JimHall & BarneyKessel You Stepped Out Of A Dream

[Alejandro4891]

this is awesome.

[zthetha]

We are all familiar with the expression 'playing music' but sometimes forget that playing is about being playful - a superb example of which this is. To hear two equal talents at the top of their game having fun with this tune and sounding like their musical invention has no end is an exquisite delight.

[TheHypermagic]

Difficult to believe this wasn't a pre-planned/rehearsed arrangement - some amazing moments! Couple of seriously funky gents. Kessel rocks that beard.

[ClarenceHW]

Whoever said this was boring either has no ears, sense of time or an understanding of harmony, probably all three.

This is one of the best duo performances I've ever heard, there is so much going on here it rates 20 or 30 listens.

The sense/feel of time is worth 5 stars alone.

CHW

[dcasasorozco]

impresionante

[zebopper]

Very cool, lovely playing. A newfound appreciation for Jim Hall, so tasty and melodic. He hasn't aged either - he still looks exactly the same 50 year later!

[Picatort]

muy pero muy muy muy bueno

[jarbasg1]

Two of the greatest masters ever.

[NoHellButInYourHead]

(In fact, it's actually better when it's stopped ! LOOOL)

[NoHellButInYourHead]

Two great guitarists, maybe two among the best of the 20th century jazz ... but I'm agree with Paulyrulo, here the duo is just boring and as uninspired as two things that don't match together. Counterpoint, yes, but alas a very poor one.

[MrLordofDub]

@NoHellButInYourHead Sounds like you have HellinYourHead to chat such shit!!!!

[MrLordofDub]

@NoHellButInYourHead Sounds like you have HellinYourHead to chat such shit!!!!

[Snokone3000]

@rfwgtr you need to look at the evolution of music. in all genres, as time goes on, various things become more ambiguous- that's how we got from Gregorian chants to shostakovich and lady gaga. thinking that modern guitarist can't do something is just plain ignorant. anyone who studies music learns the basic fundamentals...and actually scofield and bill frisell both learned from jim hall, so i'm 1000 percent sure they can 'groove' like this. saying otherwise is ignorant and misunderstanding music

[paulyrulo]

Another comment to add to my previous one.....Having great technique does not make you a great musician or creative....emotion and soul are at the root of being great. Some of the greatest most expressive musicians have been termed 'minimalists' ala Miles, Johnny Smith, and Bill Evans to name a few. Though many out there seem to like BK and JH's style, I find it lacks the true essence of feeling and expression...I am not brought to tears by Kessel or Hall like the aforementioned greats.

[paulyrulo]

I'm sorry, but as a true jazz fan this is just sound and fury signifying nothing...the intro is long and unreceptive. They seem to be like the family dog who does every trick he knows for each guest that arrives.. Take Wes as an example of playing with a purpose....he doesnt need to empty his trick bag at once. I refer you to the tune 'In your own Sweet Way on 'Wes Plays For Lovers'.....there you will hear what music is intended for.....and the 2 ring circus here is not what impresses me.

[ClarenceHW]

Incredible time feel and interplay... one of the best true improvisational duos I've ever heard.

What a gem this is..

chw

[invisiblekid14]

the best thing is . . . they both have GREAT guitar tones. not like some pussy wannabe's of today. having your tone knob down, does not give it the tone.

it's all in the fingers.

[taildragger53]

@invisiblekid14 True. Guitarists from the Golden Era of Jazz learnt the slow, hard way...they had no tabs, no internet, no shortcuts. Their sense of imagination and reflexes were sharper...they also had SOUL.

[Jamman1214]

It's like they share the same brain...



[babinm]

Two of the top 10 of all time on jazz guitar.

[gabri3l367]

Questi sono i maestri della chitarra jazz. Incredibile !!!!

[guitarmbar]

Great point rfwgtf. It's all about rhythm. Pat Metheny would be the first to tell you that.

[sitarnut]

I can die happy now....... gods, they are....

[youreok88]

THEY ARE NOT GODS. THEY ARE HUMANS. JUST HUMANS. AND ONLY. THAT HURT'S. BUT THAT'S TRUE.

