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  • Matthew Shipp                
    Puncture The Village Voice The New York Times Exclaim Time Out NY Stomp and Stammer New York Magazine

    Original URL path: http://www.matthewshipp.com/shipp_1-4f.html (2016-02-12)
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  • Matthew Shipp                
    Diamondback Woove GALLERY L E S News home all contents 2000 2016 Matthew Shipp contact

    Original URL path: http://www.matthewshipp.com/shipp_0-4f.html (2016-02-12)
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  • Matthew Shipp                
    by side with these inventive covers There s a fine line of staying true to the root character of a song while making something truly beguilingly unique with it Shipp accomplishes this balancing act mainly by paying fealty to the core beauty of these melodies while allowing himself liberties with everything else For In A Sentimental Mood heard in the exclusive stream above he plays the chords straight but the unsettled rhythm section is only loosely tethered to him and the uneasy tension they create is seemingly at odds with the pianist However Shipp uncovers a dark alter ego of melody that he revisits a time or two that moves him closer to the sentiment of his bandmates Even more chances are taken on Satin Doll where Matthew Shipp plays the universally known melody without regard for pacing then without warning goes down side alleys before abruptly returning to the theme of the song again as Dickey and Bisio adjust in real time to his every whim For Take The A Train Shipp signs on with the familiar intro figure and quickly gives much of the floor to Bisio who offers up his own frenetic interpretation of the melody and then swings with Shipp Shipp leaps off the abyss with the Bisio Dickey unit already halfway there rapidly going through the revolving door between inside and outside but never completely losing touch with the harmony Bisio serves up a poetic performance all alone with a interpretation of I ve Got It Bad And That Ain t Good that is technically astonishing while covering a wide range of emotions that goes beyond the doleful one heard on other renditions Dickey s spotlight comes within the Shipp composed Dickey Duke which is a tribute to the soon to be departing drummer as

    Original URL path: http://www.matthewshipp.com/press/000-207-something-else/000-207-something-else.html (2016-02-12)
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  • Matthew Shipp                
    personal versions of seven Ellington classics plus three Shipp compositions that play off of their immersion in Duke s magic There have been some threads recently on social media that question the in out avant mainstream division as something that breaks down with artists who channel both tradition and innovation Certainly the Shipp Trio here make a case for a simultaneity of stylistic preoccupations that transcends the splitting of categories in jazz practice The music respects the tradition in Shipp and Company s treatment of the Ellington themes The themes are springboards to an original trio openness while retaining the identity of the themes very strongly Matthew tends to state the themes with a special propulsion that puts them in a tempo zone yet while this is happening bass and drums play freely in and around the tempo Both Matthew and Michael then play freely with the implications of the themes masterfully so with abstracted offshoots of the thematic material that can be blazingly all over mesmerising in Matt s use of repetition development of phrases or post Monkish punctuations with syncopated chordal bursts But of course what is thought of as Monkish was also very much Duke ish Monk got something from Duke s playing that is not often spoken of but you hear it if you listen to both closely So that all fits The interaction of Shipp and Bisio by now has become a wonder They intertwine around themselves in brilliant ways and Dickey is right there opening up the rhythmic possibilities in and out of the implied tempo Every number has its own way of going about this poetically artistically transcendently It is brilliant as the art of improvisation Matthew leads the way with an open inspiration that never flags The couple of Shipp originals fit

    Original URL path: http://www.matthewshipp.com/press/000-209-gapplegate/000-209-gapplegate.html (2016-02-12)
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  • Matthew Shipp                
    but the performance is Matthew at his best with a really freewheeling cascading approach to piano that gets great support from Michael Bisio on bass and Whit Dickey on drums The music is never too free and always has a sense of structure that echoes the original tunes but Shipp s so clearly drunk deep from Ellington s spirit he can also really step out without ever losing his place

