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  • GoodAndEvil Sessions
    Shipp s powerful block chords which are eventually joined by Antipop s synth and drum programming along with some tasty drum work by Guillermo E Brown It develops into something that sounds a little like a McCoy Tyner Trident era experiment The next track Staph shows just how much of a blend of jazz and hip hop sensibilities this project is with Shipp playing a post bop piano solo over hip hop beats interspersed with rap choruses It s a bit like trading solos with Shipp followed by drums and bass along with programmed beats followed by some rapping The structure is much more of a jazz structure and it builds momentum over the course of the track just as a series of jazz solo choruses might My only complaint is that it fades out just as the energy seems ready to explode The idea that once can combine jazz and rap by simply throwing some rhymes over a jazz rhythm section is finally dealt a swift coup de gras by this album If rappers and turntablists want to play with jazz musicians and be taken seriously by other musical genres they must approach their music with the same craftsman like approach developing over time and absorbing new influences Antipop demonstrates that they are down with that idea on Antipop Vs Matthew Shipp Their approach to rapping is based not just on what the MC says but on how he sounds and how the sounds that he creates with words fit into the overall sound of the music that is being created To some ears this CD will sound like a clash of cultures because both the free musings of Shipp William Parker Guillermo E Brown Khan Jamal and Daniel Carter and the rapping programming of Antipop are given equal

    Original URL path: http://www.matthewshipp.com/press/77-popmatters-goodevil/77-popmatters-goodevil.html (2016-02-12)
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  • Antipop consortium VS Matthew Shipp
    tasty drum work by Guillermo E Brown It develops into something that sounds a little like a McCoy Tyner Trident era experiment The next track Staph shows just how much of a blend of jazz and hip hop sensibilities this project is with Shipp playing a post bop piano solo over hip hop beats interspersed with rap choruses It s a bit like trading solos with Shipp followed by drums and bass along with programmed beats followed by some rapping The structure is much more of a jazz structure and it builds momentum over the course of the track just as a series of jazz solo choruses might My only complaint is that it fades out just as the energy seems ready to explode The idea that once can combine jazz and rap by simply throwing some rhymes over a jazz rhythm section is finally dealt a swift coup de gras by this album If rappers and turntablists want to play with jazz musicians and be taken seriously by other musical genres they must approach their music with the same craftsman like approach developing over time and absorbing new influences Antipop demonstrates that they are down with that idea on Antipop Vs Matthew Shipp Their approach to rapping is based not just on what the MC says but on how he sounds and how the sounds that he creates with words fit into the overall sound of the music that is being created To some ears this CD will sound like a clash of cultures because both the free musings of Shipp William Parker Guillermo E Brown Khan Jamal and Daniel Carter and the rapping programming of Antipop are given equal footing in this aesthetic The album is presented as Antipop vs Matthew Shipp because neither aesthetic is giving any

    Original URL path: http://www.matthewshipp.com/press/76-jazzitude-antipop/76-jazzitude-antipop.html (2016-02-12)
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  • Matthew Shipp
    jazz type of thing I ve been working in that area for a long time anyway so we brought some classical musicians in Evan Ziporyn clarinets and Daniel Bernard Roumain violin that don t usually record in a jazz setting and it just made for a slightly different type of result AAJ Who are you listening to that has influenced this new sound MS I don t know if it s who I m listening to other than maybe an overall cultural thing I think living in an urban setting like New York City having the type of friends I have it just seems to be in the air For instance some of the electronica people I ve collaborated with are people around my age group maybe a little younger sometimes We share a common world view and common artistic goals it just happens that I play jazz and they might play a different type of music like Anti Pop Consortium DJ Spooky Spring Heel Jack When I talk with them I feel at home with them even though we re sort of in different genres In essence we re trying to get at a lot of the same things in our music we may just have a slightly different outward veneer but that outward veneer can be melted away to try and get to the essence the core and at that point genre doesn t become an issue it s just modern music I listen to that type of music and I like it so it just feels natural to say that modern jazz and it have a meeting point AAJ How do some of the other players in the Blue Series like Mat Maneri and William Parker influence your music and how do you influence each other MS That s very interesting because we re all very different people but yet we can play together and easily play together When I play with Mat Maneri and William Parker it s like Ahh It feels right Yet we re very very different people Very very different musicians I think William and I are very much intuitively in tune with each other He s a generation before me but for some reason we share this similar thing in this period of the music We re both trying to take the music forward together in a certain way together Living in the 21st century we both had a very religious background a sense of how mysticism and religion translate into the language of free jazz and there s a certain worldview with the avant garde that comes out of a certain type of mysticism Sun Ra had it Coltrane had it But both of them in different ways I think William and I share in the understanding of that But we also understand that living in the times that we do we can t be Sun Ra or Coltrane We have to be some fresh phenomena that s relevant to the

