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  • Matthew Shipp
    at Amazon com At this one night Gotham stand Shipp debuted some material from his soon to be released Thirsty Ear disc Harmony and Abyss but in keeping with his restless nature the pianist didn t limit himself to that disc PerfPerf started in fractious style with a rendition of Space Shipp which evolved slowly from a solo piano showcase to a sinewy ensemble piece only to culminate in a mournful tenor solo by reedman Daniel Carter Carter switched to flute for the more pensive 3 in 1 which brought out the more conservatory minded aspects of Shipp s playing namely an angular yet elegant tone with traces of harpsichord flavor bubbling underneath On the surface bassist William Parker and drummer Guillermo E Brown conducted a virtual colloquium on rhythm as melody pushing and pulling the tune with gymnastic dexterity Shipp kept a relatively low profile for the bulk of the 75 minute set playing the odd solo dissonant here fluid there but allowing ample opportunity for the music s low end to take hold Loops like the insistent listen to me snippet that preceded Nu Abstract brought an appropriately hypnoticHypnotic tinge to the proceedings shifting shape until they collapse

    Original URL path: http://www.matthewshipp.com/press/86-variety/86-variety.html (2016-02-12)
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  • Matthew Shipp
    brain is jump started into action because the question appears How did that happen This phenomenon extends into the realm of music as well The low growling woody tones of a string bass can tell its own singular story But add a simple counterpoint say the occasional scrape of a wire brush on a Chinaboy cymbal well now the the musical possibilities seem limitless Now I m really listening In the case of jazz pianist Matthew Shipp s latest release Harmony Abyss the jazz trio music piano bass drums is texturized by the electronics of Chris Flam who is listed as providing slicing dicing synths and programming Yes slice dice he does This is not jazz run through a blender though In many cases little synthy blurpies pop out of nowhere providing texture to the goings on New ID Virgin Complex On other tunes a more ambient flavor dominates String Theory sounds like a jazz band playing a bar scene in a David Lynch movie with its shifting sound palette and sinister industrial rhythmic underpinnings The title and closing track revisits this foggy ambiance as well with the bowed bass stating a lone theme while being slowly wrapped in Flam

    Original URL path: http://www.matthewshipp.com/press/85-blog/85-blog.html (2016-02-12)
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  • BEST OF 2003
    Dispatch Austin American Statesman Washington City Paper Baltimore City Paper All About Jazz editors picks All About Jazz publishers picks JazzReview com Jazzitude com Prefix Magazine Stylus Magazine Graffiti com and Mr Shipp was one of five of The Musicians

    Original URL path: http://www.matthewshipp.com/press/84-best-2003/84-best-2003.html (2016-02-12)
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  • Matthew Shipp                
    hold the attention of the most avid afficionados of New York s free music scene But then five minutes later the group breaks out on Cohesion FLAM who receives due credit for his work behind the scenes tinkers here and there to crispen the music In this case he sparks a groove explosion Programmed beats intersect with Cleaver s own deep funk the piano and vibes sailing on top Shipp who lends his own particular brand of gothic energy to the piece falls right into a relatively simple harmonic framework But he works it to advantage aided by rippling conversation on the vibes Jamal s role here as foil and seond lead voice renders an organic sense to every piece regardless of its orientation Pay attention to this man s music The key to this record s success is its fearless combination of approaches jazz in a relatively pure form as well as blended with a hip hop electronica sensibility The mixes and effects rather than diluting the essence enrich it So many pitfalls avoided so many heights reached Equilibrium is a brilliant record which should bear appeal to an incredibly wide range of listeners ANTIPOP VS MATTHEW SHIPP Farrell Lowe All About Jazz When I walked into the record shop to buy this album the staff was playing it over the sound system The twenty five year old manager and twenty year old assistant working the counter were really digging it They had no idea that free jazz sounded so cool In short they could relate I came away from the place feeling good about Antipop and Matthew Shipp for that reason alone They could relate available at Amazon com After listening to the music the connection becomes obvious this album is an integrated fusion of styles There is

    Original URL path: http://www.matthewshipp.com/press/83-allabout-eq-anti/83-allabout-eq-anti.html (2016-02-12)
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  • Matthew Shipp
    also often saddled with the observation that a great deal of the music performed by their artists is not jazz at all even when the artists in question are jazz trained and jazz oriented But the Blue Series has always had as one of its goals the creation of a new language for improvising musicians one that fuses straight ahead and free jazz with a digital aesthetic The result is neither fish nor fowl and it is the music that is most purely described as jazztronica While Equilibrium isn t as surprisingly new as Nu Bop it does seem to find a way to integrate its various components more organically than Shipp has managed previously as though all the sounds and elements here were bacteria thrown into a petri dish and allowed to create its own ecosystem to find its own equilibrium in other words The addition of vibraphonist Khan Jamal who is wonderfully inventive adds a great deal to the overall sound of Equilibrium giving the ensemble a certain coolness that offsets Shipp s relentless driving and drummer Gerald Cleaver s effective bop meets beats drumming on Vamp to Vibe the album s second track Shipp has other goals in mind besides mixing DJ beats with free jazz I am also bringing to bear on this project the goals I had on New Orbit of developing a jazz ambient music and my original goals on Pastoral Composure of exploring the elasticity of the jazz language when straight ahead jazz elements morph organically into more modern forms And so we get the meditative title track on which Shipp plays with a variety of themes and freely improvises sounding like Keith Jarrett on some of his projects He is accompanied by Jamal Cleaver and bassist William Parker all of whom move

