Army Times
Tom Scanlan : 05/18/1957

Jim Hall, a solo guitarist with a refreshing melodic sense who can remind you of Charlie Christian at times (like Christian, Hall leaves “holes” rather than cramming in meaningless runs) sits in with pianist Carl Perkins and bassman Red Mitchell on another album of standards.

Hall gained a certain amount of national attention for his work with the Chico Hamilton Quintet but his playing is much more impressive here than on any of the Hamilton records. This is only natural since this set has more of a session atmosphere and there was no tight, restricting arrangements to concentrate upon. Hall’s solos build. To appreciate his originality and drive, you have to hear him solo at length.

Tunes include several seldom heard any more such as Tangerine, Thanks for the Memory, This is Always and Jerome Kern‘s Look for the Silver Lining, which is taken up here (it’s a real finger-snapper).

Bassmen will want to listen closely to Mitchell, who is receiving rave notices from everyone these days and deservedly so. Perkins is one of those able one-handed pianists currently very popular with most jazz critics.

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Billboard : 05/13/1957
Score of 78

Tho he’s relatively new to the jazz scene, Hall‘s amazing dexterity, inventiveness and wide imagination have earned an ever-growing coterie of loyal followers. His guitar work is strongly reminiscent of Charlie Christian, and he wisely has chosen a good group of evergreens for his first album. Hall is ably abetted by Red Mitchell on bass and Carl Perkins on piano. Good cover here too. Will sell to many who made Hall’s acquaintance with the Chico Hamilton Quintet.

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San Bernardino County Sun
Jim Angelo : 09/28/1957

“If you don’t see what you want, ask for it” is excellent advice, especially for the record buyer. With some 150 new albums being released each week in the field of popular and jazz music, the Hi Fi fan is confronted with a perpetual dilemma: What to buy?

Well, if you dig modern small-combo jive, try Jazz Guitar: Jim Hall. Just about as close to perfection as you can get is this trio’s handling of ten oldies. Leader-guitarist Jim Hall, pianist Carl Perkins, and bassist Red Mitchell are all giants on their instruments. Their arrangements and solos swing masterfully as the group achieves an ultimate in communication. Unforgettable tracks are Stompin’ at the Savoy, Tangerine, and Deep in a Dream. One of the year’s best.

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San Francisco Examiner
C.H. Garrigues : 06/02/1957

Hall is the great jazz guitarist who appeared with the Lewis–Perkins group on the great … album a few months ago. This is his first album as leader; he is ably supported by Red Mitchell (who grows in stature with each album and is rapidly emerging as a top bassist) but would appear to better advantage in a slightly larger group where he can do the chores which are peculiarly his own. Nevertheless, if you do not have Grand Encounter get this – if you have a feeling for a very delicate, very understanding, modern guitar.

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Down Beat : 12/12/1957
Dom Cerulli : 4 stars

Jim Hall, a vital member of the Jimmy Giuffre 3, makes his debut as a group leader here, and a handsome one it is.

The collection, as Giuffre states in the notes, is loose and easy, with an “old blues” feeling. Jim is a sensitive and talented guitarist. His respect for the “old blues” feel comes through on Duke‘s Things.

Perkins comes through as a pulsing pianist, often exciting on his solo spots. Mitchell remains one of the consistently fine bassists on the scene.

The group achieves a quiet, almost subdued feeling throughout. Hall’s comping behind the other soloists is always tasty and interesting.

Listen to Things or Seven Come Eleven for the Hallmark of the group.

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Liner Notes by Jimmy Giuffre

It’s a fine thing for a musician to be allowed to record what he likes in the manner he sees fit. With such freedom, Jazz, a young art, can move ahead.

This album, Jim Hall’s first as a leader, is a good example of what can happen from the application of this philosophy. Here, Jim, a fine guitarist, has joined hands with Carl Perkins (piano) and Red Mitchell (bass). He has chosen to use a minimum of writing and a maximum of improvising. The trio gets an individual group sound as a result of each man’s approaching his instrument in an original manner.

In Jim’s playing, I find an exceptional technic combined with with the confidence to use or not use this technic in creating a mood, depending on the individual situation. The full, resonant quality of his guitar shows his devoted awareness to sound.

Carl is one of the “tastiest” pianists on the jazz scene today, and has a rare combination of drive and lightness that adds an indefinable touch to this record.

The bass has always been considered a restricted instrument, but Red’s approach and technic hurdle these restrictions with more than a little success, in fact, I quote Jim Hall as saying, “Red approaches the bass as though he’d never seen or heard another bassist play.” There are some incredible results from this, but, then “Incredible” is Red’s first, last, and middle name.

In writing or improvising, the musician mentally devises new treatments of his material, while using his feeling to make everything “come out natural.” There should be a balance between the two, but feeling should have the final say. And, it definitely has the final say with these three men, and the particular feeling can be traced to the “old blues.”

One more characteristic which is evident here is lyricism. The ideas are stated clearly, and each is given time to be absorbed before the next idea is presented. This helps make the music more understandable to the listener.

So, with the high quality of lyricism, and purity of feeling that this music achieves, you will certainly experience some delightful moods. And, after all, isn’t that what music’s all about?

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Jimmy Giuffre, one of the finest and foremost of what came to be jazz’ “West Coast School,” has always been identified with a warmly individualistic personal style of music, whether on tenor, baritone, more recently clarinet, or in his compositions. First reaching national attention as the composer of Four Brothers, he was prominent as a member of such star-laden organizations as the Woody Herman band, Lighthouse All-Stars, and Shorty Rogers‘ Giants; recently he has appeared as guest soloist with the Modern Jazz Quartet, against whose soft-voiced textures his unique subtonal clarinet style was exquisitely showcased. Mr. Giuffre is at present touring with his trio, featuring Jim Hall’s guitar and the bass of Ralph Peña.

Jim Hall was born December 4th, 1930, in New York, but soon moved to Ohio, where in due time he received his Bachelor of Music degree at the Cleveland Institute of Music. After this, he studied with Brenton Banks, whom he credits as a major influence on his musical thinking.

His strongest influences during his formative years with Django Reinhardt, Charlie Christian, and Barney Kessel on his instrument, however, he gives most credit to tenor players in recent years, especially Zoot Sims and Bill Perkins. His favorite jazz soloists are Tal Farlow, Jimmy Raney, Kessel, Milt Jackson, and Hampton Hawes.

Arriving in Los Angeles in February 1955, Jim undertook studies with Vincente Gomez and was almost immediately discovered by Chico Hamilton and hired as guitarist for his new Quintet. Through his association with Chico and the Quintet’s cross-country tours, Jim reached national prominence as one of the country’s most-heard new musicians.

A thoroughly rooted jazz musician, skilled, inventive technician, and warm, witty composer and arranger, Jim as at present with the Jimmy Giuffre trio.