Mary Halvorson and Reverse Blue

[monava9]

If You Haven’t Seen Mary Halvorson Live Yet, What the Heck is the Matter With You?
Review: Mary with Reverse Blue, Cornelia Street Café, 1/4/13
by Monique Avakian



Nobody plays like Mary.

Might as well stop there. What more is there to say, really?

Oh, I suppose I could get into details in regard to her quirky and inviting bendy notes and wavy chordal interjections, but these inventions of hers deftly defy description. Do please note, though, that her way around the wires marks an important territory that goes FAR beyond mere play with electronics, pedals, and gizmos.

I guess I could also try to explain how I heard her inject the concept of negative space into myriad choice moments during several blistering runs, but that’s a feat I don’t know how to address other than to be simply thankful. What a rhythmic treat! Stellar!

I could go on about Halvorson’s complete and total command of the instrument and how *%&$#^@ cool it is to see a woman taking the lead here—oooooooh, LA LA. And: yeah.

I could remind you that she is the leader of several groups--all strong, all different, all busy, all the time. All the guys are cool, too, of course. And they’re pretty cute. (*)

I could write about how this fine musician got heart-felt CHEERS from the audience during several of her solos…not something you see every day at a jazz show, you know…..

I could also let you know that BOTH SETS of her Reverse Blue show (Jan. 4, 2013, Cornelia Street) were sold out, so, WOW, can we hear it for the individual showing us how to be successful in this crazy economy? Now, come on!

Nobody plays like Mary.

Nobody.



(*) PS – more about the guys. I couldn’t resist making that socio-cultural joke about them being cute (which they are, btw). But I would never want to slight the inspiring males who worked with Mary during this show. Sadly, Eivind Opsvik was not able to perform on this particular evening, but Stephan Crump was a delight to behold on bass. He provided us with delicate and intricate endings to several tunes—not easy to do with songs that form themselves into 3 dimensional sculptures characterized by wildness and a heavy rocked-out feel. Chris Speed on reeds was simply rapturous at times: his tone on the clarinet is so warm and clear, and I loved his sound-poemy constructs on the sax: allusions, allegories and fluttering flocks without a trace of cliché. And, Tomas Fujiwara, on drums, well, he drew us in, of course. His style is so quiet, and he just has the most refined sense of control…and, yet, he is so out. When he gets going on a non-stop roar, his level of dynamic temperance is quite astounding.

[Steven Reynolds]

she is truly one of the current great jazz musicians playing today.

I need a helping sometime soon.

My experiences in seeing/hearing her live are recent.

The first was @ The Stone in a trio with Ingrid Laubrock and the *great* Tom Rainey. It happened to be the second 10:00 set *after* Pierre Favre and Irene Schweizer astounded the packed house with a 50 minute duet that was beyond possible.

*then* the trio played a superlative set when there were moments when I thought that she *might* be the most amazing, original and certainly the most dynamic guitarist I had even encountered.

Months later @ Cornelia Street, she and her sextet made wonderous music, although from my perspective, not as jarring or unique as what the trio played that night last Spring.

[Homer]

Steven, I value your comments about music more than most of the jazz pundits. I was surprised about your comment about her being the most amazing and original.

I really enjoy her sound and do not want to diminish her at all, she IS amazing.

Have you heard of Stian Westerhus? I don't think there is anyone on guitar that is more innovative them him creating music today.

[Steven Reynolds]

I have not listened to that many "jazz" guitarist over the years mostly because I find the traditional "jazz" guitar pretty mundane although I like the best stuff that Wes Montgomery recorded (Full House or the great trio disc Live at the Half Note) or Grant Green or a few others.

This is also because historically I grew up on rock music taking an extreme liking to Robert Fripp, Jimi Hendrix and Phil Manzanera and others.

But I have been fortunate to see/hear live a few great players the last few years - Ben Monder, Marc Ducret, Brandon Seabrook and maybe one or two others.

And as great as those 4 are (with Ducret being my favorite), Mary was the most striking in her approach and *sound*

I will keep my ears out for the guitarist you mentioned....

[xybert]

For me Mary Halvorson just completely and utterly has her own sound. You can hear a bit of a Joe Morris influence, arguably but not necessarilly a Frisell influence (more to do with the employment of effects to help shape a sound)... but she is instantly recognisable. She is not part of the jazz guitarist rat-race. One of those rare, league of their own musicians in my opinion and it is a joy to witness. I don't want to make a Monk comparison but for some reason i associate her with Monk in my mind. Like Monk her music has it's own internal logic. like it or dislike it i don't think this can be denied.

[Nav Singh]

Originally Posted by monava9

Nobody plays like Mary.

Might as well stop there. What more is there to say, really?

Oh, I suppose I could get into details in regard to her quirky and inviting bendy notes and wavy chordal interjections, but these inventions of hers deftly defy description. Do please note, though, that her way around the wires marks an important territory that goes FAR beyond mere play with electronics, pedals, and gizmos.

I guess I could also try to explain how I heard her inject the concept of negative space into myriad choice moments during several blistering runs, but that’s a feat I don’t know how to address other than to be simply thankful. What a rhythmic treat! Stellar!

I could go on about Halvorson’s complete and total command of the instrument and how *%&$#^@ cool it is to see a woman taking the lead here—oooooooh, LA LA. And: yeah.



Nobody plays like Mary.

Nobody.

"Nobody plays like Mary".

For that, we are grateful. How do you make Mary instantly stop playing? Throw a chart of *Darn That Dream*, *Brilliant Corners*, *September Song*, et al in front of her.

