Search - Jim Hall :: Grand Slam

Rewards close listening

Jan P. Dennis | Monument, CO USA | 06/15/2003

(5 out of 5 stars)

"A friend of mine once said, "Jazz is a lot more fun for the players than for the listeners." While I don't completely agree with this statement, there is a nugget of truth in it. Very sophisticated jazz--i.e., jazz that is played by giants--often comes couched in harmonic and rhythmic material that, unless one understands music theory, has big ears, or both, will be difficult to "get into." That is certainly true of this record: Each of these players is among the very best jazzmen out there, and they engage in some very sophisticated jazz.And it doesn't help that they start out with a tricky, prickly blues, "Slam," where the melody often gets obscured in the (albeit brilliant, at least to these ears) soloing of especially Joe Lovano. But if you put aside expectations of "pretty music," you will be rewarded, I believe, with some of the very finest of modern jazz conversation. Things get back to somewhat more familiar ground with the second tune, "Chelsea Rendezvous," a boppish Lovano tune that contains an attractive head and plenty of room for improvisation. Hall's solo is remarkable for its taste, structure, and tone. But when Lovano comes in for his turn, things really start to cook as he plays one of the more innovative solos I've heard by him. Nash, who in my view is one of the very best of the young drummers around (along with Brian Blade, Jeff Watts, Kenny Wollesen, Steve Arguelles, Ari Hoenig, Jeff Ballard, and Jim Black), lends marvelous support with brilliant coloration and deft fills."Border Crossing" begins with Lovano and Hall engaging in simply startling unison line playing. Lovano continues with a soprano solo marked by tricky bop lines and marvelous intonation on this difficult horn. Hall's solo is something else. Featuring lots of double stops (you can really see where Frisell got a lot of his moves) and combining--amazingly--both angular and legato playing at the same time, Hall displays complete mastery of his electric guitar. It also contains quite a nice bass solo by Mraz. Then again, it isn't the world's most accessible tune.That's left for the next cut, "Say Hello to Calypso," featuring the jaunty beat and melody of a typical Caribbean number. Hall, of course, has quite a history of playing this type of tune, which he was wont to do with aplomb during his association with Sonny Rollins. And there's a definite "St. Thomas" vibe going down here. If they'd really wanted to hook listeners, they'd've begun the record with this number. Besides a killer tenor solo by Lovano, sprinkled through with sly pop cultural quotes (e.g., a G.E. commercial ditty), I especially like the way Hall makes his electric guitar sound like steel drums. One might almost think Andy Narell is sitting in. Nash contributes an amazing short drum solo, and brilliant rhythm support throughout. I also especially like the Hall/Lovano unison outro."Blackwell's Message," a tribute to the late, great drummer Ed Blackwell, another brilliant Lovano composition, begins with about a minute's worth of very deep-delved New Orleans style drumming from Nash. Lovano comes in on clarinet (keeping up the Naw'leans vibe), followed by Hall, sounding appropriately spooky, and they engage in some more brilliant unison playing, followed by a very nifty, if somewhat esoteric, Hall solo. Lovano comes back for another turn with a very muscular solo (esp. since it's on alto clarinet), and Hall continues his esotericism (perfectly appropriate) until he switches over to more typical (though still quite idiosyncratic) comping. For sheer technical mastery, breadth of sonic palette, variety of musical approach, this is THE standout number. Moreover, it is probably some kind of shibboleth to separate those who love this music from those who merely tolerate it or even actively dislike it.Things get quite mellowed out on the next cut, "All Across the City," the title tune of one of Hall's many albums as leader. A slow ballad, it gives Hall a chance to explore his more lyrical side, and his solo has an almost Bill Evans-ish delicacy. Lovano's right on board with the mood and delivers an appropriately restrained solo (at least for him) but one still brimming with fertile ideas."Feel Free," one of those angular post-bop tunes that probably could've never been written or even conceived without the pioneering composition of Thelonius Monk, closes things in a rousing manner, containing in the middle simply stunning duo sections, first with Lovano and Nash, next with Hall and Mraz. I do have a confession to make: I didn't particularly like this record the first couple of times I heard it. I thought the recording was too bright, I struggled to discern the vibe, I felt Lovano and Hall weren't gelling--that they were playing past each other. But I gave it another chance, and now I'm convinced it's the real deal. I think most jazz fans, if they approach it with an open mind, will feel the same."

Feel free

Jan P. Dennis | 12/09/2002

(5 out of 5 stars)

"This is a stunning album. Pure art. All players do their thing and manage not to step on each others toes. Jim Hall shows that he will never stop advancing creatively. I can understand that this is not the most listenable record to a non-musician. If you are a jazz musician, this record will perk your ears and expand you mind."

A good recording of four jazz giants.

Douglas T Martin | Alpharetta, GA USA | 02/10/2001

(4 out of 5 stars)

"Jim Hall is a guitar legend and Joe Lovano is THE tenor sax player of the past 10 years. Together they lead Grand Slam with bassist George Mraz and drummer Lewis Nash. This is modern jazz without the commercial aftertaste - the players explore melody and meter, occasionally wandering off but never getting into noise-for-noise's-sake territory. In fact, during the sublime "All Across the City" I swear I can hear the pluck of Hall's guitar strings picked up by the overhead mics. Not that it's all mellow and quiet; "Calypso" is a jumping number that finds Mraz and Nash grooving for all they're worth and "Feel Free" puts Nash and Lovano in a fast paced duet. Lewis Nash really stands out on this recording - his ability to adapt to any style and to add his own unique touch reminds me of Billy Higgins or Edward Blackwell, who is memorialized in Lovano's "Blackwell's Message". George Mraz plays exactly what is needed for this ensemble; he'll vamp on a single note while someone else is soloing then toss in a clever lick while they're catching their breath. Lovano plays tenor, alto, soprano, and alto clarinet on this recording. Lovano's playing is amazing; his expertise in such a wide range of styles is like that of Joe Henderson. Although I know a lot about Jim Hall's reputation and place in jazz, I haven't heard that much of his music. Two of his students were Bill Frisell and Pat Metheny; listening to this recording I can hear where they must have been influenced by Hall's style. This is an intimate club gig, the feel of it is much like the recordings of Art Pepper at the Village Vangard. Recommended, especially to fans of Metheny, Frisell, Scofield, and Joe Henderson."