Thumbscrew: Theirs & Ours

Thumbscrew

Mary Halvorson (guitar)

Michael Formanek (bass)

Tomas Fujiwara (drums)

Theirs & Ours (Cuneiform Records; 2018)

I have to be honest, I didn't expect this "supergroup" of Halvorson, Formanek, and Fujiwara--known as Thumbscrew, to last. Mainly because they rotate through so many of their own projects. But, they have been very prolific since their first outing in 2014. Now with their most recent companion releases Theirs and Ours the trio continues to stretch the improvised equations further with enormous success.

Ours is confident out of the gate with Formanek expanding his already intricate and fluid bass melodies followed by Halvorson's expressive and personal tones on "One Day" and "Unconditional." But one of my favourites is the almost rock-infused "Cruel Heartless Bastards" which changes pace from the start. Fujiwara and Fromanek shift modes with Halvorson, disrupting and cutting edges throughout. It felt like I was listening to Throwing Muses or Belly. 

Theirs features interpretations of some well known and not so well known jazz pieces such as Benny Golson's "Stablemates" where the trio showers the listener (or at least this one) with a rolling and vibrant version led by Fujiwara and Halvorson. While short, "Stablemates" floats perfectly into the Brazilian rhythms of Jacob Do Bandolim's "Benzinho," a lovely bounce that shows what fun the trio has had throughout this outing. Thumbscrew closes out Theirs with the beautiful Misha Mengelberg ballad "Weer is een dag voorbij" that perfectly encapsulates a creative and delicate journey with an arrangement that stays true but always shines with their original imprint.

While both Theirs and Ours feature very distinct themes, both releases are superbly delivered and highlight the monstrous talents of three excellent improvising pros on the scene today. Highly recommended!

Halvorson/Knuffke/Wilson: Sifter

Mary Halvorson (guitar)
Matt Wilson (drums)
Kirk Knuffke (cornet)
Sifter (Relative Pitch; 2013)

While this stellar collaboration actually came out last year, Sifter has been on repeat in house for some time now. It is probably one of the most fun and expressive releases I have heard Mary Halvorson on in a long time. The trio of Halvorson, Knuffke and Wilson demonstrate a unique companionship, they have worked with each other on various projects over the last the years, but Sifter for me, is one of their standout projects.

The performances are very melodic in their phrasing but as each musician bounces off each other the tunes become vitalized with a real hyper sense of jubilation. "Cramps" and "Don Knots" both provide rustic twang balanced out with jagged notes that mold themselves into a unified piece very quickly. Both pieces provide an element of melody that becomes very catchy and foot-stomping good.

Halvorson and Knuffke give "Original Blimp" that dangerous element with some both providing different directions for the song to follow. Halvorson guitar flows with a fun haunting and rolling pace, while Knuffke's cornet rises high along with Wilson steady kit work. All this makes for a grooving little marching number which reminded me of slowed down ska number.

"Forever Runs Slow in Cold Water" and "Absent Across Skies" are ballads but with very twisted chord changes. The trio show how their fun can turn serious a complex ed within seconds. Both pieces are intense and really shine light on how specific, calculated and united the musicians are within each number. Halvorson's looping lines towards the closing of "Forever.." are marvelous.

While I may talk about Mary Halvorson allot throughout this piece, it really is a trio session. Each musician provides writing credits for the music in the session. They each challenge each other and each rise to that challenge. But what makes this one of the my favourite records right now is the sheer fun they are having on every single track. Sifter is a good damn brilliant piece of work that every fan of these musicians should seek out quickly. Highly Highly Recommended!

Mary Halvorson: Illusionary Sea

Mary Halvorson (guitar)
Illusionary Sea (Firehouse 12 Records; 2013)
Jonathan Finlayson (trumpet)
Ches Smith (drums)
John Hebert (bass)
Jon Irabagon (alto sax)
Ingrid Laubrock (tenor sax)
Jacob Garchik (trombone)

With Illusionary Sea, Mary Halvorson has taken another leap forward in both her compositions and leadership. This expansive septet rich combines the versatile structure of the New York scene to date. Halvorson's jazz and rock aesthetics blend seamlessly into the tradition and always exploding free forms of her bandmates--with wondrous results.

