Cloudward
Cloudward has a welcoming sound without making everything easy. Mary Halvorson lets a melody emerge clearly, then gives the musicians room to move away from it. The music remains recognisable even when the guitar suddenly distorts or a rhythm starts to shift.
Halvorson works again with her Amaryllis sextet. Guitar, vibraphone, trumpet and trombone give her compositions plenty of colour, while bass and drums provide direction. That balance makes the record engaging. You can follow the melody or turn your attention towards a small change in the backing.
The Gate brings those parts together carefully. The playing becomes increasingly lively without losing its shape. The Tower takes more time. Halvorson's guitar opens with an unusual passage before the vibraphone and horns gradually join. Plenty of space opens between the instruments, yet the tension remains.
Desiderata gives the rhythm a stronger rock feel. The clarity of Patricia Brennan's vibraphone contrasts with Halvorson's distorted guitar. Their different sounds give the piece its force. On Incarnadine, Laurie Anderson's violin adds another colour without sounding separate from the group.
Closing track Ultramarine starts with Nick Dunston's bass and develops into a richer ensemble performance. The guitar has a dry, bluesy character while the other parts gradually expand the melody around it. The piece shows how a simple beginning can lead towards music in which a different detail keeps attracting attention.
The many small changes require concentration. Not every melody sticks immediately, and Halvorson often gives her guitar a quieter role than expected. That approach suits the record. Cloudward succeeds as shared work, with enough warmth to make the unusual turns approachable and enough character to keep them interesting. The band gives its most complicated ideas a natural flow, allowing the writing and the spontaneous responses to strengthen each other.
