Grand Slam: Live at the Regattabar, Cambridge Massachusetts [Live]

Grand Slam: Live at the Regattabar, Cambridge Massachusetts [Live]

ASIN: B00004Y6SG

Editorial Reviews
Amazon.com's Best of 2000
Since the 1960s, guitarist Jim Hall has played pivotal roles on myriad recordings as a sideman. It wasn't until his 1999 duet session with Pat Metheny, though, that Hall gained recognition outside the world of jazz cognoscenti. Grand Slam: Live at the Regattabar is a jazz classic, just four stellar musicians setting up and letting loose. Hall's guitar and Joe Lovano's saxes and clarinet hang in the air like picturesque cloud formations, moving with patience and passion and tugging the locked-in listener along wonderfully. --Andrew Bartlett

Amazon.com
They may be Cleveland's most distinguished jazz exports, but guitarist Jim Hall and saxophonist Joe Lovano share more than that. Hall is an almost laconic, lyric player who can generate intense drive based on subtle placement. Lovano often mixes a light, cool-school sonority with the most forceful lines, creating a style of his own that's as much Stan Getz as John Coltrane or Sonny Rollins. Throughout their careers, they've both been willing to take creative risks, too, "inside" players who can play "outside." There are dates with Ornette Coleman and Eric Dolphy in Hall's discography, and both are definitely on Lovano's list of influences. Hall and Lovano also bring some exalted listening skills to this live recording from Cambridge's Regattabar, as do bassist George Mraz and drummer Lewis Nash.

There are four tunes by Hall and three by Lovano. All their melodic gifts are apparent on the ballads "Chelsea Rendezvous" and "All Across the City." "Blackwell's Message," Lovano's tribute to the late drummer, finds new sonorities in the composer's grainy alto clarinet and Hall's sparse, bell-like solo. "Feel Free" is a blues that gets a very free treatment, with Lovano's alto hinting strongly at Coleman. Hall's "Border Crossing" has a swirling guitar-soprano unison that sets up multiple rhythmic implications and developed group dialogue. "Say Hello to Calypso" may inevitably recall Hall's days with Rollins, but it's the startling steelpan sound of his guitar that's most memorable. Hall and Lovano both have tremendous reputations, the kind that might allow lesser musicians to coast, but there's none of that here; just concentrated, joyous spontaneity by players willing to challenge themselves and one another. --Stuart Broomer

Tracks:

Slam
Chelsea Rendezvous
Border Crossing
Say Hello To Calypso
Blackwell's Message
All Across The City
Feel Free

Amazon.com's Best of 2000

Since the 1960s, guitarist Jim Hall has played pivotal roles on myriad recordings as a sideman. It wasn't until his 1999 duet session with Pat Metheny, though, that Hall gained recognition outside the world of jazz cognoscenti. Grand Slam: Live at the Regattabar is a jazz classic, just four stellar musicians setting up and letting loose. Hall's guitar and Joe Lovano's saxes and clarinet hang in the air like picturesque cloud formations, moving with patience and passion and tugging the locked-in listener along wonderfully. --Andrew Bartlett

Amazon.com

They may be Cleveland's most distinguished jazz exports, but guitarist Jim Hall and saxophonist Joe Lovano share more than that. Hall is an almost laconic, lyric player who can generate intense drive based on subtle placement. Lovano often mixes a light, cool-school sonority with the most forceful lines, creating a style of his own that's as much Stan Getz as John Coltrane or Sonny Rollins. Throughout their careers, they've both been willing to take creative risks, too, "inside" players who can play "outside." There are dates with Ornette Coleman and Eric Dolphy in Hall's discography, and both are definitely on Lovano's list of influences. Hall and Lovano also bring some exalted listening skills to this live recording from Cambridge's Regattabar, as do bassist George Mraz and drummer Lewis Nash.

Customer Reviews:

Not equal to the sum of its parts........2007-04-04

I bought this album several years ago expecting it to live up to its title. How could it not? I listened to it a few times, disappointed, and put it away for several years.
I recently was discussing Joe Lovano with a co-worker, and remembered this record, telling him that I didn't think it was that good. Tonight, I pulled it out and gave it another listen, hoping that maybe I had misunderstood it the first time. I am still unimpressed. Especially when holding it up to Lovano's work with John Scofield, or Hall's work with Desmond. The playing is subdued and uninspired. There is a lot of empty space on this record--to much for my taste. I think that a more modern player like Bill Frissell or Mick Goodrick would have been better in this context. Having said that, Hall's use of electronic effects doesn't really do anything for his playing. It isn't a bad record, but it just doesn't quite come together.

Rewards close listening.......2003-06-15

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.......2002-12-09

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........2001-02-10

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.

This is not a Jim Hall record........2000-12-19

This is not a Jim Hall record. This is a Joe Lovano record. If you plan to buy this record because of Jim Hall, rather buy two other records of him (if you do not own them already): the formidable Concierto and the equally stunning record with the simple name Jim Hall & Pat Metheny. But if you plan to buy Grand Slam - Live at the Regatta Bar because of Joe Lovano, rather buy his most recent record 52nd Street Themes, or his From the Soul if you like the straightforward sound of a small group record, or Rush Hour, if you like the more complex sound of a big band. In Grand Slam Lovano occupies the bulk of the time for his solos, one has to wonder why Jim Hall's name is mentioned first, it can only be because he is the first in the alphabet. But it is also his record company. This record got lots of excellent reviews (including being listed amongst the fifteen "Les chocs de l'année 2000" by the French magazine Jazzman), but there are much better choices, for Jim Hall, for Joe Lovano, and for recently released records from other jazz musicians.

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