At times the combination raised eerie images of the Count Basie's Band led by Sonny Sharrock. Halvorson gives her friends/band mates all the freedom they need to mold her compositions. This is present on the fun and vivid "Four Pages Of Robots." A rousing mixture of jagged tempos, scattered percussion and later, blues elements. These are juxtaposed against Halvorson's investigative chords that splice there way into the piece when you least expect it. Superb.

While complex themes are always a trademark of Halvorson's work, "Nairam" is something different in the Halvorson cannon. It's contains all the usual twists and turns in the structure. But this piece is more lyrical and compassionate. It's a composition that could easily have words applied to it and still remain emotionally resonant. Garchik and Finlayson raise above on this number but Halvorson's direction and steady chords are what draw you to the undercurrent of the song. A highly effective piece.

There's so much within Illusionary Sea to explore that we could write about every track. But its really important for you the listener to absorb this on your own. It's one of the best Mary Halvorson records to date. That includes her work with her own bands as well as with other various groups. With Illusionary Sea, Mary Halvorson has shown another enthusiastic step beyond the critical praise (she richly deserved) into one of the most important leaders and musicians in the current working scene today. Highly Recommended. And one of JazzWrap's albums of the year.

Ingrid Laubrock Anti-House: Strong Place

Ingrid Laubrock Anti House
Strong Place (InTakt; 2013)
Ingrid Laubrock (sax)
Kris Davis (piano)
Tom Rainey (drums)
Mary Halvorson (guitar)
John Hebert (bass)

An incredible second session from Ingrid Laubrock's Anti House. With Strong Place, the ensemble has delivered a solid effort that surpasses the already superb debut.

There's always talk (especially from me) about exploring and finding the melodic path within the free flowing improvised patterns on many projects. That's no different on Strong Place. But the while the origins may be hard to find at first, a quiet listening session later unearths them slowly and uniquely.

Laubrock's horn wraps the quintet in a beautiful tornado of sound on both "An Unfolding" and "Der Deichgraf." With Davis and Halvorson pulling closely side to side on both pieces with a humorous and lovely effect. Rainey and Laubrock also share some nice staccato passages before lending way for a gentle conversation with Halvorson's harmonic delivery.

Scattered patterns fill two-thirds of "From Farm Girl To Fabulous, Vol. 1." This set by Halvorson, Davis and Laubrock; before Rainey and Hebert slowly move in providing additional bit and a chance for the melody to evolve thanks to the bands leader.

When looking for that one song with melody, you just might find it at the end. "Here's To Love" delivers on that idea with a great balance of soft passion and experimentalism. A crisp texture from Laubrock is accompanied by Rainey and Hebert allowing the quintet to express emotions in a somewhat well structure fashion. Slightly different than the rest of the session but a welcome way to close.

All the members of Anti-House play together in various forms. And each record is different thanks to the leaders. But with Anti-House they seems to be able to make expressions and experiment in ways that their other group done allow. Weird, but with creativity like this, it's should be expected. Strong Place is a solid second effect from a blossoming super-ensemble.

The Thirteenth Assembly: Station Direct

The Thirteenth Assembly (quartet)
Station Direct (Important; 2011)
Taylor Ho Bynum (cornet)
Mary Halvorson (guitar)
Tomas Fujiwara (drums)
Jessica Pavone (viola)

One of the other exciting musicians on the New York scene in the last few years has been Taylor Ho Bynum. One of his many groups, The Thirteenth Assembly, released its second album, Station Direct in 2011. Built around the numerous influences of each musician, Station Direct spans rock, avant garde, folk and classical with ease. The mixture is subtle yet you will be amazing at the delivery and impact the music will have after a number of spins.

"Nosedive" opens with in an almost Americana fashion. With Pavone's viola roaming and sounding casual but calculating. Then the contrasting harmonics of Bynum, Fujiwara begin to slice notes in sections. Halvorson arrives in later stages and brings a cohesiveness to the piece that also allows the musicians to experiment more with sound.

