Published on PostGenre
Mary Halvorson gives a wide range of effects and musical roles to her guitar, and the result is always idiosyncratic. The guitarist's compositions have a complex, innovative edge, and Cloudward is more evidence as to why she deserves all the acclaim that comes her way. The intensity and progression of "Desiderata" is a fantastic display of her compositional and instrumental chops. The tune opens with a rock verve that dissipates into reserved trumpet and trombone melodies that the guitar tastefully punctuates. Things get hectic once Halvorson turns on the distortion and ignites the mood with an aggressive solo full of technical mastery and otherworldly effects.
"Desiderata" shows that Halvorson is such a good guitar player that one could forgive her if she only composed to serve the guitar above all else. However, this is never the case, especially not with Amaryllis, a group that brings out some of her most holistic writing. In Amaryllis, which features Patricia Brennan (vibraphone), Nick Dunston (bass), Tomas Fujiwara (drums), Jacob Garchik (trombone), and Adam O’Farrill (trumpet), everyone gets their chance to shine. Although Halvorson's guitar is integral to the success of Cloudward, much of it is slightly to the left of the spotlight.
In the slightly angular opening of "The Gate," the guitar shadows the horns in a flamenco-esque melody before Garchick takes a dexterous solo. Halvorson and Brennan provide expressive texture - whenever the vibraphone embarks on mesmerizing flourishes, the guitar responds in kind. The band finishes "The Gate" with aplomb in its second half, which features a powerful trumpet solo and intense drumming. Fujiwara has a different but equally crucial role in "Unscrolling," which starts with his kit setting the subtle mood. Dunston takes the bow to his bass for a captivating extended solo. The juxtaposition between the abrasive tone of the bass and the low-key ambiance of the rest of the band is fascinating.
The calmer moments of Cloudward show that Amaryllis is equally impressive in quiet and loud contexts. The entrancing "The Tower" is the closest the album gets to outright balladry, and Brennan takes full advantage with a stunning solo. The gorgeous, crystalline tone of the vibraphone is perfect for the spacious setting. The space is more surreal in "Incarnadine," which features Laurie Anderson on violin. Interesting, understated bursts of improvisation guarantee that “Incarnadine” will never be played anywhere close to the same way twice. The engrossing, eerie atmosphere is a testament to the strong connection among these musicians, which is evident throughout the entirety of Cloudward. This album is a stellar showcase of forward-thinking jazz - the type of music that keeps the genre fresh.
