Available languages: EnglishWith his unique and recognizable style, pianist Matthew Shipp has worked and recorded vigorously from the late '80s onward, creating music in which free jazz and modern classical is intertwined. His artistic breakthrough came in the early '90s as the pianist in the David S. Ware Quartet, and he soon began leading his own dates (most often including Ware bandmate and preeminent bassist William Parker) as well as recording duets with a variety of musicians, from the legendary Roscoe Mitchell to violinist Mat Maneri, the latter another musician who first made a name for himself in the '90s. Through his range of live and recorded performances and unswerving individual development, Shipp has come to be regarded as a prolific and respected voice in creative music into the new millennium. Born in 1960 and raised in Wilmington, Delaware, Shipp grew up around '50s jazz recordings. He began playing piano at the young age of five, and decided to focus on jazz by the time he was 12. He played on a Fender Rhodes in rock bands while privately devouring recordings by a variety of jazz players. His first mentor was a man in his hometown named Sunyata, who was enthusiastic about a variety of subjects in addition to music. Shipp later studied music theory and improvisation under Clifford Brown's teacher Robert "Boisey" Lawrey, as well as classical piano and bass clarinet for the school band. After one year at the University of Delaware, Shipp left and took lessons with Dennis Sandole for a short time, after which he attended the New England Conservatory of Music for two years. Shipp moved to N.Y.C. in 1984 and soon met bassist William Parker, among others. Both were playing with tenor saxophonist Ware by 1989. Meanwhile, Shipp had debuted as a recording artist in a duo with alto player Rob Brown on Sonic Explorations, recorded in November 1987 and February 1988. Shipp married singer Delia Scaife around 1990. He then went on to lead his own trio with Parker and drummers Whit Dickey and Susie Ibarra. Shipp has led dates for a number of labels, including FMP, No More, Eremite, Thirsty Ear, and Silkheart. In 2000, he began acting as curator for Thirsty Ear's Blue Series. This excellent series hosted a number of Shipp's own recordings, as well as the recordings of William Parker, Tim Berne, Roy Campbell, Craig Taborn, Spring Heel Jack, and Mat Maneri. The following year saw the release of Nu Bop, an exploration into traditional jazz, followed closely by its 2003 counterpart, Equilibrium. In 2004, Shipp released Harmony and Abyss, a meditation on repetitive melodic and harmonic structures. One arrived in January 2006 and Piano Vortex followed a year later. 4D, featuring Shipp on solo piano, was released by Thirsty Ear early in 2010. It was one of several recordings from the pianist in the initial years of the 21st century, which included a two-disc solo piano recital entitled Creation Out of Nothing: Live in Moscow on the SoLyd Records imprint and the stellar trio set Night Logic, with Joe Morris and former Sun Ra saxophonist Marshall Allen, on the Rogue Art label. Shipp kept up the pace in 2011, kicking off the year with the double-CD offering Art of the Improviser, which showcased him in two different live settings: one solo and one in a trio with bassist Michael Bisio and drummer Whit Dickey. In the spring he released a duet recording with alto saxophonist Darius Jones titled Cosmic Lieder on the AUM Fidelity label. In 2012, he re-formed the trio with Bisio and Dickey for Elastic Aspects. Shipp entered into a prolific collaboration with saxophonist Ivo Perelman for a slew of projects that year, and 2013 included a duet, trios, and quartets with various personnel, all issued by Leo Records. Titles included The Gift, The Clairvoyant, The Foreign Legion, A Violent Dose of Anything, Enigma, The Art of the Duet, Vol. 1, The Edge, and Serendipity. In the fall of 2013, Shipp released the solo piano offering Piano Sutras for Thirsty Ear, as well as a retrospective for the label entitled Greatest Hits and a duet offering with saxophonist John Butcher, Fataka 2. Shipp maintained a prolific release and touring pace in 2014. First to appear was the trio date The Roots of Things in February with Dickey and Bisio, followed by two more sets in various ensembles with Perelman. The first, titled The Other Edge, was issued in March and featured the pianist's quartet backing the saxophonist, while the second, released the same month, was Book of Sound, a collaborative recording between Perelman, Shipp, and Parker. Symbol Systems, a solo piano outing, appeared in May from Lithuania's No Business label, while The Darkseid Recital, a second chapter in Jones' and Shipp's "Cosmic Lieder," was released in August by AUM Fidelity, followed by the solo piano offering I've Been to Many Places on Thirsty Ear in September. That year, the French Rogue Art label issued