James Stanley Hall (December 4, 1930 – December 10, 2013) was an American j… Read Full Bio ↴James Stanley Hall (December 4, 1930 – December 10, 2013) was an American jazz guitarist, composer and arranger.
Born in Buffalo, New York, before moving to Cleveland, Ohio, Hall was from a musical family, his mother played the piano, his grandfather violin, and his uncle guitar. He began playing the guitar at age ten when his mother gave him an instrument as a Christmas present. As a teenager in Cleveland, he performed professionally, and also took up the double bass. Hall's major influences since childhood were tenor saxophonists Coleman Hawkins, Lester Young, Paul Gonsalves and Lucky Thompson. While he copied out solos by guitarist Charlie Christian (and later Barney Kessel), it was horn players from which he took a lead.
In 1955, Hall attended the Cleveland Institute of Music where he studied piano and bass, in addition to theory. About a year later, he moved to Los Angeles, where cool jazz was prominent at the time. He focused on classical guitar, and, from 1955 to 1956, played in Chico Hamilton's quintet. It was at this time that he began to gain attention.
In the Jimmy Giuffre Three, Hall developed some of his own personal musical preferences, including "challenging arrangements and interactive improvisation in duos and trios." He taught at the Lenox School of Jazz in 1959; toured with Jazz at the Philharmonic; and worked with Ben Webster (1959), Bill Evans (1959), Paul Desmond (1959–65), Ella Fitzgerald in Europe (1960), Lee Konitz (1960–61), Sonny Rollins (1961-2, 1964), and Art Farmer (1962-1964). Working with all of these prominent and established artists furthered Hall's career and aided in producing his own bands and own styles.
By 1960, Hall was living in New York. In 1962, he led a trio with Tommy Flanagan and Ron Carter—with the addition of Red Mitchell in 1965. Furthermore, he landed a gig playing with Bill Berry, Bob Brookmeyer, Benny Powell, Art Davis and Jake Hanna as a house band for The Merv Griffin Show on television. Most notably, he arranged and recorded duos with Evans and Carter, which allowed his complex arrangements and improvisations to shine.
Hall had incredible improvisational ability and creativity. He was an arranger as much as an artist, known for developing motives and using blues inflections. These characteristics are showcased in his 1975 album Jim Hall Live!, with Don Thompson and Terry Clarke. Around this time he also recorded with pianist George Shearing and classical violinist Itzhak Perlman. He further continued creating music with Mitchell and Ron Carter until 1985.
In the 1990s, Hall continued to tour and record all over the world. His sidemen included drummers Billy Stewart and Andy Watson, Steve LaSpina, bass players Scott Colley and Gil Goldstein from 1985 to 1993, and keyboardist Larry Goldings. At times, Hall included Chris Potter on the tenor saxophone. These players are featured on Hall's video Master Sessions with Jim Hall from 1993. Hall appeared as a guest soloist in Michel Petrucciani's trio with Wayne Shorter in 1986 and performed at the Village Vanguard with Bill Frisell. In 1990, he hosted the JVC Jazz Festival New York, which also featured Pat Metheny and John Scofield. After this, he played a number of duo concerts with Metheny. In 1994, Hall recorded a completely solo album. Furthermore, in 1996, he returned to Europe to lead a quartet with Joe Lovano.
In 1997, Hall received the New York Jazz Critics Award for Best Jazz Composer/Arranger, which was a very important milestone in his career. His pieces for string, brass, and vocal ensembles can be heard on his Textures and By Arrangement recordings. His original composition, "Quartet Plus Four", a piece for jazz quartet featuring the Zapolski string quartet, was debuted in Denmark, where he was awarded the Jazzpar Prize.
His last orchestral composition was a concerto for guitar and orchestra, commissioned by Towson University in Maryland for The First World Guitar Congress, which was debuted in June 2004 with the Baltimore Symphony. He was awarded an NEA Jazz Masters Fellowship award in January 2004. Hall was one of the first artists to join the fan-funded label ArtistShare and released Magic Meeting in 2005. In November 2008 the double album Hemispheres was released through ArtistShare, featuring fellow guitarist and former student Bill Frisell[6] with Scott Colley (bass) and Joey Baron (drums).