"Coming Up" features some intriguing passages between Halvorson and Fujiwara. But it really is a feature piece for Fujiwara who explodes across the kit with exciting and fun. The song was written by Pavone, but she does lay in the background and allows the rest of member to explore and expand the piece beautiful.

"Long Road" swirls with experimentation thanks to Halvorson and Pavone. Notes and patterns that move in and out of darkness. Halvorson has a number low toned chords that give way to the pitch of Pavone's viola. As the tune moves forward it shifts from experiment to funky to folk and back to experiment; with Bynum returning in low hues and echoes of a New Orleans celebration and finally a joyous and raucous conclusion.

Station Direct is an album that travels in many directions thanks to the influences of its members. But it is an exciting journey and well laid out. The Thirteenth Assembly is one of those experience and creative side projects that is always worth diving into. You never know what will be next. But you know you're going to love it. Great stuff.

Kris Davis: Capricorn Climber

Kris Davis (piano)
Capricorn Climber (Clean Feed; 2013)
Ingrid Laubrock (sax)
Trevor Dunn (bass)
Tom Rainey (drums)
Mat Maneri (viola)

The incomparable, Kris Davis returns with more brave and complex patterns on her sixth album, Capricorn Climber. Davis, is part of the new legion on New York musicians that are redefining the scene nationally and globally. A scene composed of such notables as Tom Rainey, Mary Halvorson, Peter Evans, Ches Smith, Tashawn Sorey, Moppa Elliott, Jon Iragbagon et al. But Davis like Halvorson has been one of the major standouts for me over the last few years.

Capricorn Climber provides all you need to know and hear from a talented composer with challenging ideas. "Pass The Magic Hat" is a smooth yet very involved piece. The first steady tempo is lead by some lovely rolling lines from Davis. This is subtly balanced by Rainey and an uncharacteristically calm Laubrock, who sounds bold and romantic. Then all that changes as the piece moves forward and becomes even more reserved and delicate. Maneri dominates with some wonderfully inventive and chaotic notes. Beautiful and surreal.

Davis gives Trevor Dunn a lot of room to roam of course on "Trevor's Luffa Complex." The opening solo is superb and illustrates how well developed his craft has become in the last few years (actually he's been at way longer than that). He sets up some lovely exchanges with Laubrock that then fold nicely into a boiling cascade as Davis and Rainey come blasting in.

"PI is Irrational" flexes back and forth with breaking rhythms and patterns, mainly from Maneri and Rainey, with little slices of improvised notes floating in and out from Davis and Dunn. Laubrock's arrives towards the end of the number to add a nice linear passage for the closing notes by Dunn.

Maneri really shines in Davis' pieces, this is evident of the title track where his conversation with Davis is a perfect simpatico. Once the rest of the quintet dive in, the piece becomes a bright wash of sound that levels off calmly but with deep sense of structure.

A new album from Kris Davis always brings real joy to my ears. Capricorn Climber is definitely one of the more developed and intense sessions she's done so far. And it may take a little time for you digest all its beauty. But you will shortly realize how important Kris Davis has become as musician, composer and influence on a larger scene globally. Highly Recommended. And one of my albums of the year!

Mary Halvorson: Bending Bridges

Mary Halvorson (guitar)

Bending Bridges (Firehouse 12 Records; 2012)

Ches Smith (drums)

Jon Irabagon (sax)

Jonathan Finlayson (trumpet)

John Hebert (bass)

So I was having an argument with a friend as I was introducing him to one of my favourite artists and I finally realized something...Mary Halvorson is a threat to jazz!


She is quickly transforming a listener's perception of what the genre is. Her incorporation of indie rock muscularity and free jazz aesthetics is blurring the lines. She is reconstructing sound in a new image and pattern. Basically, making us think and feel the music without a predetermined tag. Enjoy it the way you wish to interpret it.

