Jim Hall Music

I long owned this on vinyl and jumped at the first chance to grab it on CD (on the German MPS label. ) "It's Nice To Be With You" features Jim in his favorite context of guitar, bass, and drums, like his prior collaborator and musical soulmate Bill Evans, who also used the trio format (albeit with piano instead of guitar) to bring group improvisation to its highest level. While most tracks are straight ahead trio selections, Jim was influenced by Bill Evans' "Conversations With Myself" album, and overdubs guitars on "In A Sentimental Mood" and on
"My Funny Valentine" (that track also has bassist Jimmy Woode and drummer Daniel Humair, making it a "virtual quartet.") The CD is a gem, and my only complaint is that it runs a bit short in this CD age; it would have been nice to have alternate takes or other tracks that didn't make the vinyl record, assuming such material exists. Small quibble, though, as the music that is there is clearly five-star material.

For some odd reason, this album has not been in print in the U.S. since OJC seemed to drop it unceremoniously from their catalog. Now, it seems, a Japanese label has picked it up and has it back in print. For Jim Hall fans, this is an essential one, on a par with his best trio albums, including "Live" and even the recent "Magic Meeting", although here I guess you could call it Hall's "European Trio".
There's a plenty of classic Hall here; "Up, Up and Away" is a sly and very catchy opener; "Blue Joe" and "It's Nice to Be With You" (composed by Jane Hall) are other standouts. There are several ballads ("Romaine; "Young One") where Hall overdubs on a solo guitar track, essentially playing a duet with himself. I'm guessing these tracks must have made an impression on Pat Metheny, who went on to try the same idea on his first ECM album.
For the already initiated, this album can stand as one of Hall's best. For newcomers, this is certainly a good place to start discovering the genius of the reigning master of understatement, the great Jim Hall.

I long owned this on vinyl and jumped at the first chance to grab it on CD (on the German MPS label. ) "It's Nice To Be With You" features Jim in his favorite context of guitar, bass, and drums, like his prior collaborator and musical soulmate Bill Evans, who also used the trio format (albeit with piano instead of guitar) to bring group improvisation to its highest level. While most tracks are straight ahead trio selections, Jim was influenced by Bill Evans' "Conversations With Myself" album, and overdubs guitars on "In A Sentimental Mood" and on
"My Funny Valentine" (that track also has bassist Jimmy Woode and drummer Daniel Humair, making it a "virtual quartet.") The CD is a gem, and my only complaint is that it runs a bit short in this CD age; it would have been nice to have alternate takes or other tracks that didn't make the vinyl record, assuming such material exists. Small quibble, though, as the music that is there is clearly five-star material.

For some odd reason, this album has not been in print in the U.S. since OJC seemed to drop it unceremoniously from their catalog. Now, it seems, a Japanese label has picked it up and has it back in print. For Jim Hall fans, this is an essential one, on a par with his best trio albums, including "Live" and even the recent "Magic Meeting", although here I guess you could call it Hall's "European Trio".
There's a plenty of classic Hall here; "Up, Up and Away" is a sly and very catchy opener; "Blue Joe" and "It's Nice to Be With You" (composed by Jane Hall) are other standouts. There are several ballads ("Romaine; "Young One") where Hall overdubs on a solo guitar track, essentially playing a duet with himself. I'm guessing these tracks must have made an impression on Pat Metheny, who went on to try the same idea on his first ECM album.
For the already initiated, this album can stand as one of Hall's best. For newcomers, this is certainly a good place to start discovering the genius of the reigning master of understatement, the great Jim Hall.

