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The late and talented musician Kenny Wheeler shared with the Guardian that his favorite activity was “composing melancholic melodies and then allowing skilled musicians to transform them”. Mary Halvorson, a guitarist from New York and a pioneer in the realm of new music, has also found a place in the unpredictable and surreal territory where structured composition and spontaneous improvisation intersect. Her experience as a performer and her studies as a creative learner of musical structure have molded her into the exceptional artist she is today.
In the year 2022, Halvorson’s highly praised status was further elevated with the release of Amaryllis and Belladonna, albums that focused on improvisation and composed chamber music. Next up is Cloudward, a fantastic eight-piece collection (inspired by the composer’s feeling of freedom as the pandemic receded at the time) for her sextet, featuring guitar and Patricia Brennan’s vibraphone along with trumpet, trombone, bass, and drums. The renowned Laurie Anderson also contributes with her effects-violin on one track.
The Gate’s gradually building fanfare of brass and vibes masks the underlying groove of the bassline and subtle drum beats that eventually emerge. Trumpeter Adam O’Farrill showcases his secure and clean tone throughout the range of his instrument, harmonizing beautifully with trombonist Jacob Garchik on Collapsing Mouth and Unscrolling. The latter is surrounded by soft drum rolls and shimmering cymbal sounds, with a darker, slithering bass solo towards the end. Halvorson adds distorted guitar to the avant-funky Desiderata, while Anderson creates unusual violin sounds that transition into graceful chimes in Incarnadine. The energetic band riffs behind the climbing and twisting melody of Tailhead, with a hint of Latin jazz influence. Halvorson’s fusion of composed and improvised music reaches a captivating seamlessness and alluring warmth in this fantastic collection.
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The highly praised American vibraphonist, Joel Ross, has released Nublues (Blue Note) with his regular bandmates, featuring the talented saxophonist Immanuel Wilkins. Together, they infuse both conventional and unconventional elements into the blues, resulting in a tracklist that is occasionally solemn but mostly vibrant. The album includes seven original tracks, as well as a captivating rendition of John Coltrane’s Equinox and a playful exploration of Thelonious Monk’s Evidence. Similarly, Ches Smith, a percussionist, vibraphonist, and composer from New York, shares his latest album Laugh Ash (Pyroclastic Records), which showcases his virtuosity in free-jazz, Haitian Vodou music, electronics, and more. The album weaves together elements of minimalism, spoken word, free-jazz tenor sax, abstract electronics, and chamber music with ease, making it Smith’s most diverse release yet. Finally, the talented American tenorist Rich Halley, who remains relatively unknown outside of his home state of Oregon, delivers an impressive post-bop to free jazz performance on his latest album Fire Within (Pine Eagle Records). Joined by the masterful pianist Matthew Shipp, known for his post-Cecil Taylor style, Halley’s quartet showcases their long-practiced eloquence in a scorching performance.
Source: theguardian.com
