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Mary Halvorson Septet: Illusionary Sea
by Phil Barnes
In 2009 Mary Halvorson was asked how relevant she felt that the word 'jazz' was to musicians of her generation. Her response was telling “Oh, I think about jazz all the time and although I don't play the traditional forms, I call myself a 'jazz musician.'.. trying to integrate everything into my own language." The corollary of this is that, while she has clear roots in jazz, Halvorson has assimilated influences from many genres of music and reflects this in ...
Continue ReadingMary Halvorson - Kirk Knuffke - Matt Wilson: Sifter
by AAJ Italy Staff
Il nome di Mary Halvorson sta giustamente trovando anche da noi consensi e riconoscimento: la sua musica sempre originale [specialmente con il proprio trio o quintetto, ora allargato a settetto in un recentissimo e splendido disco, Illusionary Sea], la sua capacità di comunicare con ascoltatori generazionalmente e stilisticamente variegati sono alla base del suo successo. Meno conosciuto è il trombettista/cornettista Kirk Knuffke [già nella NuBlu Orchestra “condotta" dal compianto Butch Morris], mentre Matt Wilson è batterista di grandissima esperienza e ...
Continue ReadingMary Halvorson Septet: Illusionary Sea
by Glenn Astarita
Guitarist Mary Halvorson's signature sound and methodologies have been making an impact within avant-garde and progressive-jazz circles on a global basis. Illusionary Sea marks the debut of her septet, comprised of impressionable players often residing at the forefront of the newer kindling of what may loosely be classified as jazz. Here, like minds coalesce for an album that crosses jazz, classical and avant-garde frontiers, via Halvorson's intriguing compositions and oscillating, wave-like arrangements that rarely inhabit a continuous plane.
Continue ReadingMary Halvorson Septet: Illusionary Sea
by Hrayr Attarian
Guitarist Mary Halvorson's Illusionary Sea is rich and intriguing filled with contrasting yet complementary motifs and patterns. Leading a septet of versatile and idiosyncratic musicians, Halvorson deftly entwines divergent musical threads into an elegant musical tapestry that bears her distinctive mark without overshadowing her band mates' individuality.The elaborately constructed pieces allow ample room for spontaneity. They are not, however, a mere showcase of the soloists' prowess, but rather the written melody and the impromptu musical constructs meld into ...
Continue ReadingMary Halvorson Quintet: Bending Bridges
by Troy Collins
The widely celebrated 2010 debut of Mary Halvorson's Quintet, Saturn Sings (Firehouse 12), confirmed the young guitarist's growing reputation with a selection of urbane compositions as impressive as her idiosyncratic improvisations. Bending Bridges expands upon the previous album's concepts, offering further proof of Halvorson's burgeoning talent, reinforced by an even greater sense of accord within the ensemble.Bassist John Hébert and drummer Ches Smith once again support the vivacious frontline of trumpeter Jonathan Finlayson and saxophonist Jon Irabagon, who ...
Continue ReadingMary Halvorson Quintet: Bending Bridges
by John Sharpe
For the sophomore effort from her quintet, guitarist Mary Halvorson reprises the winning formula of Saturn Sings (Firehouse 12, 2010). Again, there is a mix of pieces for the full ensemble and for Halvorson in trio; and, again, the end result defies classification, touching on spidery improv, jazz tradition and avant rock in a cleverly idiosyncratic brew. Only this time out, she is even more successful. Her writing has developed, unveiling appealing tunes enlivened by arrangements which extract the best ...
Continue ReadingMary Halvorson & Jessica Pavone: Departure of Reason
by Troy Collins
Departure of Reason is guitarist Mary Halvorson and violist Jessica Pavone's fourth duo recording, following Thin Air (Thirsty Ear, 2009), On and Off (Skirl, 2007) and Prairies (Lucky Kitchen, 2005). As leading lights of the fertile Brooklyn scene, their unique musical vocabulary encompasses a wealth of seemingly unrelated genres, from flamenco and folk to madrigal and metal; their seamless transitions between these disparate styles serve as the underlying foundation for experimental improvisations that skirt the tenuous divide between free jazz ...
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