There is really not too much to say: this is just an EXCELLENT cd. It consists of Jim Hall playing together with one bass player, alternating on each track. The sheer joy of two musicians playing together makes this cd sparkle from beginning to end. The music at times swings, at other times consists of more experimental improvisations, but usually a wonderful mixture of those two. The bass players are some of the best around: Scott Colley, Dave Holland, Charlie Haden, George Mraz and Christian McBride. Just go ahead and listen to it... Personally I cannot get enough of it!

jim hall has done some outstanding duet albums over the years--"undercurrent" with bill evans and his recent album with pat metheny stand out--and this one certainly continues the success of those efforts. jim hall can be a contemplative, understated guitarist, and here partnered with a series of today's legends of the upright, he sets a quiet, but intense mood. there are actually two streams of thought presented--the odd numbered tracks are avant garde explorations, much like the work of the jimmy guiffre 3 or paul bley; while the even numbered tracks are straight-ahead workouts, full of blues and swing. that they alternate keeps the listener tuned in, wondering it is coming next, but it can be distracting--hence three stars instead of five. the playing is top notch throughout, and mr. hall uses both electric and acoustic guitar to good effect. this is strictly a matter of opinion, but i found it easier to listen to the cd by programming the even tracks or odd tracks separately depending on my mood--avant or straight ahead. still, a good album.

I have listened to this CD and I love it. I have also read most of the reviews here, and quite frankly, I think you guys are missing the point. This CD is all about musicianship and dynamics. The dynamic part, which unfortunately, cannot be heard if your system is not up to par, especially if you don't have good electricity regenerators or condidioners. As always, Jim Hall's dynamic lines are incredible, he starts his lines at normal volume, and suddenly ghost his notes down and back up (and as I said, you will not notice this if your sound system is not up to par). Pat Metheny's classical guitar sounded "real". However, if you are looking for "hip" guitar licks, you will not find it here. These are established musicians not out to impress you. They are there to make beautiful music. I actually found this CD to be very artistics, and the music flowing like a river.

Now, this is what jazz guitar is all about! 2 brilliant players get to show their craft wonderfully on this record. Before hearing this record I was already a big fan of Pat Metheny, but I had not heard Jim Hall. I will definetely look more into Jim Hall's work in the future. both these two guitarists are marvellous players.
This album is a great addition to any jazz collection, especially if you like guitar. I recommend this album to anyone who is even remotely interested in jazz or guitar.

Recording quality = muffled 'cassette' sound - entirely void of quality mix. A proper mix would have earned it an additional star.

Jim Hall and Pat Metheny are such excellent musicians that no album featuring the two of them in duet can be all bad but this album comes close.

I tried repeatedly to like this album but each time I listened to it, my eyes grew heavy. It's an album of high class pablum, nothing more. Hall and Metheny play against each other with great empathy but too seldom muscle. The cuts have too little separate character --everything blends together.

It's more than pretty tinkling --these guys are giants, after all! But it's not what it could have been, which was an album in which each cut played a role in building to an overall effect.

It's difficult to point out specific places where it went wrong but for a start, try listening to their rendition of "Summertime." Think of all the superior versions you've heard of this song --Miles, Hank Jones, Helen Merrill..... This one is just dull.

I hate writing a negative review of Jim Hall. He has been a hero of mine since I first heard him in the mid-fifties with Chico Hamilton and then Jimmy Giuffre. One of my all-time favorite albums, unfortunately never re-released, is The Modest Jazz Trio, Good Morning Blues (Pacific Jazz), with Hall on guitar, Red Mitchell on piano (instead of bass), and Red Kelly on bass.

I don't have as much trouble writng a negative review of Metheny, because I don't enjoy his work with his own group. However, he is an exceptional musician who has done wonderful, even adventurous, stuff --his album with Ornette Coleman, his work with Abbey Lincoln (especially "Throw It Away"), his trio album with Roy Haynes and Dave Holland.

Both Hall and Metheny deserve the opportunity to record a better album than this. Not that it's bad. Just that it's not as good as they are. And definitely not as exciting.

Dave Keymer
Modesto, CA

It's a shame to see, among most of the negative reviews of this album, a tendency among some people to completely forget the point of music--or, for that matter, of art: expression. Here are two guys expressing themselves. Nothing more, nothing less. Clean and beautiful. Fortunately, for those who actually listen to what's being played, Hall and Metheny are such masters of expression that each is capable of getting his point across. If you want 12 notes per second, check out some Al Dimeola; if you want some music that has voice and originality and some shweet technique to boot, listen to these guys.