Hall performed in a project titled The Live Project, where he shared his music making process through ArtistShare as well as interviews with other musicians about his lasting influence. In 2010, Hall and Baron recorded a duo album, which listeners can view on the recording Coming to Life. In 2012 at the age of 81, Hall had gigs at the Blue Note in New York City and at a number of jazz festivals in the US as well as in Europe.
Hall died in his sleep in his [placesplit]Manhattan[/placesplit], New York apartment on December 10, 2013.
Hall's musical style develops with every new album and collaboration he engages in. His approach to music is unique - he views music as a way to break all barriers, not limited to music, as well as to share his discoveries with others. Music is a vehicle of peace for Hall and he therefore makes it a goal to reach out to others and communicate his music, teaching seminars all over the world. He is innovative and always interested in new modes of musical expression to further his ability.
Hall's tone has been described as mellow, warm, gentle, subtle, rich, and lightly amplified. Unlike other musicians, Hall's work is not necessarily recognized by a signature riff but rather his expressive capabilities. As an arranger, his solos are aptly constructed, taking into account harmonic, melodic and rhythmic elements. They are composed with both feeling and technique with clarity as the ultimate goal.
Hall was especially innovative with instrumentation, mixing classical with jazz by adding violinist Itzhak Perlman into the mix. Furthermore, in 1957, he played in a trio with saxophonist Jimmy Giuffre and trombonist Bob Brookmeyer, without any rhythm section. Without piano, bass, or drums, the three musicians improvise at the same time, keeping rhythm themselves. Similar to Duke Ellington, the other artists on the record influence the composition and he creates music to showcase their talents as well. Furthermore, he is always open to what is new and what others are playing, including the guitar synthesizer.
Jim Hall: "I'm not sure I have what's called a style, but I have an approach to music, an attitude to consciously allow myself to grow. I don't like to be boxed in or labeled as having to do with any certain period of jazz music or music in general."
Silence is as much a part of Hall's music as is sound. Intimate settings, such as smaller clubs, showcase this strength. Hall "carefully chooses a few notes instead, one after another, and placed them with the care of someone setting an elegant table." Although Hall is generally a leader, his excellent listening skills allow him to aid other musicians harmonically when required and staying silent when needed. Everyone is equal in Hall's groups, he explains, "each one of these guys is a creative, growing musician, and I treat them that way."
Exemplifying Hall's musical technique is his collaboration with guitarist Pat Metheny (1990). The duo met thirty years previous, when guitarist Attila Zoller brought 15-year-old Metheny to The Guitar, a club where Hall and bassist Carter had a standing position.
"Jim is father of modern jazz guitar to me, he’s the guy who invented a conception that has allowed guitar to function in a lot of musical situations that just weren't thought of as a possibility prior to his emergence as a player. He reinvented what the guitar could be as a jazz instrument... Jim transcends the instrument... the meaning behind the notes is what speaks to people." - Pat Metheny
Because of his desire for spontaneity and emphasis on communication with other musicians and others, Hall preferred live venues. However, Metheny is the opposite, so the album contains pieces recorded live and in the studio. Reflecting Hall's broad musical tendencies, this album contains originals by him, Metheny, mutual friends Steve Swallow and Zoller, and two standards. Hall and Metheny's expertise and virtuosity allowed for much improvisation, usually spurred by mood, which lead to different compositions,"at times acoustic, soft, reverential, melodic, cacophonous, outlandish, humorous, and upbeat."
Hall changed the way jazz guitar sounded, with his innovation, composition, and improvisation. Apart from Metheny, he influenced other contemporary artists such as Frisell, Mick Goodrick, John Scofield, and John Abercrombie.
