Dave Holland is an English jazz double bassist and bandleader, performing and recording for five decades. He has lived in the United States for over 40 years, his work ranges from pieces for solo performance to big band. Holland runs his own independent record label, Dare2, which he launched in 2005, he has explained his musical philosophy by quoting fellow jazz artist Sam Rivers: "Sam said,'Don't leave anything out – play all of it.'" Holland has played with some of the greatest names in jazz, has participated in several classic recording sessions. Born in Wolverhampton, Holland taught himself how to play stringed instruments, beginning at four on the ukulele graduating to guitar and bass guitar, he quit school at the age of 15 to pursue his profession in a top 40 band, but soon gravitated to jazz. After seeing an issue of Down Beat where Ray Brown had won the critics' poll for best bass player, Holland went to a record store, bought a couple of LPs featuring Brown backing pianist Oscar Peterson.
He bought two Leroy Vinnegar albums because the bassist was posed with his instrument on the cover. Within a week, Holland traded in his bass guitar for an acoustic bass and began practicing with the records. In addition to Brown and Vinnegar, Holland was drawn to the bassists Charles Mingus and Jimmy Garrison. After moving to London in 1964, Holland played acoustic bass in small venues and studied with James Edward Merrett, principal bassist of the Philharmonia Orchestra and the BBC Symphony Orchestra. Merrett trained him to sight read and recommended he apply to the Guildhall School of Music and Drama. Holland received a full-time scholarship for the three-year programme. At 20, Holland was keeping a busy schedule in school and Ronnie Scott's Jazz Club, London's premier jazz club, where he played in bands that supported such touring American jazz saxophonists as Coleman Hawkins, Ben Webster and Joe Henderson, he linked up with other British jazz musicians, including guitarist John McLaughlin, saxophonist Evan Parker, reedsman John Surman, South Africa-born London-based pianist Chris McGregor, drummer John Stevens, performed on the Spontaneous Music Ensemble's 1968 album Karyobin.
He began a working relationship with Canada-born, England-based trumpeter Kenny Wheeler that continued until Wheeler's death in 2014. In 1968, Miles Davis and Philly Joe Jones heard him at Ronnie Scott's Jazz Club, playing in a combo that opened for the Bill Evans Trio. Jones told Holland. Davis left the UK before Holland could contact him directly, two weeks Holland was given three days' notice to fly to New York for an engagement at Count Basie's nightclub, he arrived the night before, staying with a previous acquaintance. The following day Herbie Hancock took him to the club, his two years with Davis began; this was Hancock's last gig as Davis's pianist, as he left afterwards for a honeymoon in Brazil and was replaced by Chick Corea when he could not return for an engagement due to illness. Holland's first recordings with Davis were in September 1968, he appears on half of the album Filles de Kilimanjaro. Holland was a member of Davis's rhythm section through the summer of 1970. All three of his studio recordings with Davis were important in the evolution of jazz fusion.
In the first year of his tenure with Davis, Holland played upright bass. By the end of 1969, he played electric bass guitar with greater frequency as Davis moved away from acoustic jazz. Holland was a member of Davis's working group during this time, unlike many of the musicians who appeared only on the trumpeter's studio recordings; the so-called "lost quintet" of Davis, Corea, Holland and DeJohnette was active in 1969 but never made any studio recordings as a quintet. A 1970 live recording of this group plus percussionist Airto Moreira, Live at the Fillmore East, March 7, 1970: It's About That Time, was issued in 2001. Steve Grossman replaced Shorter in early 1970. By the end of the summer and blues bass guitarist Michael Henderson had replaced Holland. After leaving Davis's group, Holland joined the avant-garde jazz group Circle, with Corea, Barry Altschul and reed player Anthony Braxton; this started a decades-long association with the ECM record label. After recording a few albums, Circle disbanded.