THEY CAN'T RESSURECT OTHER PEOPLE, AND THEY CANNOT WALK ON THE WATER, THEY CAN'T FLY. THAT'S HURTS, BUT THAT's true...

[Delta1]

In as much as the concept of god is only a figment of man's imagination and in fact does not exist aside from blind belief in the unproven, I'll go with using the word god to connote deep respect, admiration and perhaps awe. It's just language. And these two guys have brought a lot more happiness and a lot less suffering than the misconception of what some people believe in as god.

[CasoOSU]

@Delta1 not as much misery as you talking. Sitarnut was just trying to show his appreciation for Hall & Kessel. Relax.

[encounter1000]

@Delta1

Why the lecture here on materialism?

That humans can respond so deeply to music, that some can play like Jim and Barney, is proof enough for me that there is "other", a sacred something that we (mankind) can take no credit for.. I choose to call that God. My belief is not blind. Believe only what you see, and you may miss a great deal.

Is it wise to believe only in the proven?

[taildragger53]

@encounter1000 Music is indeed a spiritual connection. Beethoven once said "The musician is closer to God than anyone else.." Why we have emotions or feel love or the beauty in something like this video cannot be explained by cold science. Infact cold science can't prove anything. Many great scientists believe in a Creator.

[taildragger53]

@Delta1 And yet Jim Hall, Barney, Wes, Kenny Burrell, Django, Joe Pass, Pat Martino all believed/believe in spirituality...NOT perhaps in a conventional sense but see it as anything that has a purpose or design requires a "designer". I'm sure you're wristwatch evolved by itself?

[IpkisStanley]

what in G-ds name are you blathering about old man?

[IpkisStanley]

jazz is dead

[zanelloluca]

When were they recorded?

[MrEddwins]

dagens gitarister ialla fall många avdem kan inte mäta sig mot dessa kanoner

[paulb869]

are you f--cking kidding me...

[4578a]

or piano

[iwgpventures]

いつ頃の演奏でしょうか。

ケッセルは私にとって、ジャズギタ－の最大の憧れです。イ－ジ－­ライクやＰＷシリ－ズは私のジャズの教科書です。

ありがとうございました。

[Bebisatch]

Much respect to the pioneers. Reminds me of a delayed effect which did not exist during that time.

[beppefornaroli]

thanks and thanks, i've only know the recording and now the video...fantastic performance

[Morahman7vnNo2]

People who can't appreciate this should buzz off.

[edcerc]

wow. this is probably the best colaboration ive heard kessel do

[edcerc]

on second thought maybe one of the best things iv'e ever heard him do

[IpkisStanley]

check out Kessel Plays Standards, it's fucking awesom album

[dixjazz]

This is wonderful. Didn´t know it existed. Jim Hall was the younger here and was probably still with jimmy Giuffre. No wonder Bill Evans chose his playing for their duos. No bass or drums needed.

Thanks for posting !!

[SteefStevens]

This is a most amazing performance right in my face!!!!

[schrumpfl]

right its a sring dampener

[ectomy1235]

jim hall is nearly 80

[dccnyc]

Does anybody know what the contraption on the headstock of Jim's guitar (I think it is an ES-175) is? It looks like something I saw on Herb Ellis' guitar (also an ES-175) in a video from Minneapolis in the 1970s. I thought it was something like the tension bar you can put on the bridge of a Jazzmaster. Or is it just an old-fashioned capo? Or a string damper so the open strings don't sound different from fretted notes?

[fstoll]

It's a string dampener. I saw Herb Ellis at a small club many years ago and he talked about it.

[angeloamericano]

all that mumbo jumbo isn't needed. The jazz guitar greats never say stuff like thatabout chords, ie Joe Pass. I love Barney and Jim but would rather hear Joe play this great song

[sysphus13]

there are always the same arguments on all these jazz vids...

[Whatisthescore]

you really saw the same argument we were having on another jazz vid? which one?