Bending Bridges, her newest release with her quintet signifies that direction and forward-thinking philosophy with great brilliance. A brief member of Anthony Braxton quartet only a few years ago, Halvorson brings a bright sense of creativity and experiementalism that is reminiscent of that time. The slow building but rewarding opener, "Sink When She Rounds The Bend" revolves around some gentle delivery by Halvorson fused perfectly with the horn section until the surprising and waterfall clashing of instruments towards it's ending. This demonstrates Halvorson's interest in breaking free even from the term improvisation.

"Forgotten Men In Silver," with fluctuating time signatures and cross patterns that are sure to cause the casual listener to scratch their head wildly, is my favourite piece. Part blues, part experiment. Hebert and Smith are given the space to create their own mood. It conjures up enough diverging moments that you almost forget the moment when Halvorson returns to calm the proceedings.


"The Periphery Of Scandal" with valuable staccato movements, has Halvorson playing the mercurial leader. The band seem to improvise around but then everyone returns at once for a thunderous middle section that may owe more to hard rock nights than indie club gigs. I loved the action and strength displayed throughout this piece.

"That Old Sound" strangely applies folk and free form which send fourth a tune that becomes interpersonal, cerebral and effective. Halvorson closes out the album with an almost contemporary piece "All The Clocks." Iraboagon provides the closest thing this session gets to a standard couple of lines. Halvorson and Hebert then proceed with counterpoints that are both combative as they are beautiful. Finlayson rolls a number of notes that rise with a great deal vibrant joy.

There's a reason Mary Halvorson has quickly become one of the most important names on the scene. She thinks differently than many of her counterparts and seeks to rise above the standard definitions. Bending Bridges is the document of truth. And Mary Halvorson is an artist who is a threat of breaking the genre in half. And that's a very, very, very good thing. I have been waiting for this album for 12 months and I can pretty much tell you all right now--Bending Bridges is the JazzWrap Album Of The Year.

Nadav Remez: So Far

Nadav Remez (guitar)

So Far (BJU Records; 2011)

Shal Maestro (piano)

Jmaes Wylie (sax, clarinet)

Avri Borochov (bass)

Ziv Ravitz (drums)

Steve Brickman (sax)

Itamar Borochov (trumpet)

For some reason, I've been really enjoying a lot of the guitar albums I listened to over the last few months. The obvious stand outs have been Mary Halvorson and Travis Reuter. But each album I've heard has its own amazingly moments that have me coming back again and again. The debut album from Nadav Remez, So Far (BJU Records) is one of those albums--surprising and rewarding. Subtle. Beautiful. And gets into your psyche after a couple of spins.

The arrangements on So Far play while tightly woven, still manage to give space to the musicians, allowing them to create some beautiful and encompassing passages. The ensemble really moves as a unit. Even Remez seems a member, allowing his group to speak for itself not as group of session musicians following its leader.

"Pinchas" sets out providing the ethereal space the album is laid in. The movements are free and Nadav provides a soft guide map for his mates to follow. James Wylie and Steve Brickman both give "Pinchas" an added element of punch when needed. "Last Exile" a tune Remez describes as a conversation about the time after wars is delightful and does has a "dream journey" quality to it. It's a song of hope. The group have time to expand and stretch a bit with this composition. Remez and Brickman's exchanges are boisterous but provide the much needed dialogue for the conversation.

"Untitled" sees Maestro moving to organ which gives the track a grittier feel. Ravitz and Borochov both move the rhythm along with some stellar patterns on drums and plucking of the bass. Remez's has a lovely mastery of his instrument. For me it was reminiscent of some of the better Pat Metheny works. "From Above" is a relaxing ballad written for Remez's late grandmother. It really shines with the interchanges between Maestro and Remez. This group has played together in various forms. So it would be expected that they are comfortable with each other and know the others movements. "From Above" is a group working in and around different structures and timings. The piece moves up and down in tempo but remains a ballad in spirit. And an emotionally effect one at that.

So Far closes with another tribute, "Susu" written for Remez's grandfather. It's a solo piece that combines both Remez's improvising and song structure in a very intimate setting. The material carved out on So Far really is rich, thoughtful and altogether beautiful to experience. It really requires a few spins before ever songs sinks in and has an emotional impact on you. Remez spent a good time under the studying and playing along some great musicians in Boston and New York after moving to the States from Israel just over five years ago. With So Far, Nadav Remez has shown himself to be an emerging talent on guitar in addition to being a well structured leader. This is one of those silent albums that you will returned to over and over again...

