Keith was chosen to be a member of Betty Carter's 'Jazz Ahead' '97 in New York. Ms. Carter developed this annual program for a group of 15-20 up-and-coming musicians to study, rehearse and perform with her in New York at the Brooklyn Academy of Music. 

Keith has received scholarship grants from the Irving S. Gilmore Foundation of Kalamazoo, United Arts Council of Calhoun County, and the Billy Hart Jazz Scholarship from Western Michigan University.

Recent projects include a tribute to the Clifford Brown-Max Roach Quintet with trumpeter Scott Cowan.  The tribute features the classic music from this influential 1950's quintet and an educational presentation.  Recently, with the support of Education For The Arts, the Brown-Roach Tribute was presented to area school students in Kalamazoo along with a public concert.

Keith's latin jazz quartet was chosen by the U.S. State Department and Jazz at Lincoln Center to represent the U.S. in the 'American Music Abroad Program'.  The group toured to many different countries in the winter of 2006.

Keith's newest recordings include 'Skyline' and 'Tri-Fi', both available at www.KeithHallMusic.com.

Keith is also a proud endorser of Taye Drums, Istanbul Agop Cymbals, Regal Tip Drumsticks, Attack Drumheads and Protection Racket Drum Cases.
 

Reviews 

"One of the most entertaining drummers on the Dakota stage in recent months, Keith Hall has chops and fuel to hit the after- burner zone. An alum of Betty Carter's "Jazz Ahead," Hall (also known as "The Reverend of Swing") has the fastest hands I've seen since Steve Smith, "churning" the skins as noted by John Fordham (The Guardian) and giving the audience a lot to watch as well as hear. His knock-out round on "Did You Ever Have to Make Up Your Mind" suggests he could have been a successful rock drummer, but jazz is much the better for his choice. Although often at full throttle, Hall was not hesitant to dial it back to a slow groove onthe ballads with gentle splashes of brush."
-Andrea Carter-The Jazz Police, Minneapolis, MN 

"Keith Hall is a member of the new generation of hard swinging, versatile and musically aware musicians that will shape jazz for the next 20 - 30 years. Keep your eyes and ears on
him!"
-Michael Mossman-Trumpeter, composer, arranger, jazz chair at Queens College, NY

"With a nimble, grooving, 'melodic' touch, Hall knows how to tell a story."

 

Reviews for Tri-Fi's 2nd release "Postcards"... 

Review by Andrea Carter for JazzPolice.com

Fans of vocalist Curtis Stigers have known for years that he is supported by one of the finest and most cohesive rhythm sections in the business. Finally in 2005 pianist Matthew Fries, bassist Phil Palombi, and drummer Keith Hall went off to the studio on their own to document their collaboration as Tri-Fi.  Now following their auspicious eponymous debut, the threesome have released Postcards with ten original tracks—five from Fries, three from Hall and two from Palombi. Saxophonist Steve Wilson is featured on several tracks, and even Stigers himself has a few spoken words on the final cut. Noting that most of the compositions were specifically written for this recording, Hall points out that “we also took some chances exploring some different directions, which I think proved to be a lot of fun and very musical.” The different directions reflect the stylistic differences among the three composers, creating a divergent set ranging from ballad to straight ahead up tempo to more playful and angular works. 

Matthew Fries’ originals cover nearly half the disc, his compositions tending to the more cerebral, contemplative, slower paced tracks.  Opening with “The Pumpkin,” Fries introduces us to his dexterity in creating intricate but accessible lines over a solid vamp foundation. Hall’s playful percussion inserts new energy from assorted tactics, building in intensity over the repetitive main lines and ending in a thundering clap. Fries’ “Postcards From Abroad” provides the recording’s title, a rather subtle tune where repetitive, yet lyrical, exploration rules. “Hatteras Reflections” is a slow, meandering ballad initiated by Palombi’s solo of slightly whiney double tones. Fries steps in over the bass chords with a single line lope, and the ensuing interplay between bass and piano is exquisite in timing and harmony. Fries gives his “Orchid” a solitary dark and lush start beginning, romantic in the historic sense.  Steve Wilson guests on soprano sax, sailing gently over piano and bass, the nucleus of his orbit tight, the contours of his terrain gentle—it all stays close to home but the emotion travels far. On Fries’ final contribution, “Penns Creek,” Palombi’s solo doubletimes the pace, a nice contrast to the balladic pianist, as is the ensembles’ mid-track shift in energy and more forward motion.

