Brooklyn-based guitarist and composer Mary Halvorson, a celebrated figure in contemporary avant-garde jazz, recently shared insights into her creative process and her latest critically lauded album, ‘About Ghosts,’ during an appearance on WRTI’s ‘The Late Set.’ The discussion, hosted by Josh Jackson, delved into Halvorson’s distinctive approach to composing for her Amaryllis sextet, her wide-ranging inspirations, and her well-known fondness for mixology. The episode, titled ‘Expand and Adapt,’ featured the acclaimed new music that has positioned ‘About Ghosts’ as a strong contender for Album of the Year.
Mary Halvorson: A Singular Voice in Modern Music
Mary Halvorson has carved out a unique niche in the modern music landscape, recognized for her boundary-pushing guitar playing and compositions. Born in Brookline, Massachusetts, her early musical journey began with the violin before a pivotal encounter with Jimi Hendrix inspired her to switch to the guitar. Influences ranging from jazz titans like John Coltrane and Ornette Coleman to avant-garde composers such as Anthony Braxton and free improviser Sonny Sharrock have shaped her eclectic sound. Halvorson herself embraces a broad perspective, learning from Braxton the value of open-mindedness towards all genres of music, believing that “there’s good music in every genre and there’s bad music in every genre”. This philosophy allows her to fluidly incorporate elements of flamenco, rock, noise, and psychedelia into her work, defying easy categorization. Her prolific career has earned her numerous accolades, including multiple wins for Best Guitarist in DownBeat Magazine’s International Critics Poll and a prestigious MacArthur “Genius” Grant.
‘About Ghosts’: The Amaryllis Sextet’s Evolving Sound
The focus of the conversation on ‘The Late Set’ was Halvorson’s fourteenth studio album, ‘About Ghosts,’ released on Nonesuch Records in June 2025. The album features eight new compositions performed by her Amaryllis sextet, an ensemble that has previously graced her acclaimed LPs ‘Amaryllis,’ ‘Belladonna,’ and ‘Cloudward’. The core of Amaryllis comprises Halvorson on guitar, Patricia Brennan on vibraphone, Nick Dunston on bass, Tomas Fujiwara on drums, Jacob Garchik on trombone, and Adam O’Farrill on trumpet. For ‘About Ghosts,’ Halvorson expanded the ensemble’s sonic palette by adding guest saxophonists Immanuel Wilkins on alto and Brian Settles on tenor to five of the tracks, a decision driven by her desire for “denser harmony, more horns”. Halvorson also contributed synthesizer overdubs on pocket piano for several pieces. Produced and mixed by John Dieterich of the band Deerhoof, the album captures a rich and intricate soundscape.
A Kaleidoscope of Sound and Emotion
Reviews for ‘About Ghosts’ have consistently praised its depth, complexity, and emotional resonance. Critics describe the music as painting “lush and deeply floral sound-pictures” with a “kaleidoscopic blend of angular rhythms, intricate melodies and thrilling improvisations”. The album is noted for its “emotionally enigmatic work” that feels like a “luxurious riddle to ponder,” balancing “beauty with imagination and experimentation”. The addition of Wilkins and Settles is credited with lending “richer tonalities and expressive range” to Halvorson’s signature style, which features “boppish-to-abstract improv, restlessly interweaving melodies and vigilant drumming”. The compositions on ‘About Ghosts’ are celebrated for their structural ingenuity, with pieces like “Full of Neon” described as exhibiting “exquisite, route-defining navigational pulse,” while “Carved From” moves from “chamber jazz mode” to a “rich, uptempo waltz”. Even the album’s title track, “About Ghosts,” evokes a modern reimagining of Ellingtonian movements. The overall sound has been characterized as both “icily beautiful” and deeply compelling, inviting listeners to return and discover new layers.
‘The Late Set’: A Forum for Artistic Dialogue
WRTI’s ‘The Late Set,’ co-hosted by Nate Chinen and Josh Jackson, serves as a vital platform for in-depth conversations within the jazz community. The program aims to be “direct, unfiltered and illuminating,” offering listeners a deeper understanding of the music and its creators. Halvorson’s interview provided a rare glimpse into her artistic philosophy and how she constructs her complex musical worlds. Her discussion of composing for Amaryllis, a “chamber ensemble with a dynamic core, forever in a state of flux,” underscores her innovative approach to group dynamics and sound creation. The collaboration with John Dieterich on production and mixing also highlights her consistent engagement with artists who can help translate her vision into a polished recording.
The recent conversation on ‘The Late Set’ and the release of ‘About Ghosts’ further solidify Mary Halvorson’s status as a leading innovator. Her ability to continuously evolve her sound while maintaining an intensely personal and recognizable voice ensures her music remains a compelling force in contemporary jazz, offering a rich tapestry of sound that continues to captivate audiences and critics alike.