by Richard S. Ginell
Now this is really different. Without dropping his electric and acoustic guitars for a minute, Jim Hall reaches back to his early classical studies and joins the Third Stream. The result is an absorbing set of seven Hall compositions that reveal a hitherto unseen, serious, sometimes whimsical side of a musician we all thought we had pegged. A lot of this is rooted in 1950s classical/jazz fusions from Stan Kenton to Gunther Schuller, yet Hall thankfully makes even the most cerebral passages sound attractive, thanks in part to the delicate, still-soft timbres of his electric guitar. Each piece is quite different from that of its neighbor; two (&Fanfare,& &Reflections&) have surprisingly dense and dissonant writing for a brass septet, another (&Quadrologue&) uses pizzicato strings plunking acerbically over a repeated ostinato, still another is an informal &Passacaglia& with isolated interludes for solo classical guitar. The splendidly nostalgic &Sazanami,& with steel drum tappings over a Caribbean shaker rhythm, is the closest thing to a strictly jazz-oriented groove on the CD, and a mock &Circus Dance& for oompah-ing brass adds a touch of droll and morose humor at the end of the program. Probably the most original piece is &Ragman,& with its contemporary string writing, Middle Eastern flavor, and Joe Lovano rattling around the percussive rhythms on soprano sax. Signing with Telarc -- allegedly a safe refuge for aging jazz stars -- seems to have brought out the daring explorer in Hall in this and his previous release, Dialogues. More power to him.