Guitarist Guido Di Leone is certainly a more than capable jazz guitarist. His lyrical sense of economic phrasing haunts the ambience of every band he plays in. As a leader he is fluid, a solid arranger, and carries his authority like a string tied to an elephant: he's so loose and gentle, he gets what he needs every time from his musicians. Here, however, on this impressionistic tribute to guitarist and Di Leone influence Jim Hall, what should have been a tour de force of nuanced arpeggios and multifaceted chord voicings turns into a meditation on the place of space and silence in the lyric jazz tune. The result, unfortunately, while brilliantly played, lacks in dramatic overture and dynamic differentiation. Of the ten tunes here, only Di Leone's own "Auschwitz," with its nearly terrifying augmented minor figures and flatted ninths, and Atilio Zanchi's "Estrela" rise above the murmur. The latter does so because of its angular engagement of scalar harmony at the beginning and end. Ultimately, tracks like "Darn That Dream (A Hall Signature" are not added to depth or dimension here, and Di Leone's originals -- one suspects they were written just for inclusion here -- never catch the fire or hold the rigor of his other material. It's not that there is anything particularly wrong with All for Hall, it's just that given this guitarist/bandleader/composer's considerable gifts, this set fails to ignite in the way most of his other material does. ~ Thom Jurek