Guitarist Jim Hall made a habit of deftly bridging stylistic gulfs. In the ‘50s, he was there while Jimmy Giuffre forged his chamber-jazz signature on “The Train and the River,” and he helped Dave Brubeck saxophonist Paul Desmond find his husky mournfulness on “Glad to be Unhappy.” He obviated the need for a piano alongside trumpeter Art Farmer on “Stompin' At the Savoy,” and, backing Sonny Rollins, ushered in a new sound that produced “John S.”