Hall always used an extremely simple approach regarding his instruments. In the early stages of his career, playing with Chico Hamilton, he used a Gibson Les Paul Custom. From that period on, he has been associated with the Gibson ES-175 guitar. This guitar, originally with a single P90 pickup, was used with a Gibson GA50 amplifier. He then switched to a humbucking pickup before acquiring a custom made D'Aquisto guitar. After the GA50 he started using solid-state amplifiers, mostly Polytones (although he also used Walter Woods Amp and Harry Kolbe GP-1 Pre-Amp and Cab). He also used his signature Sadowsky guitar, based on his original D'Aquisto.
He used flatwound strings gauges 11, 15, 20 (unwound), 30, 40, 50 (from high E to low E) and small teardrop picks of heavy gauge. Hall sometimes used a Boss Chorus pedal and a Digitech whammy pedal.
When asked if he ever tried playing solid-body guitars again, he said "solid bodies are strange to me, I need to feel the body resonating".
Discography
As leader
Jazz Guitar (Pacific Jazz, 1957)
It's Nice to Be With You (MPS Records, 1969)
Where Would I Be? (Milestone, 1971)
Alone Together (Milestone, 1972) - with Ron Carter
Concierto (with Chet Baker and Paul Desmond, CTI, 1975)
Live! (Verve, 1975)
Live in Tokyo (Paddle Wheel, 1976)
Commitment (A&M, 1976)
Jim Hall and Red Mitchell (duo recorded live at Sweet Basil, Artists House, 1978)
Big Blues (with Art Farmer, CTI, 1978)
Circles (Concord, 1981)
Studio Trieste (CTI, 1982)
Telephone (with Ron Carter, Concord, 1985)
Power of Three (with Michel Petrucciani and Wayne Shorter, Blue Note, 1986)
Jim Hall's Three (with Steve La Spina and Akira Tana, Concord, 1986)
These Rooms (Denon, 1988)
All Across the City (Concord, 1989)
Live at Town Hall, Vols. 1 & 2 (Music Masters, 1990)
Subsequently (Music Masters, 1991)
Youkali (CTI, 1993)
Something Special (Inner City, 1993)
Dedications & Inspirations (Telarc, 1993)
Dialogues (Telarc, 1995)
Live at the Village West (with Ron Carter, Concord, 1995)
Textures (Telarc, 1996)
Panorama: Live at the Village Vanguard (Telarc, 1997)
By Arrangement (Telarc, 1998)
Jim Hall & Pat Metheny (Telarc, 1999)
Grand Slam: Live at the Regatta Bar (with Joe Lovano, Telarc, 2000)
Jim Hall & Basses (Telarc, 2001)
Duologues (with Enrico Pieranunzi, Cam Jaz, 2004)
Magic Meeting (with Scott Colley and Lewis Nash, ArtistShare, 2005)
Free Association (with Geoffrey Keezer, ArtistShare, 2006)
Hemispheres (with Bill Frisell, Joey Baron and Scott Colley, ArtistShare, 2008)
Conversations (with Joey Baron, ArtistShare, 2010)
Live at Birdland (with Joey Baron, Greg Osby, Steve Laspina, ArtistShare, 2013)
Live! vol. 2-4 (with Don Thompson and Terry Clarke, ArtistShare, 2013)
As sideman a.o.