no less than four Shipp-led dates compiled from several years of performances. They included the solo Piano (2008); a duet album with Evan Parker titled Rex, Wrecks & XXX (2013); Right Hemisphere with Brown, Dickey and Morris (2008); and Declared Enemy: Salute to the 100001 Stars: A Tribute to Jean Genet with Parker, Gerald Cleaver, Sabir Mateen, and Denis Lavant (2006). The following year saw two more releases from the label. Our Lady of the Flowers was a Genet tribute follow-up a decade on (sans Lavant), and the controversial but still widely celebrated trio recording To Duke. Shipp also issued a pair of duet recordings: Live at Okuden: The Uppercut with Polish reed and woodwind master Mat Walerian on ESP-Disk, and Callas with Perelman for Leo. Associations with both men produced more 13 more recordings in 2016 and 2017. Complementary Colors and Corpo were duo dates with Perelman (the pair released 13 albums together before 2017 was out), while Butterfly Whispers added Dickey to make it a trio. Live at Okuden: Jungle with Walerian and Hamid Drake, capturing a performance from 2012, was released by ESP-Disk. The pianist issued a trio date titled Piano Song in early 2017, with Michael Bisio on bass and drummer Newman Taylor Baker. Produced by Peter Gordon, it marked Shipp's swan song as a recording artist for Thirsty Ear, though he remained curator of its Blue Series imprint. An ESP-Disk trio date with Walerian and Parker was issued as Toxic: This Is Beautiful Because We Are Beautiful People during the late spring. In early 2018, Shipp released no less than three albums. In January, Accelerated Projection, a duo date with Roscoe Mitchell was issued by France's Rogue Art label. A month later, Shipp released two dates through ESP-Disk simultaneously: Sonic Fiction, a quartet date with Walerian, Bisio, and Dickey, and the solo piano offering Zero in February. In late 2018, Rogue Art issued a duet album with Shipp and viola player Mat Maneri called Conference of the Mat/ts. The following year, the label released three more Shipp albums: All Things Are, a trio date with Michael Bisio and Newman Taylor Baker featuring flutist Nicole Mitchell; another trio album, Symbolic Reality, with Maneri and William Parker; and What If?, a duet record with trumpeter Nate Wooley.
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Free jazz & Avant-garde jazz - Verschenen op 15 februari 2019 | ESP Disk'
Free and avant-garde jazz are the catchall genres in which Matthew Shipp forged his success. Since the early 90s, the pianist living in New York has searched for and found HIS voice. As he’s always said, “living in my era, I can’t be John Coltrane or Sun Ra. I have to create something new, relevant to today’s world.”. Many have described him as the spiritual son of Cecil Taylor. A rather simplistic lineage, as Shipp plays with textures and tones differently from his elder. Very much like his unruly peers Marilyn Crispell and Myra Melford, his piano style borrows from various sources. It’s not exclusively percussive and it sometimes leans towards Bud Powell, Andrew Hill or Herbie Nichols… He proves this once again with this trio album alongside bass player Michael Bisio and drummer Newman Taylor Baker. Recorded in a single take in July 2018, Signature is an impeccable improvised rodeo trip. An hour of turbulence in which the three pilots steadily maintain the course. In fact, Shipp and his rhythmics have so much to say that a single listen isn’t nearly enough to take it all in. © Marc Zisman/Qobuz
Free jazz & Avant-garde jazz - Verschenen op 13 april 2018 | hatOLOGY
Recorded in 1995 for the label No More Records, Symbol Systems reappears in 2018 in a remastered version thanks to Hat Hut, a label specialised in avant-garde free and jazz music. A sort of catchall genre, in which Matthew Shipp has nicely made his mark. In the middle of the 1990s, the American pianist, 35 years old at the time, had already authored five albums and amassed a rather large following. This album was his first solo attempt. A sort of trial by fire for the outlaw that some describe as the spiritual son of Cecil Taylor. Except that the fourteen tracks on Symbol Systems highlight how reductive the filiation is in fact, as Shipp plays with textures and tones in a completely different way than his illustrious elder. Just like with his unruly peers Marilyn Crispell and Myra Melford, his piano feeds off from various sources and isn’t exclusively percussive. At times, it even leans towards Bud Powell, Andrew Hill or Herbie Nichols. Matthew Shipp is able to arrange his numerous influences in a rather singular and original manner. The 23 years between the release of Symbol Systems and its remastered version show that time has made this piece – that is, it’s true, not suited for every ear − even more profound and beautiful. © Marc Zisman/Qobuz
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