    Original URL path: http://www.matthewshipp.com/press/75-allabout-interview/75-allabout-interview.html (2016-02-12)
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  • GoodAndEvil Sessions
    Roy Campbell on trumpet figurehead William Parker on bass and Alex Lodico and Josh Roseman on trombone Production duo GoodandEvil who ve worked with rappers Northern State and topnotch DJs like Felix Da Housecat and Roni Size were enlisted to tweak the finished product Due to the groove label and DJ influence one might expect this album to sound like a downtempo DJ peppering blasé beats with clichéd jazz flourishes The GoodandEvil Sessions thankfully doesn t stoop to those levels with an ensemble boasting this kind of creative drive laid back never becomes a euphemism for boring In fact as the album slowly cycles through a selection of well crafted grooves one can t help but feel like they ve gotten a morphine shot to the spine The opener Brainwash is more than the sum of its valuable parts as a dense collage of instruments slowly comes into focus It s a perfect buildup Shipp s graceful piano makes way for Parker s precise bass hits the trombone duo lays down a solid bottom and then the percussion kicks in just in time to let Campbell fly free with his buttery trumpet tones This track exemplifies the promise implicit in this concept namely that each individual talent is allowed to shine on a collective stage As the album progresses one can t help but applaud the ways in which the production augments and organizes the work of the live musicians into a cohesive groove without too much meddling The rich horn blasts found in Then Again the fiddling bass line in Change of Plans and the muted talking trumpet from Close Call all are perfect examples of excellent playing that s left alone The Continuum setup represents a producer s wet dream live sampling from some of the world s

    Original URL path: http://www.matthewshipp.com/press/74-dailytexan-goodevil/74-dailytexan-goodevil.html (2016-02-12)
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  • Sorcerer Sessions
    released a couple of CDs by pianist Matthew Shipp on his 2 13 61 label When Rollins closed his label Thirsty Ear the underground rock imprint that had been his distributor signed Shipp and made him the curator and artistic director of the Blue Series Thirsty Ear label head Peter Gordon said of the project We wanted to mediate and bring different types of people together At first those people were limited to Shipp and his associates in William Parker s circle of downtown NYC players but that has recently broadened to include DJs from both sides of the Atlantic and experimenters in electronica and related genres With Sorcerer Sessions Shipp takes these recent directions and folds them back upon the style of playing in evidence on those two CDs issued by Henry Rollins a dark dense and somber piano sound of almost classical rigor and seriousness In a way Sorcerer Sessions is the Blue Series in microcosm simultaneously looking back at Shipp s roots and forward to the label s new direction This dualism extends to the two pairs of players on the session Drummer Gerald Cleaver and bassist Parker are longtime Shipp associates From the classical world such as it is come Bang On A Can clarinetist Evan Ziporyn and violinist Daniel Bernard Roumain Mediating between the two camps FLAM who programmed beats on Shipp s Nu Bop and Equilibrium adds an ambient wash and cinematic grandeur with his programming and synths The first two cuts neatly set forth Shipp s thesis The opening Pulsar rings with churchy block chords It s a simple chorale theme before Shipp gathers the disparate strands of improvisation ambient sounds and ECM ish holy minimalism into a three voice postmodern polyphony of idioms on the eleven tracks that follow Keystroke the second