With Manny Albam
Jazz Goes to the Movies (Impulse!, 1962)
With Bob Brookmeyer
Street Swingers (Disques Vogue, 1957)
With Gary Burton
Something's Coming! (RCA, 1963)
With Ornette Coleman
Broken Shadows (Columbia, 1972 [1982])
With Paul Desmond
First Place Again! (Warner Bros, 1959)
Desmond Blue (RCA Victor, 1961)
Late Lament (RCA Victor, 1962)
Two of a Mind (also with Gerry Mulligan, RCA Victor, 1962)
Take Ten (RCA Victor 1963)
Glad To Be Unhappy (RCA Victor, 1964)
Easy Living (RCA Victor 1965)
With Bill Evans
Interplay (Riverside, 1962)
Undercurrent (Blue Note, 1963)
Intermodulation (Verve, 1966)
Loose Blues (Milestone, 1982) (recorded 1962)
With Art Farmer
Listen to Art Farmer and the Orchestra (Mercury, 1962)
Interaction (Atlantic, 1963)
Live at the Half-Note (Atlantic, 1963)
To Sweden with Love (Atlantic, 1964)
With Ella Fitzgerald
Ella in Berlin: Mack the Knife (Verve, 1960)
With the Kronos Quartet
Music of Bill Evans (Savoy Jazz, 1986)
With Jimmy Giuffre
The Jimmy Giuffre 3 (Atlantic, 1957)
Trav'lin' Light (Atlantic, 1958)
The Four Brothers Sound (Atlantic, 1958)
Western Suite (Atlantic, 1958)
The Easy Way (Verve, 1959)
The Train and the River (Atlantic, 1959)
7 Pieces (Verve, 1959)
Herb Ellis Meets Jimmy Giuffre (PolyGram, 1959)
The Jimmy Giuffre Quartet In Person (Verve, 1960)
Hollywood & Newport 1957-1958 (Fresh Sound, 1992)
Complete Studio Recordings (Gambit Spain, 2005)
With Hampton Hawes
All Night Session!, Vol 1-3 (Contemporary, 1956)
With the Modest Jazz Trio
Good Friday Blues (Disques Vogue, 1960)
With Helen Merrill
Something Special (Inner City, 1967)
A Shade of Difference (Milestone, 1968)
With James Moody
Great Day (Argo, 1963)
With Mark Murphy
That's How I Love the Blues! (Riverside, 1962)
With Greg Osby
The Invisible Hand (Blue Note, 2000)
With Sonny Rollins
The Bridge (Bluebird, 1962)
The Standard Sonny Rollins (RCA Victor, 1964)
Road Shows Vol. 2 (EmArcy, 2011)
With Lalo Schifrin
Piano, Strings and Bossa Nova (MGM, 1962)
With Sonny Stitt
Stitt Plays Bird (Atlantic, 1964)
With Bill Smith
Folk Jazz (Contemporary, 1959)
With Billy Taylor
Impromptu (Mercury, 1962)
With Ben Webster
Ben Webster at the Renaissance (Contemporary, 1960)
Born in Buffalo, New York, before moving to Cleveland, Ohio, Hall was from a musical family, his mother played the piano, his grandfather violin, and his uncle guitar. He began playing the guitar at age ten when his mother gave him an instrument as a Christmas present. As a teenager in Cleveland, he performed professionally, and also took up the double bass. Hall's major influences since childhood were tenor saxophonists Coleman Hawkins, Lester Young, Paul Gonsalves and Lucky Thompson. While he copied out solos by guitarist Charlie Christian (and later Barney Kessel), it was horn players from which he took a lead.
In 1955, Hall attended the Cleveland Institute of Music where he studied piano and bass, in addition to theory. About a year later, he moved to Los Angeles, where cool jazz was prominent at the time. He focused on classical guitar, and, from 1955 to 1956, played in Chico Hamilton's quintet. It was at this time that he began to gain attention.
In the Jimmy Giuffre Three, Hall developed some of his own personal musical preferences, including "challenging arrangements and interactive improvisation in duos and trios." He taught at the Lenox School of Jazz in 1959; toured with Jazz at the Philharmonic; and worked with Ben Webster (1959), Bill Evans (1959), Paul Desmond (1959–65), Ella Fitzgerald in Europe (1960), Lee Konitz (1960–61), Sonny Rollins (1961-2, 1964), and Art Farmer (1962-1964). Working with all of these prominent and established artists furthered Hall's career and aided in producing his own bands and own styles.
By 1960, Hall was living in New York. In 1962, he led a trio with Tommy Flanagan and Ron Carter—with the addition of Red Mitchell in 1965. Furthermore, he landed a gig playing with Bill Berry, Bob Brookmeyer, Benny Powell, Art Davis and Jake Hanna as a house band for The Merv Griffin Show on television. Most notably, he arranged and recorded duos with Evans and Carter, which allowed his complex arrangements and improvisations to shine.
