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Jim Halls Comping on The Days of Wine and Roses

By Tim Fischer

Many guitarists find themselves at a loss when first asked to take on the role of the sole harmonic instrument
in a small jazz combo. Often times, jazz guitarists develop their comping as members of a big band rhythm
section, where three-note chord voicings with the root in the bass and four quarter notes to the bar are stockin-trade. This traditional style of rhythm guitar does not always transition well into the small jazz combo, and
many guitarists without small group combo experience are left with questions about voicings, rhythms, and balancing silence with interaction. Mastering accompaniment, like improvisation, is a life-long process and is best
developed by studying the recordings and transcriptions of the master musicians. In this article, we will study
guitar comping in the rhythm section by looking at Jim Halls accompaniment behind Art Farmers solo on the
standard The Days of Wine and Roses, from Farmers 1963 album Interaction.
Jim Hall helped popularize the use of the guitar as a valid replacement for the piano in the rhythm section
through his sideman work with such high-profile artists as Sonny Rollins, Art Farmer, Paul Desmond, Chico
Hamilton, and Jimmy Guiffre during the 50s and 60s. Often cited as the father of modern jazz guitar, Halls
accompaniment style in each one of the aforementioned artists recordings details how Hall adapted to the musical demands of each situation. As the album title states, the Art Farmer quartet of 1963 and 1964 was based on
active interaction between its members, which also included Steve Swallow on upright bass and Walter Perkins
on drums. In a performance on Ralph J. Gleasons television series, Jazz Casual, the host asked Farmer about
his decision to use guitar instead of piano in the rhythm section.

Gleason: I also noticed, quite obviously, that there is no piano in the group. Why is this?


Farmer: For two reasons. The first and most important reason is that when you have a guitarist of the

caliber of Jim Hall you really dont need a piano...
Farmers praise of Hall suggests he was one of the few guitarists at that time who had successfully adapted the
bop-influenced piano comping style for the specifics of the instrument. By examining Halls comping texture,
voicing types, and specialized techniques in the transcription, the reader can develop a stronger understanding
of the skills and vocabulary necessary when comping in the small group.
Comping Texture
Halls use of the traditional style of four to the bar rhythm guitar chunking played on the melody chorus, as well
as the more pianistic comping style employed behind the horn solo, helps demonstrate his understanding of the
value of both styles of comping. Hall is vocal about his passion for Freddie Green and the importance of mastering the traditional style of guitar accompaniment, but understands that imitating the rhythmic and harmonic
vocabulary of a pianist in the small group context allows more interaction with the soloist.

Gtr.
display
pausesin Farmers
solo. Hall plays shortcounter-melodies
Such interaction with the soloist is on
during
between Farmers phrases
soloist and accompanist.
Halls
3
that help5convey5 a sense45 of conversation
45 between
4
3
3
as in the fol both interactive
5
4
4
4 the underlying
4
3
3
melodies are
and functional,
and clearly
state
harmonic
progression
example.
lowing

Example 1 - mm. 18-20

E(6/9)

Tpt.

Amin75

Gtr.

D79

4
5
5

5
5

5
4

5
4

When Farmer is playing, Halls comping features staccato chordal stabs and copious amounts of space. This
comping approach ensures that the soloist has the maximum amount of freedom during his improvisation.
Rhythmically, Hall balances placing his chords on both downbeats and upbeats. Notice how in the following
example Halls rhythm helps create a melodic phrase. The beginning of his comp emphasizes beat one, the
middle emphasizes the upbeats of beats two, three, and four, and the end of the comp emphasizes the downbeat
of the next measure. Also pay attention to the contrast of sustained chords placed on downbeats with the staccato hits on upbeats. Try singing the rhythm before playing the example on your guitar to help internalize the
example as a phrase.
Example 2 - mm. 3-5

Amin75

Tpt.

Gtr.