1972 saw the recording of Conference of the Birds, with Sam Rivers and Braxton – Holland's first recording as a leader, the beginning of a long musical relationship with Rivers. The title of the album is taken from that of a 4,500-line epic poem by Persian Sufist writer, Farid al-Din Attar. Holland worked as a sideman with many other jazz artists in the 1970s. On June 15, 1972 he played with Thelonious Monk at the Village Vanguard, one of Monk's last concerts. Holland recorded several important albums with Anthony Braxton between 1972 and 1976 – including New York, Fall 1974 and Five Pieces – that were released on Arista Records. Holland recorded duo sessions with saxophonist Sam Rivers and fellow bassist Barre Phillips, the solo bass album Emerald Tears. In the 1970s he appeared with performers including Stan Getz and the Gateway Trio with John Abercrombie and DeJohnette; the Gateway trio released two influential modern jazz albums in 1975 and 1977, reformed in
Verses is the debut album by American jazz trumpeter Wallace Roney, recorded in 1987 and released on the Muse label. The AllMusic review by Scott Yanow stated, "The music is advanced hard bop, with Roney as usual sounding a bit tonewise like his hero Miles Davis". "Float" − 5:43 "Verses" − 9:37 "Blue in Green" − 5:39 "Topaz" − 5:37 "Lawra" − 6:36 "Slaves" − 12:18 Wallace Roney − trumpet Gary Thomas − tenor saxophone Mulgrew Miller − piano Charnett Moffett − bass Tony Williams − drums
Samuel Carthorne Rivers was an American jazz musician and composer. He performed on soprano and tenor saxophones, bass clarinet, flute and piano. Active in jazz since the early 1950s, he earned wider attention during the mid-1960s spread of free jazz. With a thorough command of music theory and composition, Rivers was an influential and prominent artist in jazz music. Rivers was born in Oklahoma, his father was a gospel musician who had sung with the Fisk Jubilee Singers and the Silverstone Quartet, exposing Rivers to music from an early age. His grandfather was a religious leader from Kentucky. Rivers was stationed in California in the 1940s during a stint in the Navy. Here he performed semi-regularly with blues singer Jimmy Witherspoon. Rivers moved to Boston, Massachusetts in 1947, where he studied at the Boston Conservatory with Alan Hovhaness, he performed with Herb Pomeroy, Tadd Dameron and others. In 1959 Rivers began performing with 13-year-old drummer Tony Williams. Rivers was a member of the Miles Davis Quintet in 1964 on Williams's recommendation.
This edition of the quintet released a single live album, Miles in Tokyo, from a show recorded on July 14 at Kohseinenkin Hall. Rivers' tenure with the quintet was brief: he had engagements in Boston, his playing style was too avant-garde for Davis during this period. Rivers was signed by Blue Note Records, for whom he recorded four albums as leader and made several sideman appearances. Among noted sidemen on his own Blue Note albums were Jaki Byard, who appears on Fuchsia Swing Song, Herbie Hancock and Freddie Hubbard, he appeared on Blue Note recordings by Andrew Hill and Larry Young. Rivers derived his music from bebop; the first of his Blue Note albums, Fuchsia Swing Song, adopts an approach sometimes called "inside-outside". Here the performer obliterates the explicit harmonic framework but retains a hidden link so as to be able to return to it in a seamless fashion. Rivers brought the conceptual tools of bebop harmony to a new level in this process, united at all times with the ability to "tell a story", which Lester Young had laid down as a benchmark for the jazz improviser.
His powers as a composer were in evidence in this period: the ballad "Beatrice" from Fuchsia Swing Song has become an important standard for tenor saxophonists. For instance, it is the first cut on Joe Henderson's 1985 The State of the Tenor, Vols. 1 & 2, Stan Getz recorded it during the 1989 sessions issued as Bossas & Ballads – The Lost Sessions. During the 1970s, Rivers and his wife, ran a jazz loft called "Studio Rivbea" in New York City's NoHo district, it was located on Bond Street in Lower Manhattan and was opened as a public performance space as part of the first New York Musicians Festival in 1970. Critic John Litweiler has written that "In New York Loft Jazz meant Free Jazz in the Seventies" and Studio Rivbea was "the most famous of the lofts"; the loft was important in the development of jazz because it was an example of artists creating their own performance spaces and taking responsibility for presenting music to the public. This allowed for music to be free of extra-musical concerns that would be present in a nightclub or concert hall situation.
A series of recordings made at the loft were issued under the title Wildflowers on the Douglas label. Rivers was recruited by Clifford Thornton to lead a student world-music/free-jazz ensemble at Wesleyan University in 1971. During this era Rivers continued to record, including several albums for Impulse!: Streams, recorded live at Montreux, the quartet album Sizzle and his first big-band disc, Crystals. In the early 1990s Sam and wife Beatrice moved to Florida, in part to expand his orchestra compositions with a reading band in Orlando; this band became the longest-running incarnation of the RivBea Orchestra. He performed with his Orchestra and Trio with bassist Doug Mathews and drummer Anthony Cole From 1996 to 1998 he toured and recorded three projects for Nato Records in France with pianist Tony Hymas and others. In 1998, with the assistance of Steve Coleman, he recorded two Grammy-nominated big-band albums for RCA Victor with the RivBea All-Star Orchestra and Inspiration. Other late albums of note include Portrait, a solo recording for FMP, Vista, a trio with drummers Adam Rudolph and Harris Eisenstadt for Meta.
