Amaryllis is a six-song suite performed by a newly formed sextet of master improvisers, including Halvorson, Patricia Brennan (vibraphone), Nick Dunston (bass), Tomas Fujiwara (drums), Jacob Garchik (trombone), and Adam O’Farrill (trumpet). The Mivos String Quartet joins for three of the songs, making this the largest ensemble for which Halvorson has written to date. The suite showcases Halvorson’s many musical influences from jazz, experimental, new music, and beyond.
Comprised of two full-length works, Dirt… And More Dirt, is composed for Henry Threadgill’s band 14 or 15 Kestra: Agg, which features 15 musicians (guitar, bass, drummers (2), cello, tuba, alto saxophone (3), flute (2), trumpet (2), trombone (2), and piano (2). The works are part of Threadgill’s ongoing exploration for integrating composition with group improvisation, in particular an entirely new system of improvisation based on preconceived series of intervals. They bear the unmistakable stamp of all Threadgill compositions: complex forms, multi-layered counterpoint, rigorous polyphony, and timbral contrasts all wrapped up in a swirl of rhythmic convolution. The use of multiple horns and woodwinds on Dirt… vastly expands the music’s harmonic and tonal palette at Threadgill’s disposal, adding a much wider range of color, texture, and weight. At the age of 73, Threadgill remains at the peak of his powers, yet remains completely open to all possibilities in expanding and refining his craft.
1. Dirt - Part I
2. Dirt - Part II
3. Dirt - Part III
4. Dirt - Part IV
5. Dirt - Part V
6. Dirt - Part VI
7. And More Dirt - Part I
8. And More Dirt - Part II
9. And More Dirt - Part III
10. And More Dirt - Part IV
11. Credits
Henry Threadgill - alto saxophone, flute, bass flute
It would be sufficient for Mary Halvorson to just continue being an avant-jazz guitarist with broad influences and a distinctive style. She would stay busy and garner praise. But here, she steps up as a leader once again, this time with her biggest outfit yet.
The lineup is identical to that of 2013’s Illusionary Sea, with the addition of Susan Alcorn on pedal steel guitar. The other contributors are Jonathan Finlayson on trumpet, Jon Irabagon on alto saxophone, Ingrid Laubrock on tenor saxophone, Jacob Garchik on trombone, John Hébert on bass, and Ches Smith on drums. Under Halvorson’s deft guidance, the octet navigates eight labyrinthine compositions.
With an ensemble of such size, it would be hard to categorize this as a guitarist’s solo album. Halvorson’s voice herein is just one among many, though it makes clear statements. But not unlike Illusionary Sea, as well as her other works for larger outfits, Away With You is a composers showcase. The horns roll off of one another in counterpoint over ominous 6-string picking and chording, with Alcorn providing atmospherics, and Hébert and Smith contributing a busy low end. Themes morph and adjust until all players join in free-form blowouts, then the themes reprise once again.
In some ways, Halvorson’s compositional style is as disjointed and prickly as her playing. Channeling her inner Braxton, she makes sharp left turns when the listener is expecting straight lines, while leading the octet through dense non-linearities. On the other hand, her use of space is masterfully delicate, building tension for the inevitable chaotic release.
As noted above, guitar sometimes takes a primary role. However, this not to the exclusion of the other instruments. Duets between Alcorn and Halvorson are particular compelling, though taking up only bits and pieces of the album. Hébert also provides a long, powerful solo break. But Away With You is at its best when all eight players are working through complex charts, and soloing around the edges. The result is nothing short of exhilarating.
