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  • Matthew Shipp                
    manifest itself I m not trying to escape my past but I m also not trying to be a prisoner to it I m just trying to play some music But I love what is traditionally called jazz music whether it be Ellington Ornette Coleman aspects of Bill Evans Andrew Hill and aspects of Albert Ayler Those are sound patterns that I love and I can t escape that But again since I m trying to get to the root of things I m always trying to discover what makes me click despite all of that Even though I love all of that there s a part of me that I don t want to say escapes tradition because we re all a product of some sort of tradition but there seems to me to be something inherent in all of us that s different so I m just trying to really get to the root of that And language is a very strange thing since none of us own it It s energy it s something out here So even in getting to something that is yourself requires that you tap into a field of language and it might kind of sound like certain things or it might point in something else that has happened but mainly because we share in this same field of language SW Yeah and certainly having a piano trio of bass and drums forces you to tap into that field and respond to that tradition and language in an even more intense way MS Yeah A jazz piano trio is a standard standard way of going about things So there are certain things that happen if you have one just because of that configuration SW Right well can I ask if there are differences in what you re trying to explore than let s say the duo record you made with Michael Bisio Because a piano bass duo is much less of a common instrumentation So what went into the decision to make a duo record MS Well honestly Mike asked me if I wanted to do a duo record laughs It was kind of that simple And also he knew the people at Relative Pitch Records So Michael had talked to those guys then asked me so that was that as far as how the duo record happened Plus I had just released a trio record on Thirsty Ear called Elastic Aspects so there was no reason to do a trio record at that time because one had just been released But now was time for another trio album I had just done a solo album on Thirsty Ear so now was the time SW This trio has been together for a bit of time MS 2009 yeah SW So do you feel that there s been some growth or some further digging into the root of things MS Oh yeah I definitely think that we had a sound from the beginning The

    Original URL path: http://www.matthewshipp.com/press/000-188-searchrestore/000-188-searchrestore.html (2016-02-12)
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  • Matthew Shipp                
    visiting straight ahead for Shipp that is environments as well as more out constructs often during the same song Historical correctness be damned Jazz It is a great example it comes out of the gate with Michael Bisio s bass swinging hard as Shipp drops a long series of chords on top But about halfway through the tempo jumps up a few notches and before long it sounds like the keys just might come flying off the piano Shades of Cecil Taylor and shades of Monk too On the more out side there s Path which begins with a long Michael Bisio bass solo that edges past its pensive start gradually morphing into a call and response workout between bowed and regular lines When Shipp and drummer Whit Dickey finally enter the piano at first mirrors the bass line But when Shipp takes off in a different direction it feels like the concept of the piece has crystallized right before our ears The musician s sense of each other here is quite dramatic The opening parts of the title track exhibit a gentle push pull rhythm with each player reacting to the other Put the idea of a piano trio

    Original URL path: http://www.matthewshipp.com/press/000-184-spomething-else/000-184-spomething-else.html (2016-02-12)
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  • Matthew Shipp                
    and a John Zorn type school but also there was a big division between the uptown straight ahead school with Wynton Marsalis as the head honcho and the downtown school both white and black that separation still exists the black downtown school got no attention in early 80s until three things happened 1 a swedish label Silkheart records came along and started recording Charles Gayle David Ware Other Dimensions in Music myself and others 2 the invasion of alternative and punk rock labels recording free jazz and with that punk and alternative musicians like Thurston Moore and Henry Rollins championing the music and the musicians they liked where usually from our school and 3 the vision festival coming along and getting an international reputation for specifically this music With those three things David William Parker myself William Hooker Roy Campbell and others started being able to do some things Of course William Parker s success was the product of a tremendous amount of hard work and countless projects he had been doing for years and David was a lone wolf who did not work under the premise of downtown black musician he was on his own but he did benefit from the paradigm markers I mentioned above CB It is very common for musicians doing creative music to pine for the Knitting Factory days because of the dynamism of the scene in those years How might such a scene be recreated Or do you think it would be better to push in a new direction MS Would most likely be better to push in a new direction and make something new happen It is just that the Knitting Factory was such a centralize place and image that it created some continuity on some level but I think each artist will have to create their own way of getting out here CB Has the creative music scene in New York City gotten better or worse over the past five years MS That is hard for me to answer for I am so focused on my own thing and surviving doing my own thing that it is hard for me to take in the whole scene First of all I don t go out anymore I am getting to my mid 50s and I don t hang out like I did in my 20s 30s and even early 40s I m a homebody So I know there are a lot of clubs in Brooklyn but most I ve never even been to Seems like there is a lot of activity but I am not sure what s what I think society all and all is in a very bad place and the culture in general is so shallow that whatever is going on in this music whether people are making money or not needs to go on just to balance this horrible culture out Whether the climate is bad and it always is the most important thing is for people to do

    Original URL path: http://www.matthewshipp.com/press/000-189-jazz-now/000-189-jazz-now.html (2016-02-12)
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  • Matthew Shipp                
    house from the first swish of brushes to the final fading chord and delivered such a strong sense of form that the music particularly in the first set might well have been pre composed They began as one sax and piano intertwining their harmonically oblique emotionally ambiguous arpeggios over a confident brush of rhythm Shipp rumbled and trilled saxophonist Dunmall fired off fast gritty scales and chromatics while Sanders created a surging backdrop of short rolls cymbal splashes and stuttering bass drum thuds The intensity increased Shipp s full piano discords thumped out a regular pulse and then all subsided to sparse oblique and rhythmic solo piano These ebb and flow dynamics were repeated several times in the first set gradually increasing in intensity Each mood was sustained to just the right level and each climax breakdown and period of calm had different content and shape Shipp hinted at boogie and New Orleans march balladesque melodies and modern jazz swing while Dunmall varied texture and tone spiralled into the upper register and occasionally screeched At one point his soft and rhythmic low note lines conjured creatures padding on a twilight prowl The second set was darker hued more abstract and

