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  • Matthew Shipp                
    effort that only burnishes Shipp s reputation as one of today s most challenging and rewarding jazz masters Downbeat Two recent releases featuring pianist composer Matthew Shipp are as engaging and enigmatic as his singular style piano sutras further reveals Shipp s mastery of dynamic playing his awareness of both timbral limits and sonic possibilities of the piano A sutra is a buddhist teaching on enlightenment and piano sutras shows his ability to tap into the creative realm of the present moment Jazztimes Nobody judging Shipp by Piano Sutras could accuse him of lacking a language of his own Surprisingly embraceable for music so uncompromisingly ambitious and original Here he reveals his fully formed lingua franca Shipp s music juggles all the balls at once feigning danger all the while plotting a course for his new world The Absolute Sound It s astonishing to hear your mind working through someone else s fingers That s the illusion Matthew Shipp creates on Sutras Assures his place in history alongside such prismatic and unpredictable giants as Jaki Byard or Paul Bley Stereophile CD is reviewed together with a solo CD by Marc Cary These are two monster pianists at their peak powers All Music The emotional commitment in his compositional method is equal to the rigorous intellect he applies in the architecture of creation Piano sutras offers incremental glimpses into his process of discovery and evidence of his mastery when kinetically applying his finely tuned sense of hearing Brushvox Once you get into the vortex of sounds and emotions you can hardly get out from it This album is alive an exciting throughout Jazz And Blues blogspot He makes another definitive statement on this album His individual style is that of one who is in control of the entire piano and his

    Original URL path: http://www.matthewshipp.com/press/174-early-quotes/174-early-quotes.html (2016-02-12)
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  • Matthew Shipp                
    where familiar compositional motifs and references to repertoire might evolve simultaneously over an hour s nearly continuous set Piano Sutras and Shipp s other solo discs is a collection of shortish related pieces Each may be closed off at its beginning and its end but act as a self perpetuating jewel of improvisational structure and there is variance and commonality throughout This particular set consists of 10 original pieces as well as brief versions of Coltrane s Giant Steps and Wayne Shorter s Nefertiti both familiar to musicians and jazz heads to the point of being near clichés Here they are treated with reverence elegance and a tinge of whimsy fitting in like fire bricks into the slots that Shipp has carved out Giant Steps in particular is both germ and respite its harmonic minefield qualities seemingly stripped away as it hangs in subtle relief to the knotty originals on this record What a solo setting can offer is a focus on attack tone and invention as well as compositional structure without the interlocking and sometimes alternating currents of an ensemble The second piece Cosmic Shuffle is a fine example of this boogie woogie rolls in the left hand stabilize right hand glints and Monkish asides soon becoming a shifting harmonic conversation as austere upper register rivulets snake through the voids left when dense passages fall silent Over the course of five and a half minutes Shipp creates a dynamic environment of shifting relational spheres allowing muscular and totemic phrases to act ephemerally Blue to a Point subtly shifts between towering harmonic architecture and deep churchy resonance resonance and touch being reason enough to explore solo piano repertoire Shipp s approach to the keyboard is a study of tone decay muscle and grace He s like a spikier Mary Lou

    Original URL path: http://www.matthewshipp.com/press/169-tiny-mix-tapes/169-tiny-mix-tapes.html (2016-02-12)
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  • Matthew Shipp                
    introspections new music jaunts out blues the sound of an important talent thinking out loud musically and a few gem standards played the Shipp way Trane s Giant Steps and Wayne Shorter s Nefertiti and yes this is respect for the elders so you can forget about jumping on something he said isolated and taken out of the conversational setting Like Monk Matthew uses technique not to wow but to

    Original URL path: http://www.matthewshipp.com/press/170-gapplegate/170-gapplegate.html (2016-02-12)
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  • Matthew Shipp                
    of times and Art of the Improviser is the result The first disc is a five song set performed by his trio of Michael Bisio on bass and Whit Dickey on drums while the second disc is a solo set two months afterward Together they remind listeners everywhere that Matthew Shipp is a freak force of nature when he sits down at the piano Yeah what was Louis Armstrong doing when he turned 50 One thing that separates Shipp from the rest of the ivory pack and is on full display with the leadoff track The New Fact is the way he plays within this minor mode that reminds you of no other jazz tunes you ve heard before It s a bit classical rather spooky and reminds me of his New Orbit releases when he was surrounded by a couple of horns The real challenge is Take the A Train which you seriously might miss if you re not paying attention What is otherwise considered one of the most recognizable melodies from the swing era gets totally wrecked into something that sounds like a Schoenberg 12 tone piece rearranged for jazz trio Shipp isn t the only one bending the rules on these songs since Michael Bisio takes what sounds like an ordinary bass solo and sometimes stretches it into a long bowing segue into the next number That s another peculiar thing with Art of the Improviser there is no stopping between tunes Not on the first disc with the trio and not with the second disc with the solo piano The crowds give applause at appropriate times but they are never given a chance to get on their feet until the end Most of the time the second disc feels more like a blob of music than