    Original URL path: http://www.matthewshipp.com/press/73-onefinalnote-sorcerer/73-onefinalnote-sorcerer.html (2016-02-12)
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  • Matthew Shipp                
    jazz songs that borrow elements from those mostly preprogrammed genres grooves and ambient textures primarily that are then turned inside out busied up and extended into real time group interaction The problems occur on Nu Bop when that improvisation is forced into the background and the grooves and harmonic patterns are locked in rather than blasted away D s Choice is hip hop colored with Far East scales though Shipp sounds less sure here letting the melody s short piano phrases ring and decay rather than continually flow into new harmonic realms On Select Mode 2 Shipp also plays repetitive phrases endemic to most hip hop and electronica but the value of live improv is that the musician isn t confined by preprogrammed harmonic patterns that the likely nonmusician DJ or audio collagist is often a prisoner to Shipp also investigates the ambient or illbient side of electronica or maybe it s just chamber jazz on three tracks the ruminative solo piece ZX 1 Nu Abstract his duet with Parker which drifts on piano plinks arco bass and some subtle electronic effects and X Ray which features flutist Carter and Parker in a sublime duet I don t think it s ego alone that led Shipp to call this CD Nu Bop He s on to something new and exciting here The GoodAndEvil Session John Murph JazzTimes Brown s fellow sonic explorers at Thirsty Ear are continuing their expedition of post Downtown scene avant gardism mixed with electronica available at Amazon com The bewitching GoodandEvil Sessions Thirsty Ear spearheads Thirsty Ear s Blue Series Continuum which highlights ad hoc collaborations with the label s superb roster of musicians For this project they ve enlisted the production duo talents of GoodandEvil to tweak out performances laid down by Matthew Shipp William

    Original URL path: http://www.matthewshipp.com/press/72-jazztimes-goodevil-nubop/72-jazztimes-goodevil-nubop.html (2016-02-12)
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  • GoodAndEvil Sessions
    series inaugural release which features an all star ensemble of jazz artists William Parker on bass Roy Campbell on trumpet Alex Ludico and Josh Roseman on trombones and the legendary Matthew Shipp on synthesizer Dub based breakbeats provide the framework for these extraordinary musicians who alternate between somnolent reserve to ballsy fervor throughout the album Several tracks feature solos reminiscent of the free jazz and avant garde of yesteryear rewriting scales while somehow hanging on to a hazy sense of diatonic Though head bobbing is inevitable during play many of the tunes aren t necessarily easy listening per se Sometimes the trip hop or electro beats fit nicely into the jazz groove other times they grate coarsely against the groove s edge with in your face cacophony But even the harshest critics of the whole jazz gone pomo school won t question the fine musicianship all around each track is densely packed with unpredictable flair and brilliance There s also something cinematic about the album which pays a certain homage to the film noir and spy movie scores of another era The Stakeout samples a marvelous James Bond esque riff accompanying Matthew Shipp s syncopated piano melody in a bizarre

    Original URL path: http://www.matthewshipp.com/press/70-dailycalif-goodevil/70-dailycalif-goodevil.html (2016-02-12)
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  • Sorcerer Sessions
    turntable contribution to this recording are indispensable The technological blends heartily with the acoustic The balance rendered therein is indisputable At the very end of the music is a sound that resembles the quick firing of a shot gun This brought me to the idea Well here is the evil that came out of the good Then I thought that that conclusion was too forced Yet the way in which the entire 45 minutes of music unwinds allows for that kind of obvious translation I put this deduction on the back burner Coincidentally with letting slowly seep into my brain The GoodandEvil Sessions I was reading Steve Reich s Writings on Music 1965 2000 In a documented interview with Reich by Jonathan Cott about Reich s The Desert Music a moderately scaled piece from 1984 after answering question after question regarding verbal explanation of the music Reich proclaims and brilliantly so that he once had a vision that light was a metaphor for harmony and tonality He also said that and this is the important part You see I understood that human conventions are in a sense the light a kind of conveyance on which we ride in which we live and without which we die And the human construct that we call our music is merely a convention something we ve all evolved together and that rests on no final or ultimate laws And it sails in my mind like a ship of light down an endlessly dark corridor preserving itself for as long as it can And no more and no less How immediately these statements by Reich fit into the understanding of The GoodandEvil Sessions What Reich said just about covered my interpretation of this premiere Blues Continuum recording Taking it even further The Desert Music corresponds

    Original URL path: http://www.matthewshipp.com/press/67-j-review-good-evil/j-review-good-evil.html (2016-02-12)
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