As one might anticipate from a drummer, Keith Hall’s compositions lean more toward deeper swing, more percussive piano lines, and generally more playful rhythms. On “Wisdom…1st Things 1st”, Steve Wilson makes his first of three guest appearances, his soprano sax a good fit to Fries’ tight meanders and Hall’s furious and relentless attack. The drummer’s “Creative Force” opens with his stop-and-start antics, joined shortly by Fries with an equally halting presentation of a Monkish blues, using a deep ostinato in his left hand and quirky, sharp-angled figures in the right. There’s even a little whiff of Cecil Taylor hanging out among the flow of ideas as Fries and Hall interlock musical minds, the blues groove becoming more prominent, less edgy melodically and more so rhythmically before they return to the opening exchange. Hall’s third composition, “Grace,” is upbeat, showing off Fries’ diverse talents and moods. Of course Hall is prominent as well, working into a frenzy as he rumbles though Fries’ shimmering final bar. 

Phil Palombi contributes a pair of tracks filled with swinging and even humorous motifs. On “Copenhagen,” sequences of repetitive phrases evolve into a swinging, upbeat tune with the bassist doubletiming his pulse while Fries keep up and then some. Palombi’s solo pushes a landslide of ideas over a slowed-down piano line before the trio returns to its earlier pace. The closing track, also the longest at over 9 minutes, finds the trio doing the “Heathrow Shuffle,” the bassist laying down a bluesy, backwater groove. He’s soon joined by Wilson on alto sax, adding a funk touch that evokes Lee Morgan’s “Sidewinder.” Wilson’s lines spiral in and out like a slinky while Fries is at his most charmingly swinging—this could be a soundtrack accompaniment to a zany classic film. The surprise guest here is Tri-Fi’s frequent employer, Curtis Stigers, in the spoken role of a Heathrow official, heard warning Hall that he can’t go through the security line, Hall begging his bandmates not to leave him behind.

Many journeys fill these Postcards, and each sends an engaging message, giving us good reason to travel with Tri-Fi again and again. 

Review by Michael G. Nastos for the All Music Guide

For their second CD, Tri-Fi continue down a well-worn path of modern mainstream piano-bass-drums jazz trios, but have taken a few snapshots higher in the sky off those trails. Pianist Matthew Fries, an emerging young pianist is noticeably more engaged, focused, and working hard on expressing his inner voice apart from his influences. He also wrote five of the ten compositions, a standout being the introductory track "The Pumpkin." Fries is leaping through a rhythmic patch of orange and brown, bopping incessantly in a fashion where a Charlie Brown boyish Vince Guaraldi meets sage master gardener Oscar Peterson, with a dash of the Miles Davis phrases to "E.S.P." tossed in. Phil Palombi's wry bass runs in tandem with the left hand of Fries. The stance of Chick Corea is also extant, but Fries modifies it in the hard bopped suspended tension of "Copenhagen," the sprightly waltz "Grace" penned by drummer Keith Hall, and the conversely somber, moody, depths of despair shaded "Hatteras Reflection" (previously recorded by Fries on the CD Live @ 147). Hall also wrote the jumpy, witty "Creative Force," and one of three features for saxophonist Steve Wilson, on soprano for Wisdom…First Things First." The interplay between Hall and Palombi shows a seasoning and maturity beyond their years, and it is able to push Fries to lofty and attainable goals. The finale "The Heathrow Shuffle" is dedicated to a canceled flight, a blues with Wilson on alto sax that varies from a funky 7/8 shuffle to a bit nonplussed. There's also a light samba "Postcards From Abroad" that is reminiscent of "I Concentrate On You." These days, in this format, it's tough not being derivative or resorting to lounge standards and cheese. Tri-Fi is well on their way to incorporating new style and strength to their already potent brand of piano trio music. And watch out for Fries, or compare his work here to his debut recording Song For Today for the TCB label. He's making great strides.