    Original URL path: http://www.matthewshipp.com/press/159-pop-matters/159-pop-matters.html (2016-02-12)
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  • Matthew Shipp                
    user friendly American jazzbos extant All About Jazz But while the shrewd programming means the album works as an outstanding sequence of music if consumed in a single sitting it acts even more powerfully as a prompt to go and search out some of the source discs to enjoy fuller servings of particular appealing favors by John Sharpe Jazz Times Listening to this snapshot of Shipp s releases leaves one with a desire to go back and discover or re examine the original albums When it comes to compilations there s no greater goal by Mike Shanley All Music Greatest Hits is a welcome introduction to and a fine recollection of some of the places Shipp has been yet it s only a small glance at the massive terrain on his soundworld map by Thom Jurek Something Else I don t think music should be listened to out of context collections can t properly do justice to an artist s body of work but this package proves me wrong providing the listener with a concise survey of the man s work Yes Matthew Shipp s Greatest Hits is indeed a fun album by Mark Saleski The Paradigm of Beauty The work of every great artist warrants a retrospective now and again It is time for pianist Matthew Shipp to be given one it is called Matthew Shipp Greatest Hits by Lyn Horton JazzAnd Blues blogspot com Matthew Shipp has had a remarkable run of music on this label and many others and hopefully it will continue far into the future If you have not had a chance to sample his extraordinary music this makes an excellent place to do so by Tim Niland NPR Jazz albums to look out for in 2013 Acoustic and electronic organic and conceptual solo trio

    Original URL path: http://www.matthewshipp.com/press/160-greatest-quotes/160-greatest-quotes.html (2016-02-12)
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  •     Ivo Perelman / Matthew Shipp Duo     
    Ivo Perelman and Matthew Shipp Something Else Reviews Carving their place as one of jazz history s great duos Neil Tesser Examiner com The deep connection between Perelman and Shipp both masters of improvisation is a real clairvoyance their empathy is amazing All About Jazz A dazzling display of spontaneous playing accomplished by two voices in synch with each other both musically and spiritually David Liebman saxophonist The lively and

    Original URL path: http://www.matthewshipp.com/duo/index.html (2016-02-12)
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  • Matthew Shipp                
    based piano music à la Jason Moran and Vijay Iyer and predates the work of those musicians There s an extremely anthemic cell structure reminiscent of the fist pumping early 70s compositions of Mal Waldron following the theme s statement Shipp dives down into rabbit holes twisting and rendering brushy the right hand s progressive fragments with Monkish clunks and scumbled eddies as Dickey and Bisio thread a suspended chattering swing The piece closes with a lengthy solo bass poem paean to Jimmy Garrison the harmonic master who supported Coltrane s work in the 60s growing out of repetitive beat dialogue with the leader and toward throaty Flamenco like strums 3 in 1 has a stark singsong melody and Shipp doesn t deviate from its glassy sashays though the rhythm section surges and flails around him finally erupting into a pot stewing section for Dickey to stretch out unaccompanied with flecks of loose detail and tensile suspension like Roy Haynes and Sunny Murray Circular Temple 1 might however be the apex of this trio s group ness that even as Shipp s name might be front and center the threesome exhale as one organism This is high octane chamber improvisation soft resolutions undercut by the rattle and pluck of ambiguity as Shipp moves into folk themes and arpeggiated runs outlined by Bisio s furious pizzicato in a level of interplay that s both dense and ethereal As with all of the pieces on this set it both arises out of the previous tune and segues into the next though here in particular slight rhythmic and thematic references to Take the A Train appear in wisps before becoming a clear albeit chunky exposition on the Billy Strayhorn theme made popular by the Duke Ellington orchestra Left hand curls and thunks juxtaposed

    Original URL path: http://www.matthewshipp.com/press/158-tiny-mix-tapes/158-tiny-mix-tapes.html (2016-02-12)
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  • Matthew Shipp                
    his rigorously honed music Whether proclaiming his own originality dismissing recent recordings by Herbie Hancock or throwing rhetorical jabs at unappreciative critics Shipp seems to take pleasure in stirring the pot One need not agree with his self assessment delivered to Chris Rich on the Boston jazz blog Brilliant Corners in 2009 I hear no one in the world with as developed and distinct a voice as I have on my instrument for this period in the music to appreciate his accomplishments Since moving to New York in 1984 and forging deep creative alliances with volcanic tenor saxophonist David S Ware Art Ensemble of Chicago wind master Roscoe Mitchell and protean bassist William Parker Shipp has released some three dozen albums under his own name While his percussive keyboard attack is often compared to avant garde patriarch Cecil Taylor s Shipp displays a wider textural palette and greater inclination to step outside his comfort zone through excursions into hip hop contemporary classical music and electronica Like anybody I want to be taken on my own terms for what I do Shipp says But I understand how I got pegged with the avant garde thing I play with William Parker and David Ware and it s natural that people see me coming from that I don t really like playing the role of enfant terrible though it was useful getting people to know who you are But it can be debilitating too What s given Shipp a power base beyond the bandstand is his relationship with Peter Gordon the owner of the Connecticut based label Thirsty Ear They met in the mid 1990s when Gordon started distributing Henry Rollins s label 2 13 61 where Shipp was recording By the end of the decade they had forged a close alliance As

    Original URL path: http://www.matthewshipp.com/press/157-boston-com/157-boston-com.html (2016-02-12)
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