D79

5
5
4

Gmin7

4
45 4
5
3
4

3
3
3

Voicing Types
One of theE(6/9)
most challenging aspects that guitarists
encounter when replacing
Amin75
D79pianists in the rhythm section

is coping with the guitars


limitations
of
range
and
the
amount
of
notes
that
can be
time. Halls
playedat one

Tpt.

to be
chord voicings in the transcribed chorus demonstrate that it is not necessary to play thick voicings in order
an excellent accompanist. Many of Halls chords are two-note shell voicings, called so because they contain

leading
and 7th. Notice
the bare-minimum
amountof harmonic information:
the smoothvoice
that oc

the 3rd

for the key of F.


curs when shell voicings are utilized in the following ii-V-I progression
Gtr.

4
5
5

5
5

5
4

5
4

4
5
4

Example 3 - Shell Voicings for ii-V-I in F

Gmin7

C7

Fmaj7

3
3

3
2
3

2
2

Gmin7

C7

Fmaj7

3
3

3
2

2
2

F(6/9)next in this common progression, one note moves down by a half-step while
When oneGmin9
chord transitions to the

the other
as a common tone.
Hall highlights this half step voice leading at the end of the chorus by playing
acts
the moving voice of the shell voicing in octaves.

Example
4 - mm. 26-28

8
7
7

3
3
7

A7Bmin7(5)
A7
C7

Gmin7

5
5 6
5

3
5
5
55 33
Dmin7
Amin7

Approach Target


11
10
10
8 3 7 5
7 4
2
4

Amin7
Gmin7

Approach Target

9 8
9
9


Fmaj7

10
5
47 2
3 2

E7

Amin7

46
4

3
3

5 3
3

In addition
to using shell voicings,
Gmin7
C7 Hall employs
Fmaj7voicing types that are commonly found in the pianists
F(6/9)
E(6/9)chord

minor 2nd intervals


provide
left-hand chord
vocabulary. Voicings
interesting harmonic crunches
that feature

left-hand
on guitar. Hall also uses stacked 4ths voic achievedon pianobut oftenrequire

that are easily


stretches

ings for a more modern sound;


these chords are much easier to play
on guitar due to the instruments tuning.

Gmin9

Example
5 - Halls pianistic voicings
7
3
3

Amin7


3
3
7

3
2

8
7

6
5
5

11109

9
8
8

A7

C13 F(6/9)

A7

Approach Target

6
5
5

8
7
7

9
8
8

F(6/9)

D13 G(6/9)

2
2

109
8

8
7
7

Amin7

Approach

Gmin7
Target

Gmin9

F(6/9)

Notice Hall rarely plays chord voicings


that contain the root in the bass. It is assumed that the role of establish-

ing the rootGmin7


of the chord in the rhythm
section will be Fmaj7
taken on by the bassist. For most beginning jazz guitarC7

8 transition from playing 7th chord voicings with roots in the bass to three- and
ists, it is an 33important
but difficult

chords
7
7
Guitarists interested in developing this chord
four-note
that
are
in
the
middle
and top string groups.

vocabularyGmin7
should memorize Halls
C7 voicings and be aware
Fmaj7 of how each note in the chord functions over the implied bass note.
For instance, the first
chord of Ex. 5 is comprised
of the 9th, b3rd, and 5th of Gmin. Developing
3
3
2
A7
A7
Amin7 Gmin7

3
2
2

3
this harmonic
awareness
is
difficult
at
first,
but
becomes
second
nature
after

Amin7
focused practice.

CompingGmin7
Articulations
Approach
Target
Approach
Target
C7
Fmaj7
3
3
2
3
2
2

Throughout
the
transcribed
chorus,
presents several
comping techniques
that are worth
3 Hall

noting. Hall utilizes

3
1

notes on the low E string of the guitar


as rhythmic pickups
into mid-range voicings. This3 subtle effect helps
5
5
5
Hallscomping.