Hall had incredible improvisational ability and creativity. He was an arranger as much as an artist, known for developing motives and using blues inflections. These characteristics are showcased in his 1975 album Jim Hall Live!, with Don Thompson and Terry Clarke. Around this time he also recorded with pianist George Shearing and classical violinist Itzhak Perlman. He further continued creating music with Mitchell and Ron Carter until 1985.
In the 1990s, Hall continued to tour and record all over the world. His sidemen included drummers Billy Stewart and Andy Watson, Steve LaSpina, bass players Scott Colley and Gil Goldstein from 1985 to 1993, and keyboardist Larry Goldings. At times, Hall included Chris Potter on the tenor saxophone. These players are featured on Hall's video Master Sessions with Jim Hall from 1993. Hall appeared as a guest soloist in Michel Petrucciani's trio with Wayne Shorter in 1986 and performed at the Village Vanguard with Bill Frisell. In 1990, he hosted the JVC Jazz Festival New York, which also featured Pat Metheny and John Scofield. After this, he played a number of duo concerts with Metheny. In 1994, Hall recorded a completely solo album. Furthermore, in 1996, he returned to Europe to lead a quartet with Joe Lovano.
In 1997, Hall received the New York Jazz Critics Award for Best Jazz Composer/Arranger, which was a very important milestone in his career. His pieces for string, brass, and vocal ensembles can be heard on his Textures and By Arrangement recordings. His original composition, "Quartet Plus Four", a piece for jazz quartet featuring the Zapolski string quartet, was debuted in Denmark, where he was awarded the Jazzpar Prize.
His last orchestral composition was a concerto for guitar and orchestra, commissioned by Towson University in Maryland for The First World Guitar Congress, which was debuted in June 2004 with the Baltimore Symphony. He was awarded an NEA Jazz Masters Fellowship award in January 2004. Hall was one of the first artists to join the fan-funded label ArtistShare and released Magic Meeting in 2005. In November 2008 the double album Hemispheres was released through ArtistShare, featuring fellow guitarist and former student Bill Frisell[6] with Scott Colley (bass) and Joey Baron (drums).
Hall performed in a project titled The Live Project, where he shared his music making process through ArtistShare as well as interviews with other musicians about his lasting influence. In 2010, Hall and Baron recorded a duo album, which listeners can view on the recording Coming to Life. In 2012 at the age of 81, Hall had gigs at the Blue Note in New York City and at a number of jazz festivals in the US as well as in Europe.
Hall died in his sleep in his [placesplit]Manhattan[/placesplit], New York apartment on December 10, 2013.
Hall's musical style develops with every new album and collaboration he engages in. His approach to music is unique - he views music as a way to break all barriers, not limited to music, as well as to share his discoveries with others. Music is a vehicle of peace for Hall and he therefore makes it a goal to reach out to others and communicate his music, teaching seminars all over the world. He is innovative and always interested in new modes of musical expression to further his ability.
Hall's tone has been described as mellow, warm, gentle, subtle, rich, and lightly amplified. Unlike other musicians, Hall's work is not necessarily recognized by a signature riff but rather his expressive capabilities. As an arranger, his solos are aptly constructed, taking into account harmonic, melodic and rhythmic elements. They are composed with both feeling and technique with clarity as the ultimate goal.
Hall was especially innovative with instrumentation, mixing classical with jazz by adding violinist Itzhak Perlman into the mix. Furthermore, in 1957, he played in a trio with saxophonist Jimmy Giuffre and trombonist Bob Brookmeyer, without any rhythm section. Without piano, bass, or drums, the three musicians improvise at the same time, keeping rhythm themselves. Similar to Duke Ellington, the other artists on the record influence the composition and he creates music to showcase their talents as well. Furthermore, he is always open to what is new and what others are playing, including the guitar synthesizer.
Jim Hall: "I'm not sure I have what's called a style, but I have an approach to music, an attitude to consciously allow myself to grow. I don't like to be boxed in or labeled as having to do with any certain period of jazz music or music in general."