During the late 1990s he appeared on several albums on Postcards Records. In 2006, he released Aurora, a third CD featuring compositions for his Rivbea Orchestra and the first CD featuring members of his working orchestra in Orlando. Rivers died from pneumonia on December 26, 2011 at the age of 88 in Florida. 1964: Fuchsia Swing Song 1965: Contours 1966: A New Conception 1967: Dimensions & Extensions 1973: Streams 1971-73: Hues 1974: Crystals 1976: Sizzle 1976: The Tuba Trio Vols. 1-3 1976: Jazz of the 70's 1976: The Quest 1976: Black Africa! Villalago 1976: Black Africa! Perugia 1977: Paragon 1978: Waves 1979: Contrasts 1981: Crosscur
The saxophone is a family of woodwind instruments. Saxophones are made of brass and played with a single-reed mouthpiece similar to that of the clarinet. Although most saxophones are made from brass, they are categorized as woodwind instruments, because sound is produced by an oscillating reed, traditionally made out of woody cane, rather than lips vibrating in a mouthpiece cup as with the brass instrument family; as with the other woodwinds, the pitch of the note being played is controlled by covering holes in the body tube to control the resonant frequency of the air column by changing the effective length of the tube. The saxophone is used in classical music, military bands, marching bands and contemporary music; the saxophone is used as a solo and melody instrument or as a member of a horn section in some styles of rock and roll and popular music. Saxophone players are called saxophonists. Since the first saxophone was invented by the Belgian instrument maker Adolphe Sax in the early 1840s, saxophones have been produced in a variety of series distinguished by transpositions within instrument sets and tuning standard.
Sax patented the saxophone on June 1846, in two groups of seven instruments each. Each series consisted in alternating transposition; the series pitched in B♭ and E♭ soon became dominant and most saxophones encountered today are from this series. Instruments from the series pitched in C and F never gained a foothold and constituted only a small percentage of instruments made by Sax. High Pitch saxophones tuned sharper than the A = 440 Hz standard were produced into the early twentieth century for sonic qualities suited for outdoor uses, but are not playable to modern tuning and are considered obsolete. Low Pitch saxophones are equivalent in tuning to modern instruments. C soprano and C melody saxophones were produced for the casual market as parlor instruments during the early twentieth century. Saxophones in F never gained acceptance; the modern saxophone family consists of instruments in the B♭ - E♭ series and experimental instruments notwithstanding. The saxophones with widest use and availability are the sopranos, altos and baritones.
In the keyed ranges of the various saxophones, the pitch is controlled by keys with shallow cups in which are fastened leather pads that seal toneholes, controlling the resonant length, thereby frequency, of the air column within the body tube. Small holes called vents, located between the toneholes and the mouthpiece, are opened by an octave key to raise the pitch by eliminating the fundamental frequency, leaving the first harmonic as the frequency defining the pitch. Most modern saxophones are keyed to produce a low B♭ with all keys closed; the highest keyed note has traditionally been F two and a half octaves above low B♭, while the keyed range is extended to F♯ on most recent performance-class instruments. A high G key is most common on modern soprano saxophones. Notes above F are considered part of the altissimo register of any saxophone, can be produced using advanced embouchure techniques and fingering combinations. Keywork facilitating altissimo playing is a feature of modern saxophones.
Modern saxophone players have extended the range to over four octaves on alto. Music for most saxophones is notated using treble clef; because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, many do so. Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature; this process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for baritone horn, euphonium, string bass, trombone, or tuba. This can be useful if a orchestra lacks one of those instruments; the straight soprano and sopranino saxophones consist of a straight conical tube with a flared bell at the end opposite the mouthpiece. The interior of the tube is called the bore. Alto and larger saxophones include a detachable curved neck above the highest tone hole, directing the mouthpiece to the player's mouth and, with rare exceptions, a U-shaped bow that directs the bell upward and a curve in the throat of the bell directing it forward.
