Ben Hall

Biography

Ben Hall is a multi-disciplinary American percussionist, composer, and sculptor whose boundary-pushing work sits at the vibrant intersection of avant-garde jazz, durational performance, and social activism. Rooted in the rich lineage of American creative music, Hall’s artistic path was deeply shaped during his time at Bennington College, where he immersed himself in West African percussion under the guidance of Jumma Santos. He further honed his revolutionary approach to the trap set and creative intuition through intense study with the legendary avant-garde pioneer Milford Graves. This formidable foundational training allowed Hall to develop a distinctive sonic vocabulary characterized by indeterminacy, structural tension, and an acute awareness of space.

Over the course of his evolving career, he has built a highly respected reputation within the global improvised music community, famously collaborating with iconic trumpet player and composer Bill Dixon on his final historic small group recordings. Hall has also delivered powerful collaborative releases alongside free-jazz luminaries such as Borbetomagus saxophonist Don Dietrich and acclaimed guitarist Joe Morris. His expansive sonic palette is further showcased through raw, deeply intimate solo recitals and his compelling duo work with Mike Khoury, captured in acclaimed limited-edition releases like Blight. Beyond his prolific output as a performer, Hall is an active and principal member of the Chicago-based Catalytic Sound collective, a musician-run initiative dedicated to supporting independent creative music worldwide.

His creative vision extends seamlessly into the visual arts, where he designs complex gallery installations that merge physical objects with live, time-based performance. Guided by a deep commitment to historical preservation, he also founded and curates Bap-tizum.com, which stands today as the largest digital archive of Black American spiritual music in the world. Whether performing as a core member of Nate Wooley’s massive Seven Storey Mountain orchestra project at international festivals, teaching as a research fellow, or operating community-focused spaces in Detroit, Hall constantly challenges the traditional boundaries of rhythm, labor, and creative expression.