    Original URL path: http://www.matthewshipp.com/press/82-jazzitude-equil/82-jazzitude-equil.html (2016-02-12)
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  • GoodAndEvil Sessions
    Chris Kelly Along with the turntable work of Miso they provide the rhythms and structure to a talented group of modems The dual trombones of Josh Roseman and Alex Lodico are a sly touch they work the bottom end providing a harmonically rich undulation that drives the incessant rhythm Trumpeter Roy Campbell isn t always given enough to do but when he unspools a wild improv particularly over William Parker

    Original URL path: http://www.matthewshipp.com/press/81-downbeat-goodevil/81-downbeat-goodevil.html (2016-02-12)
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  • Matthew Shipp
    is rapidly becoming one of the most prominent figures of New York s downtown jazz scene But no matter how skilled the performers rap hybrid records have always had a tendency to be bland Branford Marsalis Buckshot Le Fonque or awkward Guru s Jazzmatazz series available at Amazon com Fortunately the title of the first song Places I ve Never Been proves to be a good indicator of what s in store Instead of merely adding window dressing to the rhymes Shipp s quintet Khan Jamal on vibes Daniel Carter on trumpet Guillermo Brown on drums and William Parker on bass is an equal partner providing engaging melody danceable grooves and trick shot percussion to replace APC s trademark space age production The MCs are similarly inventive on the mic dropping metaphysical rhymes while experimenting with meter and tempo At times like on the infectious Staph they even freely improvise with Shipp and Parker as if they were members of the band and for the most part it sounds fresh and remarkably organic Shipp continues in the same vein on his most recent Blue Series solo record Equilibrium He is back with Parker and Jamal and brings in Gerald Cleaver

    Original URL path: http://www.matthewshipp.com/press/80-salonantipop/80-salonantipop.html (2016-02-12)
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  • Matthew Shipp                
    Blue Series somewhat inspired by the early ECM label opened in 2000 with Shipp s own Pastoral Composure which was subdued yet probing followed by 2001 s New Orbit which was dreamlike ambient and at times minimalistic But it was 2002 s Nu Bop that put the cat among the pigeons Here the rhythmic climate was unequivocal mixing acoustic drums with programmed beats and sampled sounds It was a bold vision of jazz in the computer age one that acknowledged like the best music the current times While Nu Bop was not a completely rounded statement there was enough to make much of the current scene sound as if its musical clock had stopped 40 years ago Equilibrium is a logical continuum to Shipp s Nu Bop concept this time with a more subtle application of beats While it may not manifest as many epiphanies as its predecessor Equilibrium does convey conviction On several tracks Shipp succeeds in reconfiguring the relationship between piano bass and drums by giving a leading role to Gerald Cleaver s drums and shaping the compositions around rhythm Joining Shipp on Equilibrium is longtime associate William Parker on bass Khan Jamal on vibes and Chris Flam who has worked with DJ Spooky and A Guy Called Gerald on synths and programming Equilibrium s title track opener features the formalism of a soliloquy before launching into more equivocal territory Vamp to Vibe explores the twin effect of cohesion piano vamp and drum backbeat and independence Jamal s free ish vibe solo that relies on the hypnotic effect of rhythm for its effect The intersecting geometries of bowed bass piano and vibes are measured in a hushed ambient and minimalistic mood on Nebula Theory which emerges as more alchemy than math And although more reflective pieces like World of Blue Ghost and Nu Matrix and the straightahead The Key explore and sometimes dislocate melody and mood it is numbers such as Vamp to Vibe the swaggering Cohesion the funky The Root and the brief vision of a vamp waltz on Portal where Shipp succeeds in making rhythm rather than harmony the basic organizing structure of the music These pieces are less about Matthew Shipp as pianist than Matthew Ship as bandleader and conceptualist Part of a work in progress Equilibrium moves beyond the so called jazz tradition to the real jazz tradition where imagination has free reign and ideas evolve and develop their own momentum inspired by the present and future as much or more than by the past With Equilibrium and Antipop Consortium vs Matthew Shipp a collaboration between the underground hip hop group and the pianist scheduled for release in February the tirelessly productive Shipp is continuing to pave roads to an inclusive vision of jazz s future The Sorcerer Sessions Arew Lindemann Malone JazzTimes Downtown music so named because many of its practitioners ply their trade in the lower part of Manhattan has been busting the barriers between genres for long enough that it may

    Original URL path: http://www.matthewshipp.com/press/79-jazztimes-equil-sorcerer/79-jazztimes-equil-sorcerer.html (2016-02-12)
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