The set of curves near the bell has become a distinctive feature of the saxophone family, to the extent that soprano and sopranino saxes are sometimes made in the curved style. The baritone and contrabass saxophones accommodate the length of the bore with extra bows and right-angle bends between the main body and the mouthpiece; the left hand operates keys from the upper part of the body tube while the right hand operates keys from the lower part. The right thumb sits under a thumb hook and left thumb is placed on a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument; the left thumb operates the octave key. With soprano and smaller saxophones weight tends to be borne by the right thumb while a neckstrap provides security for the instrument. Keys consist of the cups, and
Patrick Bruce Metheny is an American jazz guitarist and composer. He is the leader of the Pat Metheny Group and is involved in duets, solo works, other side projects, his style incorporates elements of progressive and contemporary jazz, Latin jazz, jazz fusion. Metheny has three gold albums and 20 Grammy Awards and is the only person to win Grammys in 10 categories, he is the brother of jazz flugelhornist Mike Metheny. Metheny was born in Missouri, his father Dave played trumpet, his mother Lois sang, his maternal grandfather Delmar was a professional trumpeter. Metheny's first instrument was trumpet, which he was taught by Mike, his brother and grandfather played trios together at home. His parents were fans of swing music, they took Metheny to concerts to hear Clark Terry and Doc Severinsen, but they had little respect for guitar. Metheny's interest in guitar increased around 1964 when he saw the Beatles perform on TV. For his 12th birthday, his parents allowed him to buy a guitar, a Gibson ES-140 3/4.
Metheny's life changed after hearing More by Miles Davis. Soon after, he was captivated by Wes Montgomery's album Smokin' at the Half Note, released in 1965, he cites the Beatles, Miles Davis, Wes Montgomery as having the biggest impact on his music. When he was 15, he won a scholarship from Down Beat magazine to a one-week jazz camp where he was mentored by guitarist Attila Zoller, who invited Metheny to New York City to see guitarist Jim Hall and bassist Ron Carter. While playing at a club in Kansas City, he was approached by Bill Lee, a dean at the University of Miami, offered a scholarship. After less than a week at college, Metheny realized that playing guitar all day during his teens had left him unprepared for classes, he admitted this to Lee, who offered him a job to teach instead, as the school had introduced electric guitar as a course of study. He moved to Boston to teach at the Berklee College of Music with jazz vibraphonist Gary Burton and established a reputation as a prodigy. In 1974 he appeared on an album unofficially titled Jaco with pianist Paul Bley, bassist Jaco Pastorius, drummer Bruce Ditmas for Carol Goss's Improvising Artists label.
But he was unaware. During the next year, he joined Gary Burton's band with guitarist Mick Goodrick. Metheny released his debut album, Bright Size Life with Jaco Pastorius on bass guitar and Bob Moses on drums, his next album, was the first time he recorded with pianist Lyle Mays, who became his most frequent collaborator. The album featured Danny Gottlieb, who became the drummer for the first version of the Pat Metheny Group. With Metheny and Gottlieb, the fourth member was bassist Mark Egan when the album Pat Metheny Group was released; when Pat Metheny Group was released, the Group was a quartet comprising, besides Metheny, Danny Gottlieb on drums, Mark Egan on bass, Lyle Mays on piano and synthesizer. All but Egan had played on Metheny's album Watercolors, recorded a year before the first Group album; the second Group album, American Garage, reached number 1 on the Billboard Jazz chart and crossed over onto the pop charts. From 1982 to 1985, the Pat Metheny Group released Offramp, a live album, First Circle, The Falcon and the Snowman, a soundtrack album for the movie of the same name in which they collaborated on the single "This Is Not America" with David Bowie.
The song reached number 14 in the British Top 40 in 1985 and number 32 in the U. S. Offramp marked the first appearance of bassist Steve Rodby and a Brazilian guest artist, Nana Vasconcelos, on percussion and wordless vocals. On First Circle, Argentinian singer and multi-instrumentalist Pedro Aznar joined the group as drummer Paul Wertico replaced Gottlieb. Both Rodby and Wertico were members of the Simon and Bard Group at the time and had played in Simon-Bard in Chicago before joining Metheny. First Circle was Metheny's last album with ECM. Still Life featured new Group members trumpeter Mark Ledford, vocalist David Blamires, percussionist Armando Marçal. Aznar returned for vocals and guitar on Letter from Home. During this period the Steppenwolf Theater Company of Chicago featured compositions by Metheny and Mays for their production of Lyle Kessler's play Orphans, where it has remained special optional music for all productions of the play around the world since. Metheny again delved into solo and band projects, four years went by before the release of the next Group record, a live album titled The Road to You, which featured tracks from the two Geffen studio albums among new tunes.
