Mary Halvorson – Underhill Lounge

Ancient Songs of Burlap Heroes

Ancient Songs of Burlap Heroes by Nate Wooley (Bandcamp Link).

This album is dedicated to those who recognize living as a heroic act: the occupiers of sunup barstools; the cubicle-planted; the ghosts of Greyhounds; the reasonably sketchy. A burlap hero is one who marches—consciously or not—back to the sea in hopes of making no splash, who understands and embraces the imperfection of being, and in that way, stretches the definition of sainthood to fit.
Nate Wooley, 2022

Framed by 4 interludes, (all named with an open parenthesis a sequence of periods and a close parentheis), which start with what sound like field recordings of fields or beaches into which the band gradually inserts itself, Ancient Songs of Burlap Heroes roots itself in the natural world.

These interludes present a world where composition and improvisation are part of the order of things, not one where man and his ideas impose their will on nature or the world.

The 3 longer pieces on the album skirt any labels such as “Jazz”, “Free Improvisation”, or “New Music”. (Though, at any point, the music might sound like one, the other, or all at once.)

The core group of players, Halvorson, Alcorn, Sawyer, and Wooley, are all distinctive voices and Wooley gives ample space to express themselves solo and interact with each other over the course of the longer pieces.

Particularly fascinating is the interaction between the two guitarists, the pitch sliding of Alcorn’s pedal steel guital and the temporal sliding of Halvorson’s patented digital delay damaged playing.

Wooley himself has some burning passages and some poignant moments in his playing on the album, including a particularly nice break in “A Catastrophic Legend” that is practically Bebop (but not quite).

Sawyer displays astonishing flexibility, interacting and complementing whatever these iconoclastic players throw at him with poise and grace.

The album closes at the sea shore, perhaps in reference to the quote above, a group of saintly players ending their pilgrimage, and fading into silence.

Mary Halvorson; Guitar
Susan Alcorn; Pedal Steel Guitar
Ryan Sawyer; Drums
Mat Maneri; Viola, Track 2
Trevor Dunn; Electric Bass, Track 4
Nate Wooley; Trumpet and Amplifier, Compositions

Recorded by Ryan Streber at Oktaven Audio, October 14-15, 2021
released July 29, 2022

Everthing Happens to Be

“Everything Happens to Be.” by Ben Goldberg.

A new album from a quintet organized by Ben Goldberg.

It would be easy to classify this as “Thumbscrew with Horns”, as the band IS Thumbscrew with two horn players. (And I always enjoy a good two horn blow out.) However, Ben is the brains of the outfit and composer of the tunes, rather than Mary, Michael, or Tomas being the instigators which gives it a very different caste. And more than Thumbscrew, this band is about melodic interplay and harmonies.

I read that the compositions are inspired by Chorale form, and, indeed, multipart harmonies and interaction between the different players melodic lines is far more prevalent than much modern Jazz.

I don’t know how through composed the structures here are, but it still feels mostly like Jazz, often very traditional Jazz, even while largely eschewing “head, solo, head” forms.

I think the somewhat Rococo sensibilities of all the players here just works well, making it feel like Jazz, even though the forms are a bit less traditional.

The album starts fairly placid and suckers you in, whistling along tunefully as you appreciate the interplay between Goldberg and Eskelin or Halvorson and Formanek. But by the time the we get to “Tomas Plays the Drums”, the album’s most raucus tune, and Goldberg pulls out the Contra Bass Clarinet, Halvorson cranks the distortion, Eskelin squonks enthusiastically, and Formanek and Fujiwara increase the tension, the album heads into very different territories.

To-Ron-To sounds like the sort of expressionist music landscape Jazz heads like Charles Mingus, (or even some light classical composers,) created to evoke modern car clogged urban environments of the 1940s and 1950s.

The album closes with a very traditional rendition of the hymn, “Abide With Me”, a fitting and peaceful Doxology for this enjoyable album and all the players contributions. I know I have been very happy to abide with this album over the last few days while I took the time to write it up.

Mary Halvorson – electric guitar
Ellery Eskelin – tenor saxophone
Michael Formanek – bass
Tomas Fujiwara – drums
Ben Goldberg – clarinets

All compositions by Ben Goldberg, except “Abide With Me,” by William Monk (by way of Thelonious Monk).

