Mary Halvorson is a guitarist, ensemble leader, and composer who continually pushes against established musical categories with a signature instrumental sound and an aesthetic that evolves with each album and musical configuration. She melds deep jazz roots with experimental rock, folk, and other musical traditions, reflecting a wide range of stylistic influences. Halvorson began her recording career as a member of jazz-rock quartet Friendly Bears in 2002. Two years later, as a member of Anthony Braxton's group, she appeared on Quintet (London) 2004, and established herself as a leader in an ongoing duo with violinist Jessica Pavone for 2005's Prairies. In 2008, she issued her debut trio offering, Dragon's Head. Halvorson debuted a quintet on 2010's Saturn Sings and followed it in 2012 with Bending Bridges. A year later, Illusionary Sea showcased her septet. In 2014, she co-founded Thumbscrew with Tomas Fujiwara and Michael Formanek, and they've issued several titles. She released the solo guitar outing Meltframe a year later. Halvorson's Code Girl appeared in 2018; the double-length set included vocalist Amirtha Kidambi, Formanek, Fujiwara, and Ambrose Akinmusire. One of the year's most acclaimed jazz releases, it cemented the nomination and award of a MacArthur Foundation Genius Grant in 2019. The following year Code Girl issued Artlessly Falling. After the duo offering Searching for the Disappeared Hour with pianist Sylvie Courvoisier in 2021, Halvorson issued two albums simultaneously in 2022, recorded from music she'd composed during the pandemic: Belladonna for a jazz sextet, and Amaryllis for solo guitar and chamber ensemble Mivos Quartet. In 2024, her sextet released Cloudward.

Born in Brookline, Massachusetts, in 1980, Halvorson began her musical education on the violin before gravitating to the guitar after she heard Jimi Hendrix. Initially she wanted to be a rock musician. Her first teacher was a jazz player, so she switched her direction. She maintains her identification with "jazz" with some ambivalence, and rightfully so, since her playing exists outside genres. She earned a B.S. in Music from Wesleyan University, and moved to Brooklyn, New York, in 2002, where she continued at the New School of Jazz & Contemporary Music. In Brooklyn, she connected with an impressive array of veteran musicians steeped in the contemporary new music tradition, including Anthony Braxton, who enlisted her as a member of his various ensembles. Other prominent collaborators have included Jessica Pavone, Taylor Ho Bynum, Tim Berne, Trevor Dunn, Assif Tsahar, Matana Roberts, Ted Reichman, Stephen Haynes, Curtis Hasselbring, Jason Moran, Tony Malaby, Nicole Mitchell, Elliott Sharp, and John Tchicai. Aside from performing, Halvorson has also taught at the New School, and conducted workshops in the School for Improvised Music.

Her recordings as leader include Opulence for the UgExplode label in duet with San Francisco drummer Weasel Walter and Calling All Portraits on Skycap in 2008, and Thin Air for Thirsty Ear and the critically acclaimed Dragon's Head on Firehouse 12 with bassist John Herbert and drummer Ches Smith in 2009. That same year, Halvorson and her group released the album Crackleknob. In 2011, she returned with her second duo recording with violinist Jessica Pavone, Departure of Reason. The following year, she released the quintet date Bending Bridges and joined trumpeter Peter Evans and drummer Walter for the trio effort Mechanical Malfunction.

Ever prolific, Halvorson stayed busy over the next few years releasing a handful of projects including the 2013 septet album Illusionary Sea, the 2014 eponymous debut of the Thumbscrew trio with bassist Michael Formanek and drummer Tomas Fujiwara, and her 2015 solo effort Meltframe. That year, she also joined drummer Tom Rainey and saxophonist Ingrid Laubrock for the trio album Hotel Grief. In 2016, Halvorson was back with bassist Formanek and drummer Fujiwara for Thumbscrew's sophomore outing, Convallaria. Also that year, she delivered the octet album Away with You. Her next project, 2017's Err Guitar, saw her working as part of an experimental guitar trio with Marc Ribot and Elliott Sharp.

In the meantime, Halvorson formed a new band for her next recording and performance project featuring her Thumbscrew collaborators Formanek and Fujiwara, as well as trumpeter Ambrose Akinmusire and vocalist Amirtha Kidambi from the New York improv unit Elder Ones. Halvorson, inspired by Robert Wyatt and Elliott Smith, and American postmodern poets, had been writing lyrics for years, and previously performed them in an avant-folk duo with Jessica Pavone and in the band People with Kyle Foster and Kevin Shea.