    Original URL path: http://www.matthewshipp.com/press/000-210-dusty-groove/000-210-dusty-groove.html (2016-02-12)
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  • Matthew Shipp                
    title track which opens the disc is built around hesitations and lingering spaces between notes That singular approach to pauses also shapes Symbolic Access His Web Play revolves around the lighter notes of his right hand making as much of an impact as the heavy lower register rumbles of his left the latter of which was key to Shipp s tense approach when he started to become known to international jazz listeners He also reaches back to interpret two of his early ballads Waltz and Reflex which reveal how much his romanticism matches the mysticism he freely discusses in this issue s interview Similarly his version of John Coltrane s Naima sounds more about reworking the ode rather than trying to replicate the saxophonist s sheets of sound None of this means Shipp has softened He just takes his time building into dramatic passages like those on Life Cycle His revisit of George Gershwin s Summertime conveys a sense of ominous mystery as his solo becomes a barrage of repeated taut chords before returning to the familiar melody While Brain Shatter does not convey the dangerous results of its title Shipp s hammering quickly becomes intense before he immediately cuts it On another original Brain Stem Grammer his left handed dive into the piano s lowest notes are set against intervals not far removed from Thelonious Monk a technique he returns to on Blue Astral Bodies And on Pre Formal Shipp conveys a sense of ominous mystery as his solo becomes a barrage of repeated taut chords before returning to the familiar melody While Brain Shatter does not convey the dangerous results of its title Shipp s hammering quickly becomes intense before he immediately cuts it On another original Brain Stem Grammer his left handed dive into the piano s

    Original URL path: http://www.matthewshipp.com/press/000-211-audio-tone/000-211-audio-tone.html (2016-02-12)
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  • Matthew Shipp                
    after and said it s really cool your set And then he goes Yeah I know who you are I have a bunch of your albums And I was just like oh really And then he started saying We should really collaborate someday I was just thinking to myself what Collaborate And I was like yeah why not But I still thought it was a joke like yeah right And then I started there was a record store in New York that I used to go in to I can t Other Music And Beans from Antipop Consortium used to work there and he started just coming up to me when I d go in the store And he would tell me I m in this group We should do a collaboration someday So I just said yeah why not Again I thought it was just a joke And then I started seeing like articles about Antipop Consortium and his photo and I m like oh that s that guy that works in the record store And I checked them out and thought it was great and cool but I still but then I started thinking like why are all these people in the kind of underground electronics Because there were a few others too They would just like stop me on the street and start talking about music and it really hit me that there was something in my language that some of those people got something out of And so fast forward I m recording for Thirsty Ear and the band Spring Heel Jack also was recording for Thirsty Ear And they put it their English kind of electronica band and they asked Thirsty Ear about doing a collaboration with all the jazz musicians that were there some

    Original URL path: http://www.matthewshipp.com/press/000-212-dialog-talk/000-212-dialog-talk.html (2016-02-12)
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  • Matthew Shipp                
    Relative Pitch Records features his Trio composed of the agile and highly musical bassist Michael Bisio plus the demonstrative forceful and rhythmical drummer Whit Dickey This ensemble has logged many miles together they listen intently to each other and waste little time getting to the heart of the pianist s music The title track opens the program in a contemplative mode with Shipp stating the melody and Bisio offering counterpoint as well as harmony Dickey stays away from a steady beat concentrating on interacting with both partners Jazz It is notable for the walking bass lines the boppish shuffle of the drums and the tolling piano chords As the piece unfolds one can hear Dickey reacting to Shipp s left hand the pianist s rolling lines moving in and out of the active rhythms and how the music changes direction after the bass solo getting a bit more frisky for several minutes Shipp s abstract piano lines roil instead of roll and going back to a variation on the opening The sound quality on this recording helps each instrument stand out on the ballad Code J each note that the pianist and bassist play is clear while Dickey s crisp cymbal work stands out Bisio s bowed bass opening of Path is engaging and engrossing lasting over 5 minutes with nary a dull moment and leading into another ballad piece led by Shipp s seemingly circular piano phrases The following track Pulse Code is Dickey s spotlight his forceful drumming leading to a short free interaction for the Trio The program comes to a close with Solid Circut sic the piece opens with a piano solo that contains overtones of Bach and Beethoven with a dollop of blues when the rhythm section enters the music changes direction displaying flavors of

    Original URL path: http://www.matthewshipp.com/press/000-186-step-tempest/000-186-step-tempest.html (2016-02-12)
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