Bending Bridges
Reviews
Fo
Reviewed 2012-06-15
Reviewed 2012-06-15
MARY HALVORSON QUINTET: Bending Bridges
Firehouse 12, 2012
Mary Halvorson : guitar
Jonathan Finlayson : trumpet
Jon Irabagon : alto sax
John Hébert : bass
Ches Smith : drums
AVANT-JAZZ – Nobody else sounds like guitarist Mary Halvorson: loose and angular, her stinging, wobbly chords can slice you up or make you think, running amok like a berserk robot or oozing slowly through oblique melodies. This is her second CD leading a quintet, top improvisers all, and its full of surreal vistas, rock-ish aggression, and loud, surprising twists. Very unusual, highly compelling music.
Try any. Fo’s Picks: 2, 4, 5, 7, 9
1. 7:48 – slow trudge: guitar slithers; open bass solo, then a loud rock freakout
2. 7:59 – friendly start; solos stretch & flip over oddball rhythms, briefly shreds
3. 8:03 – thumping theme slips into shimmering shards, then bustling improv
4. 10:15 – quintet march, solo trumpet & dialogue with guitar, happy middle breaks down in sax/guitar weirdness, drum solo realigns it
5. 7:50 – guitar navigates lopsided rhythm, busy bass, 2nd half raw & noisy
6. 4:48 – moody trio: calm strange guitar, heavy bass, open drums, gets jangly
7. 6:52 – tight but detached quintet, gets rolling under horn solos, space guitar
8. 7:09 – goofy pounding theme drifts into speedy sci-fi improv, long drum solo
9. 7:48 – guitar intro, spinning groove slips off axis, strong semi-melodic solos
[ Fo ] - June 2012
Firehouse 12, 2012
Mary Halvorson : guitar
Jonathan Finlayson : trumpet
Jon Irabagon : alto sax
John Hébert : bass
Ches Smith : drums
AVANT-JAZZ – Nobody else sounds like guitarist Mary Halvorson: loose and angular, her stinging, wobbly chords can slice you up or make you think, running amok like a berserk robot or oozing slowly through oblique melodies. This is her second CD leading a quintet, top improvisers all, and its full of surreal vistas, rock-ish aggression, and loud, surprising twists. Very unusual, highly compelling music.
Try any. Fo’s Picks: 2, 4, 5, 7, 9
1. 7:48 – slow trudge: guitar slithers; open bass solo, then a loud rock freakout
2. 7:59 – friendly start; solos stretch & flip over oddball rhythms, briefly shreds
3. 8:03 – thumping theme slips into shimmering shards, then bustling improv
4. 10:15 – quintet march, solo trumpet & dialogue with guitar, happy middle breaks down in sax/guitar weirdness, drum solo realigns it
5. 7:50 – guitar navigates lopsided rhythm, busy bass, 2nd half raw & noisy
6. 4:48 – moody trio: calm strange guitar, heavy bass, open drums, gets jangly
7. 6:52 – tight but detached quintet, gets rolling under horn solos, space guitar
8. 7:09 – goofy pounding theme drifts into speedy sci-fi improv, long drum solo
9. 7:48 – guitar intro, spinning groove slips off axis, strong semi-melodic solos
[ Fo ] - June 2012
Recent airplay
That Old Sound (No. 27)
Music Casserole — Aug 03, 2024
Sea Cut Like Snow (No. 26)
Rebop — May 20, 2016
All The Clocks (No. 29)
Rebop — Aug 15, 2014
Hemorrhaging Smiles (No. 25)
Feral Jazz/Pop Frenzy — Sep 01, 2012
The Periphery Of Scandal (No. 23), Love In Eight Colors (No. 21)
Rebop — Aug 28, 2012
All The Clocks (No. 29)
No Cover, No Minimum — Aug 24, 2012
Charting
2012-06-30 — 2012-09-02
Jazz
| Week Ending | Airplays |
|---|---|
| Sep 2 | 2 |
| Aug 26 | 3 |
| Aug 12 | 1 |
| Aug 5 | 2 |
| Jul 29 | 1 |
| Jul 22 | 1 |
| Jul 15 | 1 |
| Jul 8 | 1 |
Track listing
| 1. | Sinks When She Rounds The Bend (No. 22) | ||
| 2. | Hemorrhaging Smiles (No. 25) | ||
| 3. | Forgotten Men In Silver (No. 24) | ||
| 4. | Love In Eight Colors (No. 21) | ||
| 5. | The Periphery Of Scandal (No. 23) | ||
| 6. | That Old Sound (No. 27) | ||
| 7. | Sea Cut Like Snow (No. 26) | ||
| 8. | Deformed Weight Of Hands (No. 28) | ||
| 9. | All The Clocks (No. 29) |