Theirs

Theirs by Thumbscrew.
Bandcamp Link: Theirs

Again, Thumbscrew is Michael Formanek, Bass; Tomas Fujiwara, Drums; Mary Halvorson, guitar.

Thumbscrew released two albums on the same day earlier this year, one called “Ours” and one called “Theirs”. It wasn’t until I came to listen to “Theirs” today that I realized why they were named such. “Ours” is all original tunes by the band. “Theirs” is all tunes by other composers.

I hesitate to call these “standards” as the songs are, as they say, “Deep Cuts” from composers like Bennie Golson, Herbie Nichols, Wayne Shorter, Stanley Cowell, and Misha Mengleberg.

They are all mostly ballads.

After the inventive playing and compositions on “Ours”, I find the more conservative tack of “Theirs” a tad disappointing.

The melodies are handled by the guitar player Halvorson, occasional solos are given to bass player Formanek, and the drummer mostly sticks to brushes.

It’s not that it is a bad record, it just feels kind of predictable. Which is odd for a group of musicians as talented and interesting as these are. But, maybe being “predictable” for these musicians is being “unpredictable”? I guess, ultimately, I’d say, if you liked the sound and interactions on “Ours”, but found it a bit too eclectic for your tastes, maybe “Theirs” is the album for you.

#Thumbscrew #Theirs #TodaysCommuteSoundtrack #MaryHalvorson #TomasFujiwara #MichaelFormanek

Ours

Ours by Thumbscrew.
Bandcamp Link: Ours

Thumbscrew is Michael Formanek, Bass; Tomas Fujiwara, drums; Mary Halvorson, guitar.

Formanek is probably best known for his work in the sphere of Tim Berne and from his own ensembles. Fujiwara and Halvorson have spent time in the circles of Anthony Braxton’s recent ensembles.

Halvorson’s work is often prickly and angular, trad jazz folks complain it doesn’t “swing” or “rock”. She plays with largely dry tone on a big hollow body that is almost as tall as she is. Her main thing seems to be balancing between electric sound of the amplified guitar, the acoustic sound of the plucked guitar strings, and discreet use of a looper/delay.

Formanek is a very melodic and flexible bass player, despite his involvement in Berne’s often full contact ensembles. I feel it is his often bowed sound that is the heart of this ensemble.

Fujiwara, I would describe as a lithe and nimble drummer, one second he is playing swing time, the next he is tick-tacking along as if he were playing percussion in an orchestra, the next he is dragging the surprising sounds out if his kit, and the next he is playing a rock beat.

Anyway, for musicians who have spent a lot of time playing “difficult” music and who play in an ensemble called “thumbscrew”, this is a very accessible and pleasant album. Even lyrical in places! No one will mistake it for a Jim Hall or John McLaughlin trio, but there is a lot of variety here and a surprising amount of swinging and rocking.

It seems like the ensemble is very democratic, with three songs composed by each member. Certainly, everyone is pulling their weight. My favorite tunes are probably “Smoketree”, “Cruel Heartless Bastards”, and “Words That Rhyme With Spangle (angle bangle dangle jangle mangel mangle strangle tangle wangle wrangle)”. I even picked one tune from each member without knowing beforehand who had written them!

They are all at the top of their game.

#Thumbscrew #Ours #TodaysCommuteSoundtrack #MichaelFormanek #TomasFujiwara #MaryHalvorson

2017-11-03 Paimon: The Book of the Angels Volume 32

Paimon: The Book of Angels Volume 32. Mary Halvorson Quartet plays Masada Book Two.

Label Link: Paimon

Oddly, this is a fairly traditional Jazz album by Mary Halvorson, Miles Okazaki, Drew Gress, and Tomas Fujiwara. Two guitars, Bass, and Drums, respectively. For the most part both Halvorson and Okazaki keep their guitar tone fairly dry, limiting digital effects to the odd flourish.

Well, I suppose, “Fairly Traditional Modal Jazz in a Klezmer style”, would be a more accurate way to describe this album.

The impressive thing is the way the two guitarists double each other at intervals, playing the melodies with harmonies, rather than the traditional lead and rhythm guitar type arrangement. A nice bass solo from Gress and some impressive cymbal work from Fujiwara round out the album.

Thoroughly enjoyable.

#TodaysCommuteSoundtrack #MaryHalvorson #Paimon #Tzadik #MaryHalvorsonQuartet #TomasFujiwara #DrewGress #milesokazaki