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  • Sorcerer Sessions
    the opening moments of Pulsar the opening cut from Sorcerer Sessions the listener may feel as if she had purchased the wrong recording Pianist Matthew Shipp s pronounced chord voicings sound as if they might be lost compositions from Erik Satie s Rosicrucian series When clarinetist Evan Ziporyn and violinist Daniel Bernard Roumain enter in a gorgeously entwining series of harmonies and slippery nearly Hungarian styled melodic statements the illusion will seem convincingly complete Only upon the typing sounds of Keystroke countered by electronically manipulated clarinet and piano lines does the feel of the sonic encounter feel like the music of Matthew Shipp Add to this set bassist William Parker drummer Gerald Cleaver and electronica whiz FLAM and you have a new collective one not so much interested in the jazz conversant compositions of Shipp s Equilibrium album but a collective turning Shipp s compositions into extrapolations of form content and Muse like utterances As the album continues through Light forms Urban Shadows reformation Last Chamber and other selections it becomes clear that this is no mere fusion of classical jazz and electronic aesthetics but a new ethereal body of music that exists outside genre and attempts to exist outside time and space Indeed while it references a past that has indeed passed into ghostly revisionist memory it also references not so much a future but an eternally shape shifting present that cancels out the need for a future simply because everything that is possible or that can be dreamed of musically can also be and is written executed and performed Structural content has been Shipp s muse for a while now since 1996 s By The Law Of Music where he first collaborated and wrote for a string trio s accompaniment For those who were put off by Nu

    Original URL path: http://www.matthewshipp.com/press/68-sorcerers/sorcerers.html (2016-02-12)
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  • Sorcerer Sessions
    evolves The inclusion of Ziporyn and Roumain in this sextet incorporates into the nature of the music sets of outreaching parameters which speak to the push of the envelope as it were of stringency that touches nerve endings not unlike the artificial extremes to which the electronics can move the sound The music opens with a fanfare of sorts giving us entrance into the fantastical world in which we will travel This world has within it the dreamlike qualities evoked by the idea of sparkling dust as it falls on our bodies when we enter a place that only dreams are made of This world has within it the melancholy that can accompany an unrelenting sense of pain and longing the bravura that stems from carrying on through the roller coaster juxtaposition of comforts and peculiar tenuous circumstances that arise out of everyday life This music induces a perception of the balancing act of living on the edge which allows for the inclusion of a total existence where choosing for this or that way is not a choice where everything just is as it is And the story that is this journey is the one we suddenly find ourselves on not because we put ourselves in a specific place at a certain time but because we put the CD into the player In hindsight we can look where we have been and realize that we were led briskly thoughtlessly every step of the way from a marked beginning to a resolute one note conclusion The predictability of the process of the music is banished by the closeknit richness of every prolonged stroke and pluck on a string every brush and click on the drum every vibration of the reeds every meeting of the hammer to piano string and every interlinkage

    Original URL path: http://www.matthewshipp.com/press/69-j-review-sorcerer/j-review-sorcerer.html (2016-02-12)
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  • Sorcerer Sessions
    have been touted as keepers of the flame every once in a while an artist emerges who not only lives up to but surpasses the hype Matthew Shipp is just such an artist On his most recent release Sorcerer on Thirsty Ear Shipp continues to combine tradition with a decidedly forward looking bent continuing to nudge himself as well as the parameters of jazz Soothing and serene at times and

    Original URL path: http://www.matthewshipp.com/press/69-saratogian/saratogian-sorcerer.html (2016-02-12)
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  • Matthew Shipp                
    February 18th he will release Anti Pop vs Matthew Shipp a collaboration with progressive hip hop ensemble Anti Pop Consortium And later in the year the Blue Series will issue another free jazz hip hop fusion this time pairing Shipp with former Company Flow rapper El P Shipp says he had seen and met Anti Pop s Beans around New York City years ago but initially didn t know of the rapper s group He actually talked to me a few times about doing something and I didn t really take it seriously he says laughing But Beans and Priest are people I ve seen at concerts they check out a lot of jazz We just went in and did it like a live jazz session like we were recording that quintet in the studio And Beans and Priest had their drum machine and a synthesizer so they were doing some programming They were very easy to work with They have an understanding of jazz and they know their own language obviously quite well Whether one thinks free jazz s egg first hatched with Ornette Coleman s high profile New York City appearances or earlier underground performances by Cecil Taylor the umbrella under which the genre s various strands fall is a good four decades old For Shipp that legacy had grown a bit long in the tooth and hip hop has provided a new outlet It seems to be what the doctor ordered for me because I m definitely trying to make my music go in a new direction he says As a quote classical free jazz performer I ve done a lot of albums This seems to be a completely fresh idiom There have been people that combined jazz and hip hop and stuff in the past but