Rodrigo Amado

Rodrigo Amado (sax; b. 1964)

Searching For Adam (Not Two Records; 2010)

The multi-talented Rodrigo Amado was responsible for one of my favourite jazz labels, Clean Feed (co-founding member) and now running his own label European Echoes.

But he is also an accomplished photographer and highly creative and challenging spirit in the free jazz arena. His style is clear, vibrant, adventurous and soaring. For me shades of Pharoah Sanders, Sam Rivers and Ornette Coleman surround his music.

But while this improvising spirit stretches across the spectrum, the listener actually gets the unique experience of song structure that may not have been a predetermined result. Amado is working in a similar arena that can only be possessed by fellow improvisers Ken Vandermark (Vandermark 5) and Mats Gustafsson (The Thing).

Amado has six album as leader, working in trio and quartet formats but also in standard setting as well as string based outfits. In addition to collective work with his band, Lisbon Improvisation Players and guest works with the likes of Luis Lopes and Dennis Gonzalez.

Two records that I highly recommend are a trio session he recently did with Paal Nilsson Love (drums) and Kent Kessler (bass), The Abstract Truth (European Echoes; 2009) and Teatro (European Echoes; 2006). Both are provide an excellent balance between avant garde and modern structure. The interplay between three is highly rewarding for the listener.

Amado's most recent release, Searching For Adam (Not Two Records; 2010) is phenomenal. Featuring the stellar lineup of Taylor Ho Bynum (cornet/flugelhorn), Gerald Cleaver (drums) and John Hebert (bass), Amado has created the perfect work built out of improvised vision and dynamic European moods, creating a beautiful causal structure.

Searching For Adam is an album that moves through abstract aggression and delicate time changes that appear at the precisely the right moments throughout this session.

While being the longest piece on the album, "Waiting For Andy" is also the most touching and exploratory. The interplay between Bynum and Amado is lovely to experience. Moving up and down the scale with fierce attraction. "Newman's Informer" features some impressive time keeping from Cleaver (someone who I believe is criminally under-rated) and Amado has moments of Shepp and Ware spinning throughout.

On "Renee, Lost In Music", John Hebert begins with delicately stroking the chords for Amado to then join in on a light but richly free flowing piece that exploits the best phrases from Amado. "4th Avenue, Adam's Block" has swathes of Atlantic era Coltrane. A real bold well structured piece that again shines light on the brilliant musicianship of Rodrigo Amado.

Similar to my obsession with Mary Halvorson after I picked up Dragon's Head, I became obsessed with Rodrigo Amado's work. In the last few weeks I have managed to buy (yes, I did buy them) all of his work as leader. I'm hoping to find a chance to tell everyone about them soon.

As for today, I think if you are familiar with Ken Vandermark, Keefe Jackson, Mats Gustafsson, I highly recommend you check Searching For Adam. An album that is truly deserving of a wider listen from us all.

JazzWrap Best Albums Of 2010 Recap

It was a fantastic year for music. Here's a recap of JazzWrap's Best Albums Of 2010.

Mary Halvorson
Mikrokolektyw
One For All
Soweto Kinch
Soil & Pimp Sessions
Jason Moran
The Vandermark 5
Polar Bear
Bobby Avey
Dave Stapleton

There were a couple of albums I didn't get a chance to write about in our Best Of 2010 list. More because I was ill for a few days and couldn't put brain to computer to get the words out. These are by no means "honorable mentions". These are fantastic and in some cases (Jason Adasiewicz, Curtis Fuller, Kris Davis and Ricardo Gallo) phenomenal records that are worth every moment hunting down.

