Mary Halvorson: About Ghosts review – restless beauty from jazz’s shape-shifting guitarist

TruthLens AI Suggested Headline:

"Mary Halvorson's 'About Ghosts' Showcases Innovative Jazz with Expanded Ensemble"

Mary Halvorson: About Ghosts review – restless beauty from jazz’s shape-shifting guitarist analysis cover image The Guardian 8.4
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Original Article Source: https://www.theguardian.com/music/2025/may/30/mary-halvorson-about-ghosts-review
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AI Analysis Average Score: 8.4
These scores (0-10 scale) are generated by Truthlens AI's analysis, assessing the article's objectivity, accuracy, and transparency. Higher scores indicate better alignment with journalistic standards. Hover over chart points for metric details.

TruthLens AI Summary

Mary Halvorson’s latest album, "About Ghosts," showcases her distinctive approach to jazz, blending powerful melodies with inviting harmonies that resonate beneath her often edgy and avant-garde sound. Building upon the foundation of her Amaryllis ensemble, which previously released the acclaimed album "Cloudward," this new project expands the lineup to include notable musicians such as Immanuel Wilkins on alto saxophone and Brian Settles on tenor saxophone. Their addition brings a new depth to Halvorson’s compositions, enhancing the rich tonalities and expressive range of her signature brass fanfares and intricate improvisations. The opening track, "Full of Neon," exemplifies Halvorson’s ensemble variety, featuring a mix of march-like percussion, improvisational elements, and fluid solos complemented by dynamic horn exchanges. Similarly, the track "Carved From" transitions from a soft, unaccompanied introduction to vibrant improvisational exchanges that highlight the exciting interplay between Halvorson’s guitar and Wilkins’s saxophone.

The essence of Halvorson’s music lies not in cinematic storytelling but in the intricate symmetries and conflicts within her compositions. The melodies and rhythms engage in a conversation, with harmonies that evoke the sound of jazz big bands while also drawing from contemporary classical influences. The title track, "About Ghosts," evolves into an improvisational exploration, while tracks like "Eventidal" and "Absinthian" showcase a variety of styles, from graceful ballads to frenetic bebop influences. Halvorson’s recent commentary on the English musician Robert Wyatt reflects her affinity for blending the unusual with the beautiful, a sentiment that resonates throughout her own work. This year also marks significant anniversaries in the jazz world, including Keith Jarrett’s Köln Concert, highlighting the enduring legacy of innovative jazz compositions that continue to inspire artists like Halvorson and her contemporaries.

TruthLens AI Analysis

The article presents a detailed review of Mary Halvorson's latest album, "About Ghosts," highlighting the unique musical qualities and the expanded ensemble that contributes to the work's richness. It emphasizes the blend of innovative jazz elements with accessible melodies and harmonies, showcasing Halvorson's ability to transcend the avant-garde genre.

Artistic Intent and Community Perception

The review aims to celebrate Halvorson’s artistic vision and the emotional depth of her music. By illuminating the intricacies of her compositions, the article seeks to foster an appreciation for contemporary jazz that may not be as widely recognized. Through its descriptive language, the article encourages readers to engage with the music on a deeper level, potentially attracting both jazz enthusiasts and newcomers alike.

Underlying Messages

While the article does not overtly conceal information, it does prioritize certain aspects of Halvorson’s music that may align with the tastes of a niche audience. The focus on avant-garde elements could suggest a desire to elevate Halvorson's status within the jazz community, highlighting her innovative contributions in a way that could overshadow more mainstream artists.

Manipulation Assessment

The review does not appear to carry a high level of manipulative intent; rather, it seems to aim at promoting appreciation for Halvorson’s work. The language used is descriptive and analytical, steering clear of sensationalism. However, one could argue that by emphasizing the complexity and avant-garde nature of her music, the article might inadvertently alienate those less familiar with such genres.

Factual Integrity and Societal Impact

The review is grounded in musical analysis, featuring specific references to the album's tracks and components. It provides an authentic representation of Halvorson's work, likely resonating with audiences interested in exploring the evolving landscape of jazz. The depiction of Halvorson’s music may inspire more listeners to engage with jazz, potentially influencing the genre's popularity and market.