    Original URL path: http://www.matthewshipp.com/press/000-182-financial/000-182-financial.html (2016-02-12)
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  • Matthew Shipp                
    for his outstandingly imaginative and technically controlled variations not a superfluous note in sight not a note out of place Although often depicted as a maverick Shipp lovingly embraces the jazz modernist classical and popular idioms with an irrepressible curiosity and revealed a deeply ingrained understanding of their roots and structures in his own richly hued explorations Early in his second set he stretched over to pluck celeste like notes

    Original URL path: http://www.matthewshipp.com/press/000-183-london-jazz/000-183-london-jazz.html (2016-02-12)
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  • Matthew Shipp                
    For many years Shipp was the crucial foil to the powerful saxophonist David S Ware working closely with him between 1991 and the early aughts but he s always been a prolific bandleader and soloist in his own right As much as I ve been a devoted fan of the pianist s peripatetic output over the last two and a half decades I think the current group with Bisio and Dickey with whom the pianist first worked in the trio with bassist William Parker and later in Ware s quartet is making some of the finest music in Shipp s career Root of Things Relative Pitch a stunningly good new album with that trio only strengthens the case Dickey is a wonderful imaginative percussionist who splinters time with the best of them His pulse is imperturbable but his cymbal work chops up and displaces rhythms in a manner that matches Shipp s time fracturing lines perfectly I wouldn t say that the pianist has mellowed with time his composing and playing are no less rigorous than in his early days and his improvisations have always been marked by a brooding intensity but he has become more direct and concise That

    Original URL path: http://www.matthewshipp.com/press/000-191-bleader/000-191-bleader.html (2016-02-12)
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  • Matthew Shipp                
    and a year later it was released as half of Shipp s two disc set Art of the Improviser on Thirsty Ear Records And if your ears have been thirsty for more of the forward thinking but heartfelt music from the terrific triumvirate of Shipp Bisio and Dickey just dig into Root of Things and look no further Or better yet enjoy it live the Matthew Shipp Trio kicks off the spring concert season at the Sanctuary for Independent Media in Troy at 8pm on Saturday The concert will serves as the CD release celebration in support of the trio s adventurous new album Root of Things as well as the debut of the Sanctuary s new nine foot Baldwin grand piano If you want to know what s going on what s really critical in the piano trio zone for the very modern so called free jazz avant garde jazz whatever name you want to give it seek no further Or at least stop for a bit and get your ears into the new one by the Matthew Shipp Trio Root of Things LIVE The Matthew Shipp Trio the Sanctuary for Independent Media Nippertown New Concert Announcements Quite the celebration it was It was the kick off concert of the Sanctuary for Independent Media s spring season And it was the debut of the Sanctuary s new nine foot Baldwin grand piano which was still being unwrapped just hours before the performance And who better to inaugurate the 88 than acclaimed jazzman Matthew Shipp and his trio featuring drummer Whit Dickey and Troy native bass master Michael Bisio The Sanctuary had sponsored a concert by the trio four years ago at Troy s Arts Center for the Capital Region and that concert ended up on Shipp s Art of

    Original URL path: http://www.matthewshipp.com/press/000-192-nippertown/000-192-nippertown.html (2016-02-12)
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  • Matthew Shipp                
    the goal is to indicate that you go beyond the mainstream MS I don t know if the goal is to go beyond the mainstream The goal if there is a goal is to construct that particular sound object a CD or a concert I am naive enough to think if I like it the mainstream will like it I still hold out hope I abhor genre type of cliches so I guess in that way I am trying to go beyond the mainstream But to me at least my DNA is that of a jazz musician So I am naive enough to think everyone else can experience my work that way AMN Your run ins with Wynton Marsalis and Stanley Crouch are becoming the stuff of legend but can you describe your main ideological differences between yourself and those gentlemen MS I really have no problem with Wynton He is not making pronouncements these days and I assume he has matured and grown up over the years and most likely has a better perspective of things That is an assumption on my part Crouch on the other hand is a horses ass I know him and have dealt with him and I think he is a truly evil person There are no ideological differences with him for he has no ideas He is a pure opportunist in my opinion To have an ideological disagreement presupposes someone has some principals of some sort To me Stanley is completely empty of ideas principals or a soul AMN Can you describe your relationship with David S Ware and how it evolved over time MS David S Ware was not only a band leader of a band I was in but also a close personal friend who I shared a lot of traits with though we are very different beings First of all we really understood each other on a very deep level Seems like our lives where geared such that it was destiny that we come together in the way we did We both had simialr religious backgrounds in that we grew up christian but gravitated to eastern religions early on And we both had the same approach of taking our religious backgrounds and modulating that to a quest with the music ala what I said about coltrane being a cosmic musician David and I even had the same taste in so called straight ahead jazz We liked the same Rollins Bud Powell and Rahsaan Roland Kirk CDs etc etc We both had the same love of fighting sports pro wrestling UFC though he was not as big of a boxing fan as I am but he knew what was going on Anyway all that is to say we where kindred souls who shared a lot We had such an instinctive understanding of each other that it scared me sometimes That was there from the first time we got together In fact after the first time we played he looked at me

    Original URL path: http://www.matthewshipp.com/press/000-185-amn/000-185-amn.html (2016-02-12)
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