Jazz makes you smarter. I've found 11 studies that prove it.

I have listened to this CD and I love it. I have also read most of the reviews here, and quite frankly, I think you guys are missing the point. This CD is all about musicianship and dynamics. The dynamic part, which unfortunately, cannot be heard if your system is not up to par, especially if you don't have good electricity regenerators or condidioners. As always, Jim Hall's dynamic lines are incredible, he starts his lines at normal volume, and suddenly ghost his notes down and back up (and as I said, you will not notice this if your sound system is not up to par). Pat Metheny's classical guitar sounded "real". However, if you are looking for "hip" guitar licks, you will not find it here. These are established musicians not out to impress you. They are there to make beautiful music. I actually found this CD to be very artistics, and the music flowing like a river.

Now, this is what jazz guitar is all about! 2 brilliant players get to show their craft wonderfully on this record. Before hearing this record I was already a big fan of Pat Metheny, but I had not heard Jim Hall. I will definetely look more into Jim Hall's work in the future. both these two guitarists are marvellous players.
This album is a great addition to any jazz collection, especially if you like guitar. I recommend this album to anyone who is even remotely interested in jazz or guitar.

Recording quality = muffled 'cassette' sound - entirely void of quality mix. A proper mix would have earned it an additional star.

Jim Hall and Pat Metheny are such excellent musicians that no album featuring the two of them in duet can be all bad but this album comes close.

I tried repeatedly to like this album but each time I listened to it, my eyes grew heavy. It's an album of high class pablum, nothing more. Hall and Metheny play against each other with great empathy but too seldom muscle. The cuts have too little separate character --everything blends together.

It's more than pretty tinkling --these guys are giants, after all! But it's not what it could have been, which was an album in which each cut played a role in building to an overall effect.

It's difficult to point out specific places where it went wrong but for a start, try listening to their rendition of "Summertime." Think of all the superior versions you've heard of this song --Miles, Hank Jones, Helen Merrill..... This one is just dull.

I hate writing a negative review of Jim Hall. He has been a hero of mine since I first heard him in the mid-fifties with Chico Hamilton and then Jimmy Giuffre. One of my all-time favorite albums, unfortunately never re-released, is The Modest Jazz Trio, Good Morning Blues (Pacific Jazz), with Hall on guitar, Red Mitchell on piano (instead of bass), and Red Kelly on bass.

I don't have as much trouble writng a negative review of Metheny, because I don't enjoy his work with his own group. However, he is an exceptional musician who has done wonderful, even adventurous, stuff --his album with Ornette Coleman, his work with Abbey Lincoln (especially "Throw It Away"), his trio album with Roy Haynes and Dave Holland.

Both Hall and Metheny deserve the opportunity to record a better album than this. Not that it's bad. Just that it's not as good as they are. And definitely not as exciting.

Dave Keymer
Modesto, CA

It's a shame to see, among most of the negative reviews of this album, a tendency among some people to completely forget the point of music--or, for that matter, of art: expression. Here are two guys expressing themselves. Nothing more, nothing less. Clean and beautiful. Fortunately, for those who actually listen to what's being played, Hall and Metheny are such masters of expression that each is capable of getting his point across. If you want 12 notes per second, check out some Al Dimeola; if you want some music that has voice and originality and some shweet technique to boot, listen to these guys.

Jazz makes you smarter. I've found 11 studies that prove it.

Alot of times, eliminating the volume of a full rhythm section can open up a great deal of doors for the improviser. In this duo setting, Brookmeyer thrives with a wonderfully relaxed tone and feel. His long, lyrical lines are truly enjoyable and a definite representation of his immense artistry on the horn. In fact, his extended lines are nothing short of astonishing. I highly reccomend this recording along with Brookmeyer's other duo outing with Mads Vinding.