    Original URL path: http://www.matthewshipp.com/press/66-rollingstone-03/rollingstone-03.html (2016-02-12)
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  • Matthew Shipp                
    drum machine and their own engineer They had some exact ideas for some vamps and Beans would sing it to us and Priest had his synth and some pods so he could jam with us They also used us as source material I didn t know they were in the process of breaking up It was actually a very difficult process to put the album together because soon after the studio session there was no central command and the whole process of communicating with them as a group become very discombobulating Priest come back with some tracks that were really good but it wasn t enough for an album so we had to get another session together Beans and Priest didn t want to work in the studio together again So Beans come through on his own with a drum machine he set up some bents and he rapped live He brought his little notebooks and he would hear what we were doing and then took through his notebooks to see what he felt fit This part of the album is a lot more raw and we were really quite free with it You have a Lot of freedom to chose the work you want to record because of your position as the curator of your own label the Blue Series How did you get this opportunity In the early nineties there was a tendency for punk labels to get into promoting free jazz and I was signed by Henry Rollin s record label 2 13 61 Then that become inactive and Peter Gordon signed me to Thirsty Ear which involves people from Robert Wyatt to Brian Eno He is a jazz fan and he wanted to start a jazz abet so he asked me to be curator Originally we wanted to find free jazz artists and then pro mote the lyrical aspects of their playing we were going to be like ECM in the later 60s The electronic collaborations for which the label has now become known happened by accident Spring Heel Jack were on the label and I found out that they were huge jazz fans so we worked together on their album Massed and that was when the idea of doing crossovers started My own albums Nu Bop and Equilibrium use a lot of beats l am an electronic idiot so on my own album I work with Flynn What styles of music other than jazz and dance music influenced you when you were growing up I listened to a tot of gospel My album DNA has a version of Amazing Grace I grew up as an Episcopalian because my parents were but then my grandmother was Baptist and I went to her church to soak in the gospel music and I played for a gospel choir at my grandmothers church It was something I did among many things But I also listened a tot to Ray Charles you don t think of him as a jazz

    Original URL path: http://www.matthewshipp.com/press/61-snc/snc-03.html (2016-02-12)
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  • Matthew Shipp                
    new generation of pianists Iverson Matthew Shipp Brad Mehldau Jason Moran may change all that They re at once aggressively adventurous and easily accessible working within jazz while borrowing from the language of pop rock and hip hop and helping to make jazz vibrant and cool again It s high time for a piano led revolution After a burst of innovation in the 1960s when players as different as the austere Bill Evans and the stormy Cecil Taylor were pushing the music forward jazz pianists with the notable exception of Keith Jarrett receded to the background But since the culture wars of the 90s when Marsalis from his powerful perch at Lincoln Center and such like minded critics as Stanley Crouch froze out the avant garde the boundaries between conservative and progressive jazz have been breaking down And pianists located at the nexus of harmony melody and rhythm have jumped into the void The voracious Moran evokes both stride pianist Willie Smith and labyrinthine modernist Andrew Hill Mehldau updates Evans with rock influences The result jazz that s also true to the spirit of the music as an ever evolving art form never in stasis drawing on both its own traditions and the currents of popular culture The argument of modern music versus mainstream has diminished Shipp says He s a case in point in the 90s he positioned himself as an anti Wynton yet his latest album the exquisite Equilibrium is among his most straight ahead Sure it s laced with synthesizer and samples but it s a swinging bluesy affair with Shipp leading his quartet through the pointillist title track to the deep grooving Vamp to Vibe and Cohesion The Bad Plus s debut These Are the Vistas is among the freshest sounding albums of the year with

    Original URL path: http://www.matthewshipp.com/press/60-newswk-0303/newsweeek-03-10-03.html (2016-02-12)
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  • Matthew Shipp                
    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 one 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

    Original URL path: http://www.matthewshipp.com/press/65-popmatters/popmatters-03.html (2016-02-12)
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  • Matthew Shipp                
    open melodic inventions with crisp time stopping grooves For proof witness Cohesion where FLAM s shell game electronics circle Gerald Cleaver s in the hip hop pocket drumming while Shipp turns a three chord invocation into a mating ritual of spiraling runs and McCoy Tyner ish cluster bombs Bass giant William Parker lays intricate roots per usual but the secret weapon is vibraphone vet Khan Jamal whose harmonic sparkle frees Shipp to explore rhythms and embellish loops BEAT POETICS Forthcoming team ups with rap avant gardists Anti Pop Consortium due Feb 18 and El P find Shipp further exploding the narrow neocon Wynton Marsalis vision of jazz possibility Thanks dude WHAT S ROCKING OUR WORLD Anti Pop Consortium Vs Matthew Shipp Entertainment Weekly When avant rap collective ANTI POP CONSORTIUM broke up last July we should have known that restlessly creative group members M Sayyid High Priest and BEANS wouldn t stay quiet for long On his solo debut TOMORROW RIGHT NOW Warp Beans drops deft poetry with the fastest flow this side of Bizzy Bone backed by a shifting angular mix of Casiotone synths and beats postapocalyptic drones and left field samples In other news APC recently reunited to

    Original URL path: http://www.matthewshipp.com/press/62-e-weekly-03/ew-antipop-equilibrium.html (2016-02-12)
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