4
5
5
5
4
4
3
3
provide rhythmic
drive
in

5
5
4
3
3
4
3
3
Gmin7
C7
Fmaj7

3
3
2
3
2
2
6

Example
mm.
1-2

F(6/9)
E(6/9)

Gmin9
F(6/9)
3
3
2



2
2


8 F(6/9)
6
6
Gmin9
3

7
5
5
8

7
5
5
7
3

7
7

8
6
6


77 A7
a chord
Amin7
A7 by playing
Gmin7
3
On several
occasions,
Hall
half-step
above the target.
approaches
a voicing aAmin7
7

D13 G(6/9)
8

Example 7 - mm. 9-11

C13 F(6/9)

Approach Target
Approach Target
Amin7
A7
A7
Amin7 Gmin7

11
9
9
10
8

10 8 8 9 7

5 9 8 8

4 548 7
3
33
4
555
5
5

5
4
3
3
4
3
3
Approach
Target
Approach
Target

5
5
5
3
5

4
F(6/9)
5
5
4 E(6/9)
4
3
3

5
5
4
3
3
4
3
3

F(6/9)
E(6/9)

not
on the piano, such as sliding in and out of voiceasily achieved
Hall also makes use of articulations
that are

87
ings.
65
65

7
5
5

6
6


Example 8 - mm. 15-16 8
6
6
D1387 G(6/9)

C13 F(6/9)
5
5

7
5
5

8 6
6

D13 G(6/9)

11 9

10 8
9 8

11109

9
8
8

98
8

9
8
8

C13 F(6/9)

109 87
8 7

109
8

8
7
7

Learning the Transcription and Further Listening


Play through the chorus of comping slowly, learning all of the chord voicings Hall uses and identifying which
pitches are contained in each voicing. Then, pay particular attention to Halls rhythmic vocabulary and the
melodic line he creates on the top of each of his voicings. Once you can play through the chorus from memory,
try playing along with the recording and noticing how Halls comping choices interact with the soloist. As with
improvising, good comping requires the mastering of the basics of voicings and rhythm that allows the accompanist to be supportive, interactive, and spontaneous.
For more examples of Jim Halls comping in piano-less quartets, be sure to listen to The Bridge by Sonny Rollins, Live at the Half Note by Art Farmer, or any of the albums Hall recorded with alto saxophonist Paul Desmond, collected on The Complete Recordings Of The Paul Desmond Quartet With Jim Hall.
Note: Chord symbols in the following transcription reflect the general harmonic progression, not Jim Halls
chord voicings.

Days Of Wine and Roses

Art Farmer's Solo/Jim Hall's Comping

Example 9 - Complete transcription

Art Farmer

Jim Hall

Gtr.

Tpt.

Gtr.

3
3

3
3
3


67 33 33

D79

5
5
5

Bmin7




5
5
5

6
6
6

Gmin7

Amin75

E(6/9)

Fmaj

6
6

5
5

5
5

Tpt.

Trans. Fischer

4
45 4
5
4

E7

3
3
3



3
3

6
6
6
6

6
6




6 5
6
6 5
5

Amin7

Tpt.

Gtr.

5
5

5
5
5
5

13

Tpt.

Gtr.

Tpt.

Gtr.

Gtr.

Dmin7

17

Fmaj

4
3

5
5
3

33

Gmaj7

1110
9

Amin75

E(6/9)

A7

9
8
8

109
8

9
8
8

D79

8
7
7

4

5

4

5
5
5
5

3
3
7

Emin75

3
3
3

3
3

Gmin7

5
5
33
5
4
3
3
3

Gmin7

Gmin7

G7(#11)

8
87 76 65
7
7
7
6
5



5 4

A7


5
6
6

5
6

21
Tpt.

Bmin7

E7

6
66
6
10

5
6

25
Tpt.

Gtr.

Gtr.

65 67
5

32

Gtr.

Amin7

Dmin/C

5
6 11 10
8

D7

Bmin75

Gmin7

G7

5
4

5
4
3

3
3

2
3
2

10
9
9
9
9
8
7
6

Fmaj7

2
3
2

G7

E7

C7

10

Tpt.

Dmin

29

Tpt.

Fmaj7

3
2
3

Fmaj

A7

3
5
4
3

4
3
2

2
4
3
2

2
4
3
2

3
2
3

6
5
4

4
6
5
4

3
5
4
3

4
6
5
4

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