Cultural Resonance and Community Appeal

The article primarily appeals to jazz aficionados and those interested in experimental music. It seeks to connect with communities that appreciate intricate musical compositions and the avant-garde sphere. By promoting Halvorson's work, the article also contributes to broader discussions about the significance of innovation in artistic expressions.

Market and Global Influence

In terms of market influence, the review could impact the sales of Halvorson’s album and similar jazz offerings. While it may not have direct implications for stock markets or global economics, it contributes to the cultural fabric that shapes the music industry's dynamics.

AI Involvement in Composition

It is unlikely that artificial intelligence played a role in the writing of this review. The nuanced understanding of music and the subjective language used suggest human authorship. If AI had been involved, it might have influenced the tone or structure, but this particular review reflects a deep engagement with Halvorson’s artistry that goes beyond simple algorithmic analysis.

Final Thoughts

Overall, the article provides a trustworthy and insightful review of "About Ghosts," celebrating Mary Halvorson's contributions to jazz while fostering a deeper understanding of the genre's contemporary evolution. The focus on her artistic expression and the ensemble's dynamic offers a compelling invitation for readers to explore her music further.

Unanalyzed Article Content

Source URL: https://www.theguardian.com/music/2025/may/30/mary-halvorson-about-ghosts-review

However edgy and angular Mary Halvorson’s music gets, powerful melodies and inviting harmonies always drift below even the stormiest surface, giving the much-lauded New York composer and guitarist an appeal way beyond the avant garde. About Ghosts features an expanded version of her Amaryllis ensemble, which made one of 2024’s standout jazz albums, Cloudward. The lineup retains Adam O’Farrill (trumpet), Jacob Garchik (trombone), Patricia Brennan (vibraphone), Nick Dunston (bass) and Tomas Fujiwara (drums), augmented by Blue Note Records’ fiery, gospelly alto-sax star Immanuel Wilkins and the rugged, Wayne Shorter-like tenorist Brian Settles.

These two players give this release a crucially different feel, lending richer tonalities and expressive range to Halvorson’s signature brass fanfares, boppish-to-abstract improv, restlessly interweaving melodies and vigilant drumming. Opener Full of Neon begins the set with a textbook piece of Halvorson ensemble variety: elliptically march-like percussion, squirming improv intro, fluent solos and luxurious ensemble passages with woodpecker-like horn chatter. Carved From starts to canter and chime after a soft, unaccompanied arrival in rich horn chords, and features driving improv from Halvorson and Wilkins, mixing crisply defined guitar figures and skidding elisions with flat-out, whooping alto-sax firestorms.

The excitement of Halvorson’s music is not cinematic or illustrative, but in the kaleidoscopic fascination of its internal symmetries and conflict. Melody parts play rhythm patterns, then the melodies bend while the rhythms push on. Her harmonies sometimes echo jazz big bands, at others contemporary classical. The initially tender title track becomes a captivating journey of improv and constantly morphing thematic shapes, while Eventidal is a graceful guitar and vibes ballad, and the fast Absinthian and Amaranthine suggest hyper-compressed bebop lines. Recently discussing the quirkily wonderful English singer and songwriter Robert Wyatt in Jazzwise magazine, Halvorson said she loved his ability to blend “the weird with the beautiful”. She wouldn’t dream of it, but she could have been saying much the same of herself.

This year sees the 50th anniversary ofKeith Jarrett’s legendary Köln Concert, andNew Vienna (ECM), a 2016 gig from the now 80-year-old’s final solo tour, is a familiar but bewitching hour of hurtling free squalls, chugging-hook rockers and tender romances. Young French flautist and composerNaïssam Jalalfollows up2023’s acclaimed Healing Ritualswith the very different Souffles (Les Couleurs du Son), a set of eight diverse duos with eminent wind-players. Her flute glides animatedly around Louis Sclavis’s solemnly evocative bass clarinet, rises in clamorous harmonies with Émile Parisien’s soprano sax while she eloquently chants instrumentally and vocally asArchie Sheppplays gruffly bluesy tenor sax. And onAmoeba’s Dance (Trouble in the East), prize-winning Berlin saxophonist and composerSilke Eberhard’s enlarged Potsa Lotsa group makes vividly creative use of their leader’s intricately structured but constantly provocative pieces.

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Source: The Guardian