Mary Halvorson Trio - Dragon's Head



Artist .....: Mary Halvorson Trio
Title ......: Dragon's Head
Year .......: 2008
Genre ......: Jazz
Label ......: Firehouse 12 Records
Source .....: CD
Bitrate ....: 179 kbps avg
khz ........: 44.1
Mode .......: Joint Stereo
Encoder ....: LAME v3.97 -V2 --vbr-new
Reldate ....: 2009-01-08
Storedate ..: 2008-00-00




Tracklist

1. Old Nine Two Six Four Two Dies (No. 10) 7:46
2. Momentary Lapse (No. 1) 7:52
3. Screws Loose (No. 8) 2:28
4. Scant Frame (No.2) 3:23
5. Sweeter Than You (No. 4) 3:56
6. Sank Silver Purple White (No. 5) 5:19
7. Too Many Ties (No. 6) 6:38
8. Totally Opaque (No. 7) 7:43
9. Dragon's Head (No. 9) 5:36
10. April April May (No. 3) 4:40
-----
55:21




Release

Given her diverse work with Anthony Braxton, Trevor
Dunn and Mike Pride, her duos with Jessica Pavone
and Kevin Shea and a number of other projects,
guitarist Mary Halvorson might have gone any number
of directions with her debut as a bandleader. Safe
bet it would include some precise, proficient
playing, probably some jagged edges and maybe some
noise. But in the last few years Halvorson has
shown there to be a number of tricks up her sleeve.

With Dragon's Head, she seems to have decided to go
all directions at once and quite tidily. She wrote
the ten pieces on the disc specifically for the
band—John Hebert on bass and Ches Smith on
drums—and they rise well to what's been put before
them. While some of her projects have leaned toward
avant rock and sui generis song, Dragon's Head is
an instrumental record of slippery jazz. The first
track, "Old Nine Two Six For Two Dies (No. 10)"
(showing her commitment to the band project, the
tracks are numbered to show the order they were
composed in) is the last piece she wrote for the
album and jazziest cut on the disc, a laid back
number with plenty of melody, her electric guitar
almost pianistic at times. It serves not so much as
a framework in its placement here but as a
departure point for the rest of the record.

The disc quickly nosedives (quite gloriously) into
rockier glades. The second track introduces her
deft use of effects, heavy distortion and rubbery
pitch-shifting. The rest of the album is dedicated
to charting the grounds between: extreme layering
of tempos; unison passages that pound a different
punk-prog than has been heard before and
unaccompanied solos (by all three) that challenge
as much as the composed segments do. But remarkably
Dragon's Head never feels de-contextualized; the
rugs might change, but they're not pulled out from
under you.

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