[Whatisthescore]

When I gave the example of C# with a slashed circle #2, that's a chord symbol, I just can't write the slashed circle on my computer! And it's not a sus chord! And no, I didn't mean that only dominant chords get chromatic alterations, although they certainly get the most. What I meant was that a IImin7b5-V7b9 sequence is composed of a subdominant and a dominant chord. You don't want to label a flat nine on the subdominant IImin7b5 because it will look too similar to the dominant V7b9 chord.

[jazzydurkheim]

Okay, sorry about the misunderstanding. Yes the slashed circle is a chord symbol, but must admit i have never seen it followed by #2 (my point was simply that the only place i have seen a 2 instead of 9 was in sus chords). The iimin7b5 is not a subdominant in function. It is called the (diminished) supertonic (simply the incomplete dominant somplaces in Europe). You are right, that mostly you wouldn't but if the melody rested on the b9, which i know is rare, it would be appropriate to write it.

[jazzydurkheim]

Oh well, i guess one can write it in both ways... I think i'll split. Thank you very much for the interesting discussion.

Best Regards.

[jazzydurkheim]

Oops, it can be called a subdominant... sorry

[Whatisthescore]

Ya man nice talking with you. It's cool to find someone who knows a thing or two about harmony on YouTube!

[jazzydurkheim]

Yeah, definitely, right back at you.

Cheers...

[jazzydurkheim]

What do you mean difference between dominant and sub-dominant? That sub-dominants can't have chromatic alterations of the ninth? that chromatic alteration is reserved for dominants? Cause if that is the case you are gravely mistaken...

[Whatisthescore]

But that's my point. That scale would be called locrian raised 2 (or half diminished raised 2) and would be written C# with a slashed circle next to it #2. c#7b9 means half-whole diminished and c7+9 means diminished wholetone. It's really the difference between subdominant and dominant. True about the #5 though. That's found on both major (c maj7#5=lydian augmented) and dominant (c7#5=augmented) chords.

[jazzydurkheim]

Now you are not discerning between chords and scales...True when talking SCALE construction it would read locrian #2. But the slashed circle is a CHORD symbol, where modality doesn't matter and all intervals are understood relating to the root. The #2 or #9 would chordwise always be thought of as enharmonic to the minor third. In scale construction the #2 is of course raising the second a half step from the already existing locrian mode. AGAIN: chord symbols can only read 2, not 9 in SUS chords.

[Whatisthescore]

Seriously though, you shouldn't just blow through the head. It's disrespectful the the writer of the song.

[adamomusica]

yeah and you should cut out all the improvising, the writers didn't write that so keep it out. oh and it better be in the same time and key signature that would piss them off. make sure the orchestration is the same. and wear the same color of underwear. and use the same toothpaste. and sleep in the same bed...

[Whatisthescore]

Minor7b5b9 isn't even a real chord.

[jazzydurkheim]

Uhhh... yeah it is!

[Whatisthescore]

uhhh...no it's not!

[jazzydurkheim]

Why the hell not? I could understand your proclamation if it was non-diatonic to the major scale... but it is! The flatted ninth is the natural extention of the diatonic chord built from the 7th degree (locrian mode in chord-scale relationship)... You would often use the chord as a substitute for the diatonic dominant, the b9 imposing a natural 11th on the dominant sound...

[Whatisthescore]

I understand what you're saying, technically though it's called a b2 (even though they are the same note) when you're dealing with locrian. b9 is strictly used for dominant chords, not half diminished sub-dominant chords.

[jazzydurkheim]

No... it's not called a b2 when dealing with chords (b2 is only used for scale construction - we are not dealing with locrian, we are talking chords)!... You can put a ninth on any chord quality being that major, minor, dominant etc. The flattening of the ninth being a legit chromatic alteration to any chord... Have you ever seen a chord except for a sus2, that reads 2 and not 9??

[Whatisthescore]

Look we're basically saying the same thing. I understand b2 is only used for scale construction.  All I'm saying is that in all my years playing jazz I've never seen a half diminished 7 chord labeled with a flat nine (such as Amin7b5b9) regardless of what extentions one decides to put on it (it is always just labeled Amin7b5). The reason why is because a written b9 when improvising always means diminished, not locrian. But whatever works for you works, cool?