Code Girl, a double-length project, went further. Musically it crisscrossed the many genres she'd already explored as a composer and arranger, but wove them into winding, labyrinthine songs that utilized those skills juxtaposed with her band's keen improvisational capabilities. The album was issued in the spring of 2018 on Firehouse 12 as the quintet toured Europe with Adam O'Farrill standing in for Akinmusire. The year proved prolific: Halvorson released three duo albums: The Maid with the Flaxen Hair: A Tribute to Johnny Smith with guitarist Bill Frisell on Tzadik, Seed Triangular with flutist Robbie Lee on New Amsterdam, and Traversing Orbits with guitarist Joe Morris on Rogue Art. In addition, Thumbscrew issued two albums simultaneously, Theirs (a collection of covers) and Ours (originals). She also contributed a reading of "With a Little Help from My Friends" to Verve's Sgt. Pepper's Lonely Hearts Club Band tribute compilation, A Day in the Life: Impressions of Pepper, and played on recordings by Maria Grand (Magdalena on Biophilia) and Ingrid Laubrock (Contemporary Chaos Practices on Intakt).

Halvorson was awarded a MacArthur Foundation Genius Grant in 2019; she was not yet 40. She toured extensively with Code Girl and as a member of steel guitar master Susan Alcorn's quintet for much of the year. In January and February 2020, Thumbscrew issued their fourth long-player, The Anthony Braxton Project, comprised entirely of its namesake's works. Issued in July, it preceded the October issue of Artlessly Falling, the second offering by Mary Halvorson's Code Girl. With O'Farrill as a full-time member, the band expanded to a sextet when they enlisted saxophonist and vocalist Maria Grand. Co-produced by the guitarist, Nick Lloyd, and David Breskin, the album's focus was split between Halvorson's songs and poems. Robert Wyatt appeared as a guest on three of the record's eight tracks. In November, Relative Pitch released Pedernal by the Susan Alcorn Quintet. It featured the virtuoso pedal steel guitar improviser and Halvorson in the company of violinist Mark Feldman, bassist Michael Formanek, and drummer Ryan Sawyer.

In 2021, Halvorson and pianist Sylvie Courvoisier released the live duo album Searching for the Disappeared Hour. She followed it in May 2022 with a pair of simultaneously released albums, making her debut on Nonesuch. Amaryllis was composed for an improvising jazz sextet that included trumpeter Adam O'Farrill, trombonist Jacob Garchik, vibraphonist Patricia Brennan, bassist Nick Dunston, and Fujiwara on drums. The companion recording, Belladonna, featured her first compositions for solo guitar and a chamber ensemble with the Mivos String Quartet. By 2023, the Amaryllis sextet had become a fully functional performing and touring band. They released the full-length Cloudward, containing eight Halvorson compositions, on Nonesuch in January 2024. ~ Michael G. Nastos & Thom Jurek

In the niche-oriented world of major-league jazz, it's almost unfashionable to be so multi-faceted a player as Han Bennink. Bennink is one of the unfortunately rare musicians whose abilities and interests span the music's entire spectrum, from Dixieland to free. His straight-ahead playing is absolutely convincing -- his time is solid, his sense of swing strong, and his technique flawless. He also possesses the requisite qualities of a free jazz virtuoso; Bennink's ability to interact quickly and creatively with horn players and pianists is great, as is his ear for timbral contrasts. What ultimately makes Bennink special is his manifest love for the music, a love that inclines him to tear down the cardboard walls that too often separate different schools of jazz. At his best, with colleagues who share his all-encompassing stylistic embrace, Bennink plays the continuum of jazz as an instrument unto itself.

Bennink began playing drums while in his teens under the influence of his father, a classical percussionist. He played with hometown musicians in the early '60s. Between 1962 and 1969, Bennink backed local American jazz greats like Dexter Gordon, Sonny Rollins, and Eric Dolphy on their visits to Holland (he was the drummer on Dolphy's Last Date album, from 1964). In 1963, he formed a quartet that included pianist Misha Mengelberg, which played the 1966 Newport Jazz Festival. In the mid-'60s, Bennink began to play free jazz with the likes of Mengelberg and Willem Breuker. In 1967, those three founded the Instant Composer's Pool, a not-for-profit organization designed to promote the Dutch jazz avant-garde. Around that same period, Bennink began continuing associations with the saxophonist Peter Brotzmann, guitarist Derek Bailey, trombonist Alex Schlippenbach, trumpeter Don Cherry, and the Globe Unity Orchestra. In the '70s and '80s, Bennink led and played as sideman on a number of sessions on the FMP, Incus, and Soul Note labels; he made a notable contribution to Steve Lacy's Herbie Nichols tribute album, Regeneration, with Mengelberg, bassist Kent Carter, and trombonist Roswell Rudd. In the late '80s, Bennink started, with cellist Ernst Reijseger and saxophonist Michael Moore, the Clusone Trio, which has since become perhaps the percussionist's most ideal performance vehicle. Both Reijseger and Moore share Bennink's extraordinarily wide range of musical interests, to say nothing of his absurdist sense of humor. It is, in fact, Bennink's rather whimsical theatricality that mitigates -- for some, at least -- the seriousness and depth of his art. ~ Chris Kelsey