The group integrated new instrumentation and technologies into its work, notably Mays' use of synthesizers. Metheny and Mays themselves refer to the next three Pat Metheny Group releases as a triptych: We Live Here and Imaginary Day. Moving away from the Latin style which had dominated the releases of the previous ten years, these albums included experiments with sequenced synthetic drums on one track, free-form improvisation on acoustic instruments, symphonic signatures and sonata schemes. With Speaking of Now, new Group members were added: drummer Antonio Sánchez from Mexico City, trumpeter Cuong Vu from Vietnam, bassist, vocalist and percussionist Richard Bona from Cameroon; the Way Up consists of one 68-minute-lo
John McLaughlin (musician)
John McLaughlin known as Mahavishnu John McLaughlin, is an English guitarist and composer. His music includes many genres of jazz, combined with elements of rock, Indian classical music, Western classical music and blues, he is one of the pioneering figures in fusion. After contributing to several key British groups of the early 1960s, McLaughlin made Extrapolation, his first album as a bandleader, in 1969, he moved to the U. S. where he played with Tony Williams's group Lifetime and with Miles Davis on his electric jazz-fusion albums In a Silent Way, Bitches Brew, Jack Johnson, On the Corner. His 1970s electric band, the Mahavishnu Orchestra, performed a technically virtuosic and complex style of music that fused electric jazz and rock with Indian influences. McLaughlin's solo on "Miles Beyond" from his album Live at Ronnie Scott's won the 2018 Grammy Award for the Best Improvised Jazz Solo, he has been awarded multiple "Guitarist of the Year" and "Best Jazz Guitarist" awards from magazines such as DownBeat and Guitar Player based on reader polls.
In 2003, he was ranked 49th in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time". In 2009, DownBeat included McLaughlin in its unranked list of "75 Great Guitarists", in the "Modern Jazz Maestros" category. In 2012, Guitar World magazine ranked him 63rd on its top 100 list. In 2010, Jeff Beck called McLaughlin "the best guitarist alive," and Pat Metheny has described him as the world's greatest guitarist. John McLaughlin was born on 4 January 1942 to a family of musicians in Doncaster, South Yorkshire, England. McLaughlin studied violin and piano as a child and took up the guitar at the age of 11, exploring styles from flamenco to the jazz of Django Reinhardt and Stéphane Grappelli, he moved to London from Yorkshire in the early 1960s, playing with Alexis Korner and the Marzipan Twisters before moving on to Georgie Fame and the Blue Flames, the Graham Bond Organisation and Brian Auger. During the 1960s, he supported himself with session work, which he found unsatisfying but which enhanced his playing and sight-reading.
He gave guitar lessons to Jimmy Page. In 1963, Jack Bruce formed the Graham Bond Quartet with Ginger Baker and John McLaughlin, they played an eclectic range of music genres, including bebop and rhythm and blues. In January 1969, McLaughlin recorded his debut album Extrapolation in London, it prominently features Tony Oxley on drums. McLaughlin composed the number ‘Binky’s Beam’ as a tribute to his friend, the innovative bass player Binky McKenzie; the album's post-bop style is quite different than McLaughlin's fusion works, though it developed a strong reputation among critics by the mid-1970s. McLaughlin moved to the U. S. in 1969 to join Tony Williams' group Lifetime. A recording from the Record Plant, NYC, dated 25 March 1969, exists of McLaughlin jamming with Jimi Hendrix. McLaughlin recollects "we played one night, just a jam session, and we played from 2 in the morning. I thought it was a wonderful experience! I was playing an acoustic guitar with a pick-up. Um, flat-top guitar, Jimi was playing an electric.
