"This intimate document was recorded during the Montreal Jazz Festival in 1990. Bassist Charlie Haden (1937-2014) and guitarist Jim Hall (1930-2013) played a number of duet concerts, but this was certainly among the very earliest. Over the years, 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 bookends, the tenderly dissonant "First Song" and the knotty "In The Moment," and Hall's sprightly melodic Latin waltz "Down from Antigua" and his fingerpopping "Big Man Blues" - this music is an adventure top to bottom. It unfolds gradually and cannily over 76 minutes. This CD adds an immeasurable depth to the catalogs of both artists." (Thom Jurek, Allmusic; 4,5 uit 5 sterren)
Twee albums van de invloedrijke jazzgitarist plus albums van Bill Smith en Brubecks saxofonist Paul Desmond, waarop Hall meespeelt. Ken Dryden over "Jazz Guitar": "Jim Hall grew into one of the most respected guitarists in jazz. This debut as a leader is a valuable introduction. The music sticks to familiar standards from the swing era and is often low key. A waltzing "Thanks For The Memory" is a fine example of Hall's lyricism." Scott Yanow over "Good Friday Blues": "The band consists of Hall, bassist Red Kelly, and Red Mitchell quite effectively playing piano (he was usually a bassist). The combination works quite well, performing what was essentially straight-ahead jazz. An underrated gem." Thom Jurek over Paul Desmonds "First Place Again" (de titel staat verkeerd op de CD-hoes!): "This set of standards and a few newer tunes are done with an airy, amiable vibe. Especially the work between Hall and the rhythm section is full of counterpoint and sharp accents. A thoroughly enjoyable and relaxed set."
"A duet recording between pianist Bill Evans and guitarist Jim Hall is one that should retain high expectations to match melodic and harmonic intimacies with brilliant spontaneous musicianship. Where this recording delivers that supposition is in the details and intricacy with which Evans and Hall work, guided by simple framings of standard songs made into personal statements that include no small amounts of innovation. Two standards begin the program before the duo merges into some original material with some foraging off the beaten path, along with tender notions that should please anyone. A precious set." (Michael G. Nastos, Allmusic)
Hoogtepunten van concerten opgenomen op 23 maart 1962 en 10 januari 1964 in San Francisco en in 1973 in Laren
"Here are two duet albums, both recorded live within two years of each other between a pair of giants: bassist Ron Carter and guitarist Jim Hall. Hall, along with his former bandmates Jimmy Giuffre and the late Paul Desmond, is the consummate melodic improviser, and Carter, despite his tenures with Rollins and Coltrane, is adept at moving from one musical space to another -- either intervalically, modally, or stylistically -- without difficulty. The intimate interplay found on both Live at the Village West and its successor, 1984's Telephone (as in two-way conversation), is nothing short of remarkable. The setup is between two front line instrumentalists who are both rhythmnatists in their own right. (...) These are indispensable guitar and bass duets by two masters of intimate musical discourse." (Allmusic)
Met de beroemde hoes met dame-net-onder-wateroppervlak. 1ste plaat van Evans na de dood van bassist Scott LaFaro; duoplaat met Jim Hall (g). Geavanceerd spel, van zowel abstracter karakter als traditioneler bop-gericht.
Geremasterde heruitgave (2001) van de gelijknamige LP uit 1965, met 3 bonus-tracks (no. 8, 9 en 10).
"After the Jazztet that he co-led with tenor-saxophonist Benny Golson broke up, flugelhornist Art Farmer led a pianoless quartet during 1963-64 with guitarist Jim Hall. For this live recording, Farmer and Hall are joined by bassist Steve Swallow and drummer Walter Perkins. Their repertoire is a bit surprising since four of the five songs were veteran swing standards; all but Miles Davis's obscure "Swing Spring." Hall (who has "I'm Gettin' Sentimental over You" as his feature) was a perfect musical partner for Farmer since both musicians have mellow sounds and thoughtful improvising styles that are more complex than expected. This 1987 reissue is well worth picking up. The group only lasted long enough to make three records." (Scott Yanow, Allmusic; 4,5 uit 5 sterren)
Combinatie van twee concerten met Attila Zoller. Deze Hongaarse (elektrisch spelende) gitarist heeft nooit de faam gekregen van bijv. collega's Jim Hall en Jimmy Raney, maar onder gitaristen is hij een grootheid met dezelfde statuur als genoemden. En dat zijn ook de twee waarmee hij hier te zien is. De eerste opname is gemaakt op het Deutsche Jazzfestival Frankfurt in 1980. Het is een duo-optreden van Raney en Zoller: twee duo-improvitaties van zo'n 10 minuten vol kunstig vervlechtende gitaarlijnen en subtiele interactie. Het tweede concert is uit 1973 in Hannover: het gitaarduo Jim Hall en Attila Zoller met de ritmesectie Red Mitchell en Daniel Humair. De line-up is echter per track verschillend. Ook dit concert bevat een lang intiem klinkend en subtiel duet van de twee. Verder speelt Hall ook een solo-stuk, is er een duet van Hall met bassist Mitchell, een trio van Zoller, Mitchell en Humair en een afsluitend kwartetstuk: Oscar Pettifords standard "Blues In The Closet". Voer voor de jazzgitaarfijnproever!
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