Jim Hall has been an influential jazz guitarist since he gained prominence in the world of jazz in the 1950s.  He has significantly influenced both traditional and contemporary jazz guitarists of the last 30 years but has particularly influenced the leading contemporary jazz guitarists of the last 25 years.  Many stylistic characteristics of Hall’s can be found in the playing of Mick Goodrick, Pat Metheny, John Scofield, John Abercrombie, Bill Frisell, and Mike Stern.  These stylistic characteristics evidence Hall’s influence on these players styles and approach to the guitar.
     I identified Hall’s influential stylistic characteristics by transcribing five of his solos over standard song forms and analyzing them, identifying his trademark ideas.  Once the characteristics of Hall’s style were identified, I then demonstrated Hall’s influence on the playing styles of the aforementioned list of guitarists. This was done by transcribing one solo from each of them and analyzing the solo, identifying traits of the player’s style that have been significantly influenced by Jim Hall.  This series will give the many students, players, and educators interested in these players’ styles a unique insight into the foundation upon which their improvisational concept is based on.  It will also show the important connection that Hall has to these players as well as the connection they have to each other.

Stylistic Characteristics of Jim Hall
Following is a list of the major stylistic characteristics evident in the solo phrases of Hall presented in this article.  These characteristics will also be the criteria that will be used to show Hall’s influence on the solos of Mick Goodrick, John Abercrombie, Pat Metheny, John Scofield, Bill Frisell, and Mike Stern.

1. Use of space:  Hall leaves a lot of space in his solos in unexpected places and at unpredictable points where a phrase would otherwise be expected to continue or a new phrase begin. 

2. Playing over the bar line: Many of Hall’s melodic lines are rhythmically displaced to cross the bar line instead of ending phrases within the bar or playing phrases that are rhythmically even within four bar phrases. 

3. Motivic development: Hall develops melodic motives in his solos sometimes over an entire chorus or solo.  These motives are often short simple phrases that are played throughout the solo and developed by transposing the motive melodically and intervallically over the changing harmony. 

4. Sonic shapes (harmonic or melodic): The use of a fingering shape on the guitar (chord form-harmonic, or single note line pattern-melodic) that is moved around on the guitar, while keeping the sonic shape constant to achieve a modern intervallic and harmonic sound. 

5. Harmonic 4ths:  The use of the harmonic interval of a perfect 4th played in a "double stop" to achieve a harmonically ambiguous chord-like sound.

6. Angular intervallic lines: Melodic lines that contain large intervallic skips that produce an angular shape to the phrase. 

7. Melodic pedal point: The use of ascending or descending melodic intervals played over a constant pedal note continuing to sound as harmonies change in the other voices. 

8. Chromaticism: Extensive use of chromatic melodic lines in soloing.

9. Sawtooth lines: Ascending or descending melodic lines containing intervallic skips that give the melodic line a sawtooth shape. 

10. Legato playing: Hall’s technique is very legato.  He achieves this legato sound by making extensive use of hammer-ons, pull-offs, slides, and pick sweeps. 

Discography
Hall, Jim  Jim Hall’s Three.   CJ-289 Concord Jazz  All the Things You Are-Hall
Hall, Jim All Across the City.  CJ-384.  Concord Jazz Bemsha Swing-Hall
Hall, Jim Concierto.  ZK-40807-2. Creed Taylor. You’d be So Nice to Come Home To-Hall
Swartz Harvie.  Arrival.  63174-2. Novus  Like Someone in Love-Goodrick, Abercrombie
Metheny, Pat  Question and Answer. MCA-24293.  Geffen Records.  All the Things You Are ­Metheny
Scofield, John  Flat Out.  79400.  Gramavision.  All the Things You Are-Scofield.
Motion, Paul.  On Broadway Vol. 2.  834-440. Polygram.  All the Things You Are ­Frisell.
Stern, Mike Standards, and Other Songs.  ATL-82419.  Atlantic Jazz Like Someone in Love-Stern.

Guitarist Tim Cummiskey performs both as a leader and sideman throughout Central Ohio.  Tim is also a member of the Jazz Studies faculty at The Ohio State University and the Music faculty of Kenyon College.  Tim can be reached via e-mail at tcummiskey@cojazz.com.  Please visit Tim’s website at www.tc7string.com

Just Jazz Guitar ­ May 2001