Yeah, what a lovely time! Had he lived today, you'd find that he would be employing everything he could get his hands on, I mean acoustic guitar, orchestras, anything he could get his hands on he'd use!" He played on Miles Davis' albums In A Silent Way, Bitches Brew, Live-Evil, On the Corner, Big Fun and A Tribute to Jack Johnson. In the liner notes to Jack Johnson, Davis called McLaughlin's playing "far in". McLaughlin returned to the Davis band for one night of a week-long club date and released as part of the album Live-Evil and of the Cellar Door boxed set, his reputation as a "first-call" session player grew, resulting in recordings as a sideman with Miroslav Vitous, Larry Coryell, Joe Farrell, Wayne Shorter, Carla Bley, the Rolling Stones, others. He recorded Devotion in early 1970 on Douglas Records, a high-energy, psychedelic fusion album that featured Larry Young on organ, Billy Rich on bass and the R&B drummer Buddy Miles. Devotion was the first of two albums. In 1971 he released My Goal's Beyond in a collection of unamplified acoustic works.
Side A offers a fusion blend of jazz and Indian classical forms, while side B features melodic acoustic playing McLaughlin on such standards as "Goodbye Pork Pie Hat", by Charles Mingus whom McLaughlin considered an important influence. My Goal's Beyond was inspired by McLaughlin's decision to follow the Indian spiritual leader Sri Chinmoy, to whom he had been introduced in 1970 by Larry Coryell's manager; the album was dedicated with one of the Guru's poems printed on the liner notes. It was on this album that McLaughlin took the name "Mahavishnu". In 1973 McLaughlin collaborated with Carlos Santana a disciple of Sri Chinmoy, on an album of devotional songs, Love Devotion Surrender, which featured recordings of Coltrane compositions including a movement of A Love Supreme. McLaughlin has worked with the jazz composers Carla Bley and Gil Evans. In 1979 he formed a short-lived funk fusion power trio named Trio of Doom with drummer Tony Williams and bassist Jaco Pastorius, their only live performance was on 3 March 1979 at the Havana Jam Festival in Cuba, part of a US State Department sponsored visit to Cuba.
On 8 March 1979 the group recorded the songs they had written for the festival at Columbia Studios, New York, on 52nd Street. Recollections from this per
Jim Hall (musician)
James Stanley Hall was an American jazz guitarist and arranger. Premier Guitar magazine stated that "It could be argued that the jazz guitar tree is rooted in four names: Django, Charlie and Jim ". Born in Buffalo, New York, before moving to Cleveland, Hall was from a musical family, his mother played the piano, his grandfather violin, his uncle guitar, he began playing the guitar at age ten when his mother gave him an instrument as a Christmas present. At 13 he heard Charlie Christian play on a Benny Goodman record, which he calls his "spiritual awakening"; as a teenager in Cleveland, he performed professionally, took up the double bass. Hall's major influences since childhood were tenor saxophonists Coleman Hawkins, Lester Young, Paul Gonsalves, Lucky Thompson. While he copied out solos by Charlie Christian, Barney Kessel, it was horn players from whom he took the lead. In 1955, Hall attended the Cleveland Institute of Music where he majored in composition, studying piano and bass in addition to theory.
About a year he moved to Los Angeles, where cool jazz was prominent at the time. He studied classical guitar with Vincente Gomez, from 1955 to 1956, played in Chico Hamilton's quintet, it was at this time. 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. 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 was an arranger and composer as much as a performer, known for developing motifs 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 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 record all over the world, his sidemen included drummers Bill Andy Watson. At times, Hall included Greg Osby 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 featured Pat Metheny and John Scofield. After this, he played a number of duo concerts with Metheny. In 1994, Hall recorded a solo album. Furthermore, in 1996, he returned to Europe to lead a quartet with Joe Lovano. In 1995, Hall was awarded an Honorary Doctorate of Music from Berklee College of Music.
In 1997, Hall received the New York Jazz Critics Award for Best Jazz Composer/Arranger. His pieces for string 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, 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 2006, on behalf of the French Minister of Culture, Kareen Rispal, Cultural Counselor of the Embassy of France, bestowed Hall with the honor of Chevalier dans l'ordre des Arts et des Lettres, saying, in part, "We honor you, Jim Hall, for expanding the musical universe, for your innovations and contributions to musical expression.
We salute your ongoing experimentation, known countless times to bring people around the world together." In November 2008 the double album Hemispheres was released through ArtistShare, featuring fellow guitarist and former student Bill Frisell with Scott Colley, Joey Baron and produced by Brian Camelio. Hall married Jane Herbert who took his name on a songwriter and psychoanalyst. 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 entitled Conversations. 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 Manhattan, New York apartment on December 10, 2013, six days after his 83rd birthday. Hall's musical style develops with every new 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 discove