"how *%&$#^@ cool it is to see a woman taking the lead here—oooooooh, LA LA. And: yeah. "

Given this statement, you've probably never heard of players like Emily Remler, Mimi Fox, or Sheryl Bailey. They don't play like Mary. In contrast, they can actually, you know, play.

Oh, wait, they're all part the infamous *jazz guitar rat race*.

Moral of the story: hyperbolic and grandiose statements about jazz music are silly.

[djangoblackbird]

Originally Posted by Nav Singh

"Nobody plays like Mary".

For that, we are grateful. How do you make Mary instantly stop playing? Throw a chart of *Darn That Dream*, *Brilliant Corners*, *September Song*, et al in front of her.

"how *%&$#^@ cool it is to see a woman taking the lead here—oooooooh, LA LA. And: yeah. "

Given this statement, you've probably never heard of players like Emily Remler, Mimi Fox, or Sheryl Bailey. They don't play like Mary. In contrast, they can actually, you know, play.

Oh, wait, they're all part the infamous *jazz guitar rat race*.

Moral of the story: hyperbolic and grandiose statements about jazz music are silly.

Show me ONE piece of evidence that points to her being unable to play standards. And saying "she doesn't play them" doesn't count. Joe Lovano doesn't play a C Major scale up and down two octaves during one of his shows, but I'm sure he can do it.

And while we're at it, you've fallen into the assumption fallacy TWICE by saying the OP hasn't heard the aforementioned female guitarists. It sounds suspiciously like the argument that "Oh, well, if this person 'settles' for this crap, they musn't have heard x, y and z." I know full well who Joe Pass is. I've listened to Peter Bernstein and Kurt Rosenwinkel as well. And I'll STILL listen to Halvorson.

I think it's good to have a female instrumentalist and/or leader in any situation. Jazz and improvised music is still largely a boys club. But I'd listen to Halvorson if she was male, female or non-op transgender.

Grandiose statements might be silly, but being a total ass ain't much better, Nav.

[xybert]

Originally Posted by Nav Singh

"Nobody plays like Mary".

For that, we are grateful. How do you make Mary instantly stop playing? Throw a chart of *Darn That Dream*, *Brilliant Corners*, *September Song*, et al in front of her.

Do you know for a fact that she would not be able to play those songs or are you just speculating?

Originally Posted by Nav Singh

"how *%&$#^@ cool it is to see a woman taking the lead here—oooooooh, LA LA. And: yeah. "

Given this statement, you've probably never heard of players like Emily Remler, Mimi Fox, or Sheryl Bailey. They don't play like Mary. In contrast, they can actually, you know, play.

I feel like you're projecting on the OP a bit here. I don't take their comment as suggesting that Halvorson is literally the only female they've ever seen take the lead.

Originally Posted by Nav Singh

Oh, wait, they're all part the infamous *jazz guitar rat race*.

Possibly poor choice of words on my part and i can't stop you from interpreting them how you want. I just meant to convey the Halvorson is not run of the mill. Again, you can reply with "are you saying that 'Guitarist X' is run of the mill?'' all day long.

Originally Posted by Nav Singh

Moral of the story: hyperbolic and grandiose statements about jazz music are silly.

Fair enough i guess but i enjoy reading peoples enthusiastic comments. They're definitely great discussion starters and not intended to be taken as shots at establishing set in stone jazz gospel; just people's honest opinions

[Ian Thumwood]

Interesting to read this thread regarding Mary Halvorson as I love jazz guitar and happen to think that women as diverse as Nicole Mitchell, Gretchen Parlato or Maria Schneider are making some of the most interesting jazz being performed at the moment. It is staggering to think that when I was forst getting in to jazz that the likes of Mary Lou Williams was almost being held up as being unique due to the lack of women really helping to shape the music.

Whilst this is certainly not the case these days, I've really struggled with Halvorson even though I often really like more outside forms of jazz. I must admit that my taste in guitar was shaped by the likes of players like Pat Metheny, John Scofield, John Abercrombie and Bill Frisell. For me, these are the real masters that have helped to shape jazz in the last thirty years. I have also enjoyed the likes of Terje Rypdal .There have also been other musicians like Kevin Eubanks and Russell Malone who have impressed whereas I can appreciate than none of these musicians quite push the boundaries as Halvorson.

Recently I've been listening to Jeff Parker and really think he is offering the most interesting new approach to this instrument. His work on Nicole Mitchell's "Awakening" makes this are real masterpiece. For me, he is the guitar to watch out for and the praise for the meanderings of Halvorson seem misplaced to my ears. I'm not a fan of her unswinging approach and whilst appreciate musicians who are on the look to take jazz in to new directions, I'm far from convinced by her concept. I'm sure 've heard a guitar on Braxton's recordings of standards and whilst this represented th best thing about the tracks that I have heard, it didn't really float my boat. I'd much rather listen to someone like Teddy Bunn than MH.

[xybert]

A few thoughts:

Jazz fans are notoriously skeptical and contrarian, especially when it comes to artists that they perceive as 'hyped'.

This even applies to canonised musicians. How often do threads or posts come up saying "what's the big deal about Miles?", "How do i get into Coltrane" or "i just can't get into Mingus". If you are a relative newbie artist the skepticism among listeners multiplies tenfold.

Anecdotal evidence indicates that Jazz is a genre that generally requires more than a few listens at least for an album or artist to grow on you. This can take years.

So, listener hears about 'the next big thing'. Listener's skepticism meter starts flashing. Listener says "humph, i bet this next big thing can't be all that". Listener goes on youtube, watches a couple of random videos and has their skepticism confirmed.

Can you judge an artist without having spent a decent amount of open-minded time listening to at least a few of their albums? I do it all the time.