[jazzydurkheim]

Cool... I know that you would never see it on a basic lead sheet. I have however run into it in a bunch of other idioms, for example when doing big band charts (which is what i i do for a living) where the chord symbols primary function isn't guiding an improviser through the tune. When doing these arrangements, if one of the voices plays the b2, it would be more than appropriate to

"mention" it in the chord symbol - therefore writing a b9 by all the rules of notation that govern ...

[jazzydurkheim]

Plus... the flatted ninth doesn't always imply diminished... what if you had a minor7b9 chord? this would imply the second mode of the melodic minor scale... not a diminished scale. Min7b5b9 would not imply diminished because the 7th being flatted once, not twice therefore giving it the halfdiminished sound.. not diminished.

[Whatisthescore]

True..you just wouldn't want to write that on a lead sheet for an improviser because it's I guess sort of an undefined rule that b9 means diminished on dominant. For an improviser it would get confusing to see a flat nine labeled on anything else. Looks like we're just used to different types of charts.

[jazzydurkheim]

Maybe on most standard tunes, but there sure are many tunes with chord symbols implying chord-scale relationships from melodic or harmonic minors... I do however fully understand your argument, as it is practically (at least in your situation) quite right. But if b9 implies diminished, does #5 always imply augmented?...not at all. You would probably not "think" augmented over a Maj7#5 would you? not "by the book" at least...

[jazzydurkheim]

Sheets aren't (in my eyes) meant primarily as directions written for improvisers, but the chord symbols deliver harmony that "must" be followed... Not only in soloing but also in comping. It is quite popular to play a natural 9. on the half diminished chord, but if the melody is b9, then it will clash!! Here we have a perfect example of the b9 notation HELPING the player... and not confusing.

[02x9]

I played that chord on the piano. It sounds awful. Its basically a Minor 7th tetra chord over the tonic note a minor third down(Eb-7/C=C-7b5b9)

[gtkid]

if you get use to it, it won't sound that "awful" anymore. In opposite, the usual voicing may become "awful".

[la12chanino]

minor7b5 you suck!

[Chordwayze]

I agree, this might well be 'Musician's music'... I.e you need to be a musician to hear it. But there's no RULE says you have to establish the head to a song. Most jazzers do so for the sake of the less 'jazz aware' listeners. This is clever stuff for it's time. Heck it's clever now!

[usafjazzguitar16]

I can agree with that.

[minor7b5b9]

If this is "You Stepped out of a dream" it's the worst version I have ever heard. Establish the head, then improvise.....shit!

[Jazzguitar00]

Jim Hall can do whatever the hell he wants, I am pretty sure they know the head to this tune.

[minor7b5b9]

good for you

[bullyflea]

Oh my god!

Where does this footage come from?

They sound just wonderful!

[Modes9]

Check out Jim's quintal lines! That's some progressive stuff for that era!

[cookingnotes]

Just terrible .

[hallmanjon]

you're terrible

[estebanteeeee]

gracias esta musica hace bien al alma

[nakajazz]

Wow... i would love to see a record with Barney playing like that !

[AJWeibe]

It appears that Barney used to keep an eye on the other guitarists around him at the time and had a competitive side to him. To me, Barney doesn't sound like his normal self- he's playing closer to the style of Jim Hall. I find that to be very cool.

[seventhst]

well on line ive seen jerry s god and jimmy s god well: barney really is god

[kenouman]

Well I gotta say I know more about Barney than Jim. Barney could adapt to any situation and play many styles. He will always be my hometown hero......

[NAFTALI2]

How did this collaboration even happen. Was Jim Hall's dad waiting in the wings with a shotgun because he a Barney stayed out too late the night before? But it also tells what a responsive and sensitive player Barney was--because on his own, this is not the direction he would have taken the song. That doesn't mean this isn't great, just adds a dimension to the greatness.

[noiradox]

No idea these two ever played together--a knockout--thank you! Nobody comps so generously as JH--unless maybe it was BK...

[TFPainter]

Awesome, thanks for sharing!!

[Shellydubow]

Thanks from me too!

[joegig]

two of the greatest in their prime-great find-thanks for posting this!!!