Silence is as much a part of Hall's music as is sound. Intimate settings, such as smaller clubs, showcase this strength. Hall "carefully chooses a few notes instead, one after another, and placed them with the care of someone setting an elegant table." Although Hall is generally a leader, his excellent listening skills allow him to aid other musicians harmonically when required and staying silent when needed. Everyone is equal in Hall's groups, he explains, "each one of these guys is a creative, growing musician, and I treat them that way."
Exemplifying Hall's musical technique is his collaboration with guitarist Pat Metheny (1990). The duo met thirty years previous, when guitarist Attila Zoller brought 15-year-old Metheny to The Guitar, a club where Hall and bassist Carter had a standing position.
"Jim is father of modern jazz guitar to me, he’s the guy who invented a conception that has allowed guitar to function in a lot of musical situations that just weren't thought of as a possibility prior to his emergence as a player. He reinvented what the guitar could be as a jazz instrument... Jim transcends the instrument... the meaning behind the notes is what speaks to people." - Pat Metheny
Because of his desire for spontaneity and emphasis on communication with other musicians and others, Hall preferred live venues. However, Metheny is the opposite, so the album contains pieces recorded live and in the studio. Reflecting Hall's broad musical tendencies, this album contains originals by him, Metheny, mutual friends Steve Swallow and Zoller, and two standards. Hall and Metheny's expertise and virtuosity allowed for much improvisation, usually spurred by mood, which lead to different compositions,"at times acoustic, soft, reverential, melodic, cacophonous, outlandish, humorous, and upbeat."
Hall changed the way jazz guitar sounded, with his innovation, composition, and improvisation. Apart from Metheny, he influenced other contemporary artists such as Frisell, Mick Goodrick, John Scofield, and John Abercrombie.
Hall always used an extremely simple approach regarding his instruments. In the early stages of his career, playing with Chico Hamilton, he used a Gibson Les Paul Custom. From that period on, he has been associated with the Gibson ES-175 guitar. This guitar, originally with a single P90 pickup, was used with a Gibson GA50 amplifier. He then switched to a humbucking pickup before acquiring a custom made D'Aquisto guitar. After the GA50 he started using solid-state amplifiers, mostly Polytones (although he also used Walter Woods Amp and Harry Kolbe GP-1 Pre-Amp and Cab). He also used his signature Sadowsky guitar, based on his original D'Aquisto.
He used flatwound strings gauges 11, 15, 20 (unwound), 30, 40, 50 (from high E to low E) and small teardrop picks of heavy gauge. Hall sometimes used a Boss Chorus pedal and a Digitech whammy pedal.
When asked if he ever tried playing solid-body guitars again, he said "solid bodies are strange to me, I need to feel the body resonating".
Discography
As leader
Jazz Guitar (Pacific Jazz, 1957)
It's Nice to Be With You (MPS Records, 1969)
Where Would I Be? (Milestone, 1971)
Alone Together (Milestone, 1972) - with Ron Carter
Concierto (with Chet Baker and Paul Desmond, CTI, 1975)
Live! (Verve, 1975)
Live in Tokyo (Paddle Wheel, 1976)
Commitment (A&M, 1976)
Jim Hall and Red Mitchell (duo recorded live at Sweet Basil, Artists House, 1978)
Big Blues (with Art Farmer, CTI, 1978)
Circles (Concord, 1981)
Studio Trieste (CTI, 1982)
Telephone (with Ron Carter, Concord, 1985)
Power of Three (with Michel Petrucciani and Wayne Shorter, Blue Note, 1986)
Jim Hall's Three (with Steve La Spina and Akira Tana, Concord, 1986)
These Rooms (Denon, 1988)
All Across the City (Concord, 1989)
Live at Town Hall, Vols. 1 & 2 (Music Masters, 1990)
Subsequently (Music Masters, 1991)
Youkali (CTI, 1993)
Something Special (Inner City, 1993)
Dedications & Inspirations (Telarc, 1993)
Dialogues (Telarc, 1995)
Live at the Village West (with Ron Carter, Concord, 1995)
Textures (Telarc, 1996)
Panorama: Live at the Village Vanguard (Telarc, 1997)
By Arrangement (Telarc, 1998)
Jim Hall & Pat Metheny (Telarc, 1999)
Grand Slam: Live at the Regatta Bar (with Joe Lovano, Telarc, 2000)
Jim Hall & Basses (Telarc, 2001)
Duologues (with Enrico Pieranunzi, Cam Jaz, 2004)
Magic Meeting (with Scott Colley and Lewis Nash, ArtistShare, 2005)
Free Association (with Geoffrey Keezer, ArtistShare, 2006)
Hemispheres (with Bill Frisell, Joey Baron and Scott Colley, ArtistShare, 2008)
Conversations (with Joey Baron, ArtistShare, 2010)
Live at Birdland (with Joey Baron, Greg Osby, Steve Laspina, ArtistShare, 2013)
Live! vol. 2-4 (with Don Thompson and Terry Clarke, ArtistShare, 2013)
As sideman a.o.
