Mary Halvorson: About Ghosts

Since Mary Halvorson began her prolific affiliation with Nonesuch Records, she has refused to repeat herself except with a purpose. The simultaneous release of Amaryllis & Belladonna (Nonesuch Records, 2022) was the precursor to the expansive Cloudward (Nonesuch Records, 2024), while About Ghosts represents a retrenchment, albeit a productive one.

On five of these eight cuts, the identical Amaryllis Sextet that appeared on the latter LP interacts smoothly with guest saxophonists Immanuel Wilkins and Brian Settles. Such synchrony helps to depict how Halvorson writes so fluently with her accompanists in mind on "Full Of Neon" and "Endmost."The functioning of the horns from trumpeter Adam O'Farrill and trombonist Jacob Garchik helps evoke a cityscape that mirrors the title of that former number. Meanwhile, Patricia Brennan's vibraphone work remains unobtrusive even as, on the latter, she supplies both embroidery above and around the other instruments as well as some foundation below.

Through it all, the musicianship never becomes too busy on About Ghosts. Not surprisingly, Mary Halvorson herself sets that very tone with guitar (and, to a lesser extent, pocket piano). Consequently, all these players retain a light touch on their respective instruments. Within the soft and more leisurely tones that arise out of "Carved From," then, bassist Nick Dunston and drummer Tomas Fujiwara assert themselves only slightly more forcefully, but with all due delicacy.

There is a definite sense of growing drive radiating from the forty-four-minute progression of this record, with all but one cut— "Polyhedral,," clocking in at 2:14—in the five to eight minute range, the motion of the musicians in that respect is palpable thanks to John Dietrich's production and mixing; as on the preceding three outings, his technical expertise corresponds to the mastering by Scott Hull, simultaneously revealing and maximizing detail(s).

The relaxed and relaxing atmosphere of "Eventidal" is hardly an exception in that regard., But, in contrast, the brisk interplay that dominates "Absinthian" is fully in keeping with its title. The same is true of the following title cut, except the musicians unfurl the melodic and rhythmic motifs of the composition in a decidedly languorous fashion, that is, except for the bandleader.

The sharp flashes of Mary Halvorson's guitar notes there illuminate how intently these musicians listen to each other. Likewise, the core collective imbues "Amarinthine" with a distinctly celebratory air, an altogether appropriate manifestation of the song title.

It is only fitting no little bustle succeeds that number, as the intensifying action signals an authoritative conclusion to the genuinely transportive experience—mirrored in the evocative cover art by DM Stith—that is Mary Halverson and company's About Ghosts.

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