 

Reviews for Tri-Fi's debut "Tri-Fi

Review Courtesy AllAboutJazz.com
Bruce Pulver, August, 2005

 TRI-FI
Musicians: Matthew Fries, Piano, Phil Palombi, Bass,  Keith Hall, Drums,
Special Guest, Curtis Stigers, Vocals*

If asked to name things that work well in three's, I'd say, sides of a pyramid, rings in a circus,  Nina, Pinta and Santa Maria of 1492, knit one, purl two, and of course, who could forget those "Little Pigs and Blind Mice"
guys.

After hearing TRI-FI, I would nominate this exciting group to membership in the "trio" fraternity.   Why?  Taking liberty and applying the Gestalt theory as a barometer for jazz trio music, I ask, "Is the sum of the playing greater
than the individuals/members?"  Take Mr. Fries' captivating piano, weave in some melodically supportive bass from Mr. Palombi's, sprinkle in the artistic drumming of Mr. Hall and this Judge has all the evidence needed to render a
resounding verdict of "Guilty". 

Welcome to "New Math" one plus one plus one is greater than three . . . Influenced by the trio masters before them, TRI-FI builds on the tradition, infuses creative writing, fresh arranging and complimentary playing to offer
us music that has to be reckoned with. These guys take on the Jazz Trio challenge and deliver a "knock out" punch.   How? They simply: Manage the trio interaction beautifully and introduce "space" as a fourth
member of the group.  They deftly provide the music in an "I've got your back" sort of way. Collectively incorporate dynamics like the ebb and flow of the tides to support passion and emotion.

Compose tunes that keep the listener attuned.  Pay attention to hear, styling historically rooted, ballads that never lose the echo of the melody, toe tapping, happy music (watch out for the 10 bar phrases on "Gotta Give It
Up" that my eight year old daughter, Payton calls a "hide and seek" song.) TRIÐFI, as a group, respects and honors the "Masters" (through the wood shedding needed to meet the high standards already set).  They make music
that can be enjoyed at its surface, behind the scenes for your dinner party. In addition, the serious connoisseur gets to dive into so much more and ask:  What is going on here?

Thank you Matthew, Phil and Keith for stretching the music and giving us
something fresh, exciting and new.  Can we get "Seconds" please?

   Review Courtesy of JazzPolice.com

 

By Andrea Carter

Tri-Fi: Triple Delight:

Fans of vocalist Curtis Stigers have known for years that he is supported by one of the finest and most cohesive rhythm sections in the business. Yet it was not until last year that pianist Matthew Fries, bassist Phil Palombi, and drummer Keith Hall went off to the studio on their own to document their collaboration as Tri-Fi. And while they are still touring with Stigers, their eponymous debut (2005, Consolidated Artists Productions) signals the
emergence of a first-class piano trio in the grand tradition of Evans, Peterson, Jarrett and Mehldau.

Tri-Fi
I first heard Matthew Fries accompanying Stacey Kent, and his family background certainly predisposed him to a career as a pianist and vocalist's accompanistÑhis father was a professor of piano and his mother a classical singer. Following studies with the great Donald Brown at the University of Tennessee, Fries landed in New York,
winning the Great American Jazz Piano Competition in 1997and finishing second a yearlater in the American Pianists Association jazz competition. He released Song for Today (TCB, 2001) and continues to be in high demand supporting vocalists in addition to his regular gigs with Kent and Stigers.

Creating Tri Fi
Regarding the origin of their collaboration, Fries notes that "Keith and Phil were individually two of my favorite musicians to work with. Keith and I were already playing with Curtis for about a year and a half when the bass chair opened up. We both separately recommended Phil for the spot - for his music and for his personality...turned out to be a great recommendation." Tri-Fi grew naturally from the trio's tours with Stigers. "We really wanted a documentation of our work together and decided to put together a recording of our original music (very different than what we play with Curtis) and see how it came out," says Fries. "We were looking for a band name for the album (in addition to using our own names) and the name Tri-Fi came up at an airport while we all had our laptops open and checking emailÑthe new life of a musician on the road. Someone said it as a jokeÑthree guys on
wifi = tri-fiÑand it stuck."