With Manny Albam
Jazz Goes to the Movies (Impulse!, 1962)
With Bob Brookmeyer
Street Swingers (Disques Vogue, 1957)
With Gary Burton
Something's Coming! (RCA, 1963)
With Ornette Coleman
Broken Shadows (Columbia, 1972 [1982])
With Paul Desmond
First Place Again! (Warner Bros, 1959)
Desmond Blue (RCA Victor, 1961)
Late Lament (RCA Victor, 1962)
Two of a Mind (also with Gerry Mulligan, RCA Victor, 1962)
Take Ten (RCA Victor 1963)
Glad To Be Unhappy (RCA Victor, 1964)
Easy Living (RCA Victor 1965)
With Bill Evans
Interplay (Riverside, 1962)
Undercurrent (Blue Note, 1963)
Intermodulation (Verve, 1966)
Loose Blues (Milestone, 1982) (recorded 1962)
With Art Farmer
Listen to Art Farmer and the Orchestra (Mercury, 1962)
Interaction (Atlantic, 1963)
Live at the Half-Note (Atlantic, 1963)
To Sweden with Love (Atlantic, 1964)
With Ella Fitzgerald
Ella in Berlin: Mack the Knife (Verve, 1960)
With the Kronos Quartet
Music of Bill Evans (Savoy Jazz, 1986)
With Jimmy Giuffre
The Jimmy Giuffre 3 (Atlantic, 1957)
Trav'lin' Light (Atlantic, 1958)
The Four Brothers Sound (Atlantic, 1958)
Western Suite (Atlantic, 1958)
The Easy Way (Verve, 1959)
The Train and the River (Atlantic, 1959)
7 Pieces (Verve, 1959)
Herb Ellis Meets Jimmy Giuffre (PolyGram, 1959)
The Jimmy Giuffre Quartet In Person (Verve, 1960)
Hollywood & Newport 1957-1958 (Fresh Sound, 1992)
Complete Studio Recordings (Gambit Spain, 2005)
With Hampton Hawes
All Night Session!, Vol 1-3 (Contemporary, 1956)
With the Modest Jazz Trio
Good Friday Blues (Disques Vogue, 1960)
With Helen Merrill
Something Special (Inner City, 1967)
A Shade of Difference (Milestone, 1968)
With James Moody
Great Day (Argo, 1963)
With Mark Murphy
That's How I Love the Blues! (Riverside, 1962)
With Greg Osby
The Invisible Hand (Blue Note, 2000)
With Sonny Rollins
The Bridge (Bluebird, 1962)
The Standard Sonny Rollins (RCA Victor, 1964)
Road Shows Vol. 2 (EmArcy, 2011)
With Lalo Schifrin
Piano, Strings and Bossa Nova (MGM, 1962)
With Sonny Stitt
Stitt Plays Bird (Atlantic, 1964)
With Bill Smith
Folk Jazz (Contemporary, 1959)
With Billy Taylor
Impromptu (Mercury, 1962)
With Ben Webster
Ben Webster at the Renaissance (Contemporary, 1960)
Emily
Jim Hall Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Emily, Emily, Emily
Has the murmuring sound of may
All silver bells, coral shells, carousels
And the laughter of children at play
Say Emily, Emily, Emily
And we fade to a marvelous view
Two lovers alone and out of sight
Seeing images in the firelight
As my eyes visualize a family
They see Emily, Emily
(and we fade to a marvelous view)
Two lovers alone and out of sight
Seeing images in the firelight
As my eyes visualize a family
They see Emily, Emily
Too
Has the murmuring sound of may
All silver bells, coral shells, carousels
And the laughter of children at play
Say Emily, Emily, Emily
And we fade to a marvelous view
Two lovers alone and out of sight
As my eyes visualize a family
They see Emily, Emily
(and we fade to a marvelous view)
Two lovers alone and out of sight
Seeing images in the firelight
As my eyes visualize a family
They see Emily, Emily
Too
