Excellent musicianship all add up to a fine lesson in the art of the jazz guitar trio

burkinaVeteran Irish guitarist Tommy Halferty has played in numerous settings over the past four decades, from duos with Stephane Grappelli, John Abercrombie and John Etheridge to small ensemble forays with the likes of George Mraz, Lee Konitz and Benny Golson. Perhaps it's in a trio format, however, where Halferty feels most at home, crafting notable collaborations with John Wadham and Ronan Guilfoyle in the early 1980s, with Guilfoyle and Keith Copeland in the 1990s and with Jean Philippe and Christophe Lavergne for the past twenty five years. Here, Halferty's latest trio incarnation pits him with two of Dublin's best in Kevin Brady and Dave Redmond on a highly enjoyable set that balances power and nuance, freedom and form.

Excerpts from: Think Global, Play Local


The Journal of Music In Ireland

Ireland's Bi-Monthly Music Magazine

Barely two hours after their Royal gig, Carroll, Buckley and Carpio were onstage again at the Heather House Hotel, joining Ronan Guilfoyle, Tommy Halferty and trumpeter Paul Williamson for a late-night exploration of Miles Davis' electric period of the late sixties/early seventies. In albums like In a Silent Way and Bitches Brew, Davis created brooding, evocative music that could also be incredibly delicate. Revolutionary at the time, it has maintained its freshness across the decades, especially as presented by this exceptional group of musicians, who took full advantage of Davis' mastery at creating improvisational settings. Williamson and Buckley traded several fiery exchanges, and Tommy Halferty's guitar runs, while uniquely his own, captured expertly the spirit of John McLaughlin. It was also great to hear Guilfoyle playing electric bass, as opposed to amplified acoustic, particularly on pieces that depend so thoroughly on its forceful pulse.

Halferty also played in a very different context when he accompanied Norma Winstone at Bray Town Hall. With the minimum of rehearsal, this duo delivered a perfectly paced blend of standards and originals that showcased Winstone's great skill as lyricist, interpreter of popular song and improviser. Tom Waits' 'San Diego Serenade' and Kenny Wheeler's 'Old Times' (retitled 'How It Was Then', with lyrics by Winstone) give some idea of the range of this set, which climaxed with John McLaughlin's 'Little Miss Valley', a thrilling, wordless blues dialogue between voice and guitar. Winstone is a worthy model for the current crop of young Irish singers, including Cormac Kenevey, who was in fine form at the Royal as he showcased songs from his new album (see the review elsewhere in this issue).

Original article written by Kevin Stevens.

Full Text: http://thejmi.com/article/800

Excerpts from the

Sunday independent 28 December 2008

The rapport between Norma Winstone and Tommy Halferty is nothing short of phenomenal. The vocal/guitar duo played a richly varied programme at the Bray Jazz Festival. Also featured in Bray was Mare Nostrum, a colourful trio composed of Jan Lundgren (piano), Richard Galliano (accordion) and Paulo Fresu (trumpet).

Original article written by Grainne Farren

penguin2004Keith Copeland
Three Stars  “Round trip” Steeplechase Label

Keith Copeland (drums)
Tommy Halferty (guitar)
Ronan Guilfoyle (bass)

Halferty's thick tone and juicy blend of bebop lines and fat resonant chords tend to dominate this record, though Copeland and Guilfoyle are no slouches and the resultant trio has plenty of grip. Highlights would be a somewhat Latinized "You don't know what love is" and a very gritty blues called "Minor Infringement". A rare example of Steeplechase recording in Ireland!

Tommy Halferty quartet provided the most solid material of this jazz Cascias Festival in portugal. It was a reflection of the rising stature of the Irish guitarist

Brian French – Sunday Tribune – 86

Harmonically and melodically, Halferty is a distinctive guitarist

The Irish Times – 93

There are few Irish Jazz Guitarists that can deliver with gusto and taste at this level, Tommy Halferty is one of them

Newsletter Belfast – 96

Halferty is an interesting player that fans of guitarists Scofield and Catherine should be aware of

New York Jazz Times – 97

He (Keith Copeland) will be delighted to introduce the excellent Tommy Halferty to a wider audience

Mark Gardner (Co-Author, "The Blackwell Guide to Recorded Jazz")

Tommy Halferty's superb duo album with Mike Nielsen is perhaps the finest Irish jazz recording ever made

The Sunday Tribune