The recording itself came about during a summer 2004 tour with Curtis Stigers. "We
recorded it in Brooklyn while we were in New York playing a gig with Curtis at the Oak Room in the Algonquin Hotel, the same studio I recorded my first album," reports Fries. "Small place with a beautiful piano, and Michael Brorby really gets a great sound (especially considering the small space!)." And it was a logistically simple task to bring in
Stigers for the vocals on the last track, "You Go to My Head."

Single Mind, Many Moods of Tri-Fi
Tri Fi provides not only a showcase for three sympathetic performers but also for three accomplished composers. Fries contributes four original works, Palombi and Hall three each, with the final track the only cover, the Coots/Gillespie classic, "You Go to My Head" featuring Stigers. Collaboration is the overarching theme, the playlist integrating the individuals' works into a cohesive suite of a single mind with many moods. Fries is a master of legato lyricism and articulate combinations of chords and speed-demon runs, his modus
operandi informed by Evans and perhaps Powell while at times evoking such diverse modern masters as Herbie Hancock and Kenny WernerÑin other words, his style recalls many but in total resembles only Matthew Fries. His compositions are rhythmically diverse, creating a wide palette of emotion.

The set opens with his "Cross Country," a catchy vamp moving under a twisting melody augmented with triplet figures and quadruplet fills. Palombi takes one of many extended solos that becomes the centerpiece of the track, while in the latter segment Hall turns up the heat and zooms into popping percussive action with clusters cymbal slashes and snare ripples.

"Goodnight Charlie Brown" flows with gentle syncopation, picking up a more swinging pulse with steady support from bass and drums while Fries fills in around the melody with elegantly legato phrasing. Palombi delivers his own legato lines over deftly placed short phrases from the piano while Hall keeps time with a chiming tingle. With a gentle touch from Fries and a stronger beat from Hall, the threesome unite to bring it home.

Fries' "James" with its bluesy rhythmic shifts is one of my favorite tracks. The pianist launches the tune with a luxuriant single right-hand melody; Palombi traces the outline over Hall's cymbals and clicky comping. A spiraling, spinning improvisation follows with engaging interplay among the trio, their harmonies giving this the feel of a round where each one comes in a few beats later in succession, creating flow rather than dissonance.
Complexity evolves throughout the track, only to resolve into a single chord.

"Hilary Step" adds a samba touch to the rhythm, again featuring the multi-faceted solo efforts of Palombi. Fries provides his own explorations with combinations of runs, triplets and slurs. Hall's accents raise the ante, the track ending in repeating phrases from the piano. Phil Palombi displays his vast range of technique and mood throughout the recording and his three original compositions not only allow recognition of his talent but help showcase his compatriots as well.

On "My Family," he and Fries engage in a counter melody exchange, and Fries reveals his Evanescent voicings. "A Point in Time" gives the bassist plenty of solo space with a more energetic swing. With deep resonance, Palombi moves along beneath Fries' elegantly spiraling phrases, while Hall pushes forward from a background perch. With a bit of blue haze, the bass has the last word.

"LaFaro" is Palombi's tribute to one of the heroes of modern bass and a pivotal figure in what was arguably Bill Evan's finest trio. The bass takes the lead, improvising over the melody while piano and drum serve in supporting roles. Fries later picks up the melodic lead with his trilling figures, articulate phrasing, and a delightful interplay with Palombi; the two musicians' complimentary melodic lines come together in near unison as Palombi breaks away to solo over Hall's background cymbal splash, all fading to the finish.

Keith Hall's "Kiri Kiri" also recalls the great Evans and LaFaro era. The ballad begins with a bowed, cello-like bass solo over Fries' laid-back notes that echos the melody. Trading back and forth with Fries, Palombi moves into a lower register, now pizzicato. Throughout, Hall creates a nearly continuous shimmer with brushes. Overall, the effect is orchestral and gallant, the chime-like percussion evoking a weaver spinning gold.