The lyrics to Jim Hall's song Emily convey various themes throughout the verses. The first verse is a simple description of the sound and imagery that comes to mind when thinking of the name Emily, specifically the ideas of Spring, bells and laughter. The second verse takes a more abstract approach as the singer describes a wondrous and beautiful view that fades into the imagination, as if the mere mention of Emily had the power to bring them to this moment. The imagery of the second verse includes two lovers by a fire who envision a future family, and yet they also acknowledge the limitations of their perception with the repeated line "they see Emily, Emily, too". Here, the name or idea of Emily acts as a catalyst, a means of focusing or clarifying the scattered thoughts and desires of the singers.
The lyrics can be interpreted in various ways, but a common thread throughout is the idea of Emily as a symbol of hope or inspiration. She represents the joy of Spring, the promise of a loving family, and the focus that can bring meaning and beauty to a moment. In some ways, the song can be seen as a love letter to the poetic power of language and the human ability to create meaning through words and images.
Line by Line Meaning
Emily, Emily, Emily
The repeated use of Emily's name highlights her significance and draws attention to her presence.
Has the murmuring sound of may
Emily has a gentle and soft-spoken demeanor similar to the sound of springtime.
All silver bells, coral shells, carousels
Emily represents beauty and joy through the imagery of delicate objects and merry-go-rounds.
And the laughter of children at play
Emily embodies innocence and happiness as symbolized by the carefree giggles of youngsters.
Say Emily, Emily, Emily
Repeating her name once again reinforces the focus on Emily and suggests a desire for her attention.
And we fade to a marvelous view
By invoking Emily's name, we are transported to a wondrous and breathtaking scene.
Two lovers alone and out of sight
The vision that unfolds is that of a romantic encounter hidden away from prying eyes.
Seeing images in the firelight
Amid the flickering flames, the couple perceives images that arise from their own imaginations.
As my eyes visualize a family
The artist envisions a future together with Emily, imagining a loving and wholesome household.
They see Emily, Emily
The lovers share a mutual admiration for Emily, recognizing her as the center of the idyllic future they envision.
Too
The inclusion of this word could be interpreted in different ways, perhaps as an ironic or somber note to undercut the seemingly perfect scenario or as a way to emphasize the ongoing presence of Emily in their thoughts.
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: Ricky Ross, Scott Fraser, Pete Webb
Lyrics Licensed & Provided by LyricFind
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Turner D
This is simply beautifully therapeutic and I just immerse myself into the notes and allow my thoughts to drift away. Beautiful composition and paino work combined with some deft guitar work.
Martine Bourdeau
My kind of jazz. Thank you both. Wonderful. Thank you gentlemen!!!
David Eastlee
amazing intro by george. love jim's tone
javier Azmat
Pura belleza!
Swing Journal
This is my favorite Jim Hall album.
Richard Wallace
One of the great Mandel songs from the great movie, “The Americanization Of Emily,” with Julie Andrews and James Garner. Please watch the film!
Catherine
how beautiful .....Lovely Piano by George Shearing.. ..❤️❤️❤️
Anthony Montero
Amo... Bellisimo
Gene C
Pure taste ....
Kyung A Lee
위로가 필요할 때.. 찾게 되는 곡