Ricardo Gallo Resistencias (Laidstrito Fonica)
Kris Davis Good Citzen (Fresh Sounds/New Talent)
Brian Eno Small Craft On A Milk Sea (Warp Records)
Curtis Fuller I Will Tell Her (Capri Records)
Tom Rainey Pool School (Clean Feed Records)
Keefe Jackson Seeing You See (Clean Feed Records)
Magnus Broo Swedish Wood (Moserobie Music)
Jason Adasiewicz Sun Rooms (Delmark)

I discovered a lot of new music this year. This was in part to some great friends, musicians, record labels and other blog writers. I especially wanted to mention my two favourite blogs Minimalistic Music and Jazznyt. Both are a little more avant garde than JazzWrap and provide a different perspective on the global community.

In addition, contributing editor, Kristopher Spencer has the insansely insightful site Scorebaby that discusses soundtrack music from every part of the globe as well as a great book on soundtracks that he wrote a year ago which you must own. I highly recommend you check them all out.

We have enjoyed working with and hearing from everyone and we hope to continue with some great new material in 2011. I hope you dig the music and have discovered some cool stuff. For us its all about turning people on to music that's both accessible and adventurous. As always we want to hear from you as well. So if you have a record you feel would be a great fit for us to know about please let us know.

And we are looking forward to another solid year of adventure in 2011.

Video: Tom Rainey Trio (Tom Rainey, Mary Halvorson and Ingrid Laubrock)From all of us at JazzWrap, thank you.

Best Album Of 2010: Mary Halvorson

JazzWrap revisits our favourite albums of 2010.

Mary Halvorson (guitar)
Saturn Sings (Firehouse 12 Records; 2010)

So when I first wrote about Mary Halvorson a few months back I enthusiastically said I was addicted to her music and her latest release, Saturn Sings (Firehouse 12 Records). Since then I have acquired a boat load of other releases featuring Halvorson; including the spectacular trio album from drummer Tom Rainey, which features some phenomenal playing from Halvorson.

But let's stay focused on the real album at hand. Saturn Sings is a powerful statement from a guitarist who really stands high and above most of her contemporaries, even if a large majority of the jazz public doesn't know who she is...yet.

Saturn Sings features the same trio from her first album as leader, Dragon's Head (Ches Smith (drums) and John Hebert (bass))now expanded into a quintet with Jon Irabagon on sax and Jonathan Finlayson on trumpet. This adds a little more body and rhythm to some of the recordings. But it doesn't interfere with free flowing atmosphere of the original group. In fact I think it gives the musicians more strength and room to breath or expand on different themes.

Halvorson is still the leader but allows the band to do some of the talking as on "Mile High Like" which Irabagon, Finlayson and Smith rip through notes while Halvorson's floats above and sometimes just underneath the rhythm. This is one the best examples of how this quintet melds together beautifully throughout Saturn Sings.

"Crack In Sky" and more importantly "Moon Traps In Seven Rings" are almost ballad-esque, with a loose abstract construction from Halvorson. Finlayson is the standout on "Moon Traps In Seven Rings" until about two thirds of the way in when Halvorson takes a Marc Ribot like solo and the group returns to the original melody. This is a great piece of writing. "Crack In Sky" sees Irabagon and Halvorson interplay beautifully--displaying Mary Halvorson can combine tradition and avant garde into something magical (similar to her mentor Anthony Braxton).

"Sea Seizure" again expresses the more indie-rock leaning side of Halvorson. It's a groove-laden track with aggression and agitation that could sit alongside anything Sonic Youth or Praxis could write. The title track, "Saturn Sings" opens with marching order-like quality led by Halvorson and Smith, only to return to a wonderful group dynamic played out by the rhythm section. Saturn Sings is an album that is another step up for Mary Halvorson in song writing, leadership and performance.

You may have noticed the headline of today's entry was slightly different. I purposely don't like to rank my "Best Albums" because I feel its too difficult to make your deciding factors on how they should be ranked. So I'd rather just talk about them. But in the case of Mary Halvorson's Saturn Sings--I have made the rare judgement that this by far is my #1 Album Of The Year.

I wanted to talk about it early in the week in case a lot of you are not around towards the end of week/year. The sooner you know about this album the better. If you want an album and an artist that is going to knock you socks off or change your thoughts on what the guitar means to jazz, than Mary Halvorson's Saturn Sings is the place you should start. Beyond Highly Recommended.