don’t spend enough time listening to when I am in the mood for that iconic Jim Hall sound. I am talking about his guitar trio work in the 1986 release titled Jim Hall’s Three. Putting myself in the line of fire, I would say that this album is often overlooked against his other works. So, if this Album of the Week feature achieves anything positive, I hope that it will be in promoting this work to the top of your Jim Hall favourites list that I know you all have…
Orchestral. If asked for only one word to describe Hall’s style, that would be it. I am yet to hear a work of his that doesn’t indicate a profound attention to detail and intentionality in the instrumentation and dynamic direction of his music. Hide and Seek, the opening track to this album, is an excellent example of this craftsmanship. Yes, the overly compressed sound of the drums and very forward placement of the bass in the mix might date the recording but the variety of time feels, rhythms and textures across the whole trio could easily fool you to believe that this was recorded in this century (just not mixed). Through the interplay between bass and drums, Jim Hall’s Three writes the rule book on how guitar trios ought to be. The punchy parallel passages between the instruments define the head of this first piece but they also serve to frame the more chordal solo section through a stark contrast in texture and feel. Speaking of contrasts, Skylark (track 2) could not be further in vibe from the opening track. As you would expect, Jim Hall delivers this Hoagy Carmichael and Johnny Mercy ballad with finesse and flare. This recording is another great showcase of his orchestrating style, particularly with regards to his own playing. He plays in a such a way that fools you into thinking there is a fourth instrumentalist in there. That’s why Hall is such a great player! He can happily play a whole set or album by himself (and has) but he serves just as well in a trio or orchestra setting; he knows what is required of him and how he can use space effectively.
If you’re a Hall fan but are not convinced by my persuasion so far, then maybe this will help. This is the first album of his (to my knowledge) that he can be heard using a twelve-string guitar and he uses it exactly as you would expect him to! I’ve never heard someone play a twelve-string or a different instrument to their usual setup and sound exactly like themselves, but Hall does it. Of course he does. Bottlenose Blues is the tune and it’s a classic Jim Hall rhythmic ride. In case you were wondering though, this isn’t my favourite tune on this album. The one that follows is though – And I Do. Playing into everything I have said above regarding orchestration, feel, expression and detail, And I Do might just be one of Hall’s best pieces. There, I said it.
This album is a masterclass in musical conversation, showcasing how truly worldclass musicians can not only survive but thrive under an unforgiving trio setup. Jim Hall’s Three might seem like an odd choice for our first Jim Hall Album of the Week feature but it’s one of the best showcases of his understated brilliance as a composer and improviser.
Line-up:
Jim Hall – Guitar
Steve LaSpina – Bass
Akira Tana – Drums
Waxing Lyrical 