The drummer's "Gotta Give It Up" swings with a delta tinge. Palombi maintains a melodiccountercurrent before
launching a sassy arco solo, like an oral recitation exercise where phrases are given emphasis through repetition. Crisply attacking throughout the track, Hall trades with Fries as if in conversation.

A trio effort from the first drum phrase, Hall's "Breakthrough" moves with a locomotive-like rhythm, featuring a resounding undercurrent from Palombi, snappling accents from the drumkit, and a minor, rambling melody from Fries. The pianist's crackling ascents and descents set up Palombi's buzzing, groaning solo rising from the bottom of the box. A left-hand piano vamp supports some aggressive fomentation from Hall, giving a forward thrust to the next statement from Fries, all ending in a rich sequence of chords.

The finale is the one cover, "You Go to My Head" with special guest vocalist (and regular employer) Curtis Stigers. Following an off-kilter introduction from bass and piano, Stigers serves as the fourth instrument with his own melody line. His hazy, inviting baritone floats above an instrumental mesh that offers merely an outline of the melody. Stigers never entirely disappears during Fries' solo, a slowly evolving, romantic interlude enhanced by Palombi's equally romantic deliberation. Ultimately, all four voices evaporate into the mist of audio heaven. Tri-Fi continue to tour with Curtis Stigers, but now perhaps Stigers will repeat his guest appearance role with future live and recorded editions of Tri-Fi. Their telepathic synergy gives Stigers and other soloists unique opportunities to showcase their voices, yet that synergy truly thrives when the trio alone is in command. I'm eagerly awaiting a "Tri-Fi Two-Fer."

Reviews for Paster, Ryan & Hall's "Invisible Horizon"

 

Reviews for Paster, Ryan & Hall's "Skyline" 

By Jeff Potter- Modern Drummer Review Sept. 05

Let the sidemen have their say.  These rising players have collectively amassed an impressive list of credits behind jazz notables.  But one thing is clear:  They've definitely found their musical soul mates in each other.  On their own indie release, pianist Paster, bassist Ryan and drummer Keith Hall radiate warmth, vitality, robust melodicism, and an effortless swing.  All three contribute strong writing, and Paster's ballad, "If I Said Goodbye," is a gem.  With a nimble, grooving, 'melodic' touch, Hall knows how to tell a story.  Elegant. 
   

By Dan McClenaghan-All About Jazz

 Piano trio efforts fall flat or fly on mostly nebulous, difficult-to-define aspects of the sound: collective energy, group cohesion, and an ability to get “inside” the music. The classic trios include those led by Thelonious Monk, Bud Powell, Oscar Peterson—to name just a few. To name some contemporay guys who fly, you'd have to mention Keith Jarrett and Brad Mehldau's groups in the higher profile end of the spectrum; and then there's the lesser-known but no less compelling Randy Halberstadt Trio (Parallel Tracks, Origin Records, '04). All of these trios—and a bunch still unmentioned—fly. And so do Bennett Paster, Gregory Ryan, and Keith Hall, on Skyline.

 The trio opens up with a lighthearted, swinging gem, “Jabali,” written by pianist Bennett Paster for drummer Jabali Billy Hart. The tune features Paster's loose and ebullient keyboard work over a solid groove. “Her Lullaby,” penned by drummer Keith Hall, has a bounce in its step, a bit bright and uptempo for the purpose of lulling her to sleep perhaps, but a joyous sound over an elastic groove.

 Part of the appeal throughout is Paster's willingness, within a mainstream framework, to take chances. He and the trio sound relaxed, optimistic, vivacious, and Paster's hands have an infectious percussive exuberance.

 Bassist Gregory Ryan's “Better,” as well as the title tune—also by Ryan—slow the pace to an introspective mode, both of them lovely ballads. The group also gets inside Coltrane's “Naima,” Oliver Nelson's “Yearnin',” and (perhaps the highlight) Leonard Bernstein's “Some Other Time,” giving the melody an engaging buoyancy.

 A beautifully melodic effort, start to finish.