Jim Hall
– analytische Betrachtungen zum Vater der modernen Jazzgitarre
The article takes a close look at Jim Hall’s jazzguitar-style, which influenced John Scofield, Pat Metheny, Bill Frisell and many other contemporary players. A biographical chapter traces Hall’s musical career and mentions his most important recordings as sideman and leader. The next three chapters take a close look at three periods of Hall’s career: The fifties, the early sixties and from the late sixties until now. Typical examples of his guitar playing are transcribed and analysed. The combination of swing-influences (Charlie Christian) and melodic development together with some examples of an orchestral use of the guitar mark the first period. At the beginning of the sixties these elements have developed and matured to an extend that Jim Hall can be recognized as a leading jazz guitarist. A transcription of his accompaniment and solo in “God bless the child” (Sonny Rollins: The bridge, 1962) reveals many characteristics of his playing: dark tone, legato-articulation, rhythmic flexibility, motivic thinking, counterpoint, intervallic improvisation and others. “Body and Soul” (Jim Hall: It’s nice to be with you, 1969) and “I hear a rhapsody” (Jim Hall: Live!, 1975) serve as examples for the mature style of the guitarist and are analysed in depth. The characteristics of his style have developed and some new elements have been added. The use of constant structure chords, a strong horizontal thinking and the anticipation and elongation of chord-changes reveal a new harmonic freedom that lead to inside/outside-passages.
A final chapter lists the most important elements of Hall’s guitar-style and shows how they influenced younger players. Hall developed from swing influences directly to a very personal post-bop-style, without ever trying to play Bebop. Because of his dark tone, frequent use of legato-articulation and his rhythmic flexibility he can be easily recognized. By use of “stop-and-go”-phrasing, polyrhythms and a floating time concept he can make even conventional passages sound complex and “contemporary”. Motivic development is present from his earliest recordings on. The use of large intervals and of playing “along the neck” ultimately lead to a personal concept of inside/outside-playing.
John Scofield was especially influenced by the large intervals, the rhythmic concepts and the inside/outside-playing, while Pat Metheny was attracted by the dark tone, the playing “along the neck” and the motivic thinking. Bill Frisell learned how to combine melody and harmony by the choice of notes or by the use of two- and three-note chords.