#Matthew Shipp

[jacobwren]

Vamp To Vibe - Matthew Shipp · Gerald Cleaver · Khan Jamal · William Parker

#matthew shipp

[spaceintruderdetector]

Dj Spooky + Matthew Shipp Trio  live 2003

DJ Spooky - turntables, electronics William Parker - bass Matthew Shipp - piano Guillermo Brown - drums

#matthew Shipp #Dj spooky #jazz #experimental jazz #experimental music

[soundgrammar]

Listen/purchase: The Unidentifiable by Matthew Shipp Trio

#jazz #avant-garde #Matthew Shipp #Bandcamp

[ardl0]

#tunes #matthew shipp #william parker #beans #hprizm #knives from heaven #beats #Youtube

[dustedmagazine]

Matthew Shipp — The Intrinsic Nature of Shipp (Mahakala Music)

Twenty-eight years have passed between the release of Matthew Shipp’s first solo album and this one, his latest. Barring some truly regrettable occurrence, you can bet it won’t be his last. While the pianist has made plenty of statements about slowing down or stopping over the years, the truth of discography can be summed up as, “can’t stop, won’t stop.” But while it makes sense to pay more heed to his work than his words, it behooves the listener not to tune out Shipp’s proclamations.

In the case of The Intrinsic Nature Of Shipp, the title underscores the essential quality of the album’s ten tracks. If you’ve listened to Shipp much, you’ll hear familiar, defining aspects of his music. The first notes you hear affirm Shipp’s boiled-down lyricism; the next tune, “Crystal Structures,” exemplifies the precision of his touch whilst playing at speed, and the truly dialogic quality of the interactions between his left and right hands. “Jazz Emotions” captures his poised, brooding stance, and “Jazz Frequency” transmits the rhythmic and historical elements that make up his sense of time.

But while the word essence indicates that some distillation has gone on, that process does not necessarily yield a glimpse of the bare bones of Shipp’s work. His ideas are often complex, and his development of them reaches for mystery that may be founded upon logic but is never confined by it. These tunes turn and transform, and the entirety of their progress is essential to what they communicate. This is not Shipp in digest form; this is the complete solo Shipp, presented with transparent lucidity. That last point owes mostly to the musician’s clarity about his concepts, but some credit must also go to Jim Clouse’s recording, mixing and mastering. His recording is so intimate that you can hear the piano’s mechanical operation, but the details never overwhelm the music. If you want to get what Shipp is about in 2023, this album will give you a very clear picture.

Bill Meyer

#matthew shipp #the intrinsic nature of shipp #mahakala music #bill meyer #albumreview #dusted magazine #solo piano

[chaoselph]

Listen to "A Violent Dose of Anything" on TIDAL

Check out this album on TIDAL: "A Violent Dose of Anything" by Ivo Perelman, Matthew Shipp, Mat Maneri https://tidal.com/album/56604090

https://tidal.com/album/56604090

#ivo perelman #matthew shipp #mat maneri #jazz

[burlveneer-music]

Chad Fowler, Ivo Perelman, Zoh Amba, Matthew Shipp, William Parker, Steve Hirsh - Alien Skin - a one-off free-leaning set with THREE HORNS (Mahakala Music)

On the last afternoon of Arts for Arts’ iconic Vision Festival in 2021, I found myself standing next to pianist Matthew Shipp and drummer Andrew Cyrille as William Parker’s closing group took the stage. Matthew and I were casually chatting as the stage filled with what would ultimately be the largest group of the festival that year. The music started and the bandstand spouted fire from beneath as it lifted off toward the stars. Every person in the venue floated in space together through almost an hour of spiritual, emotional, cathartic joy. It was music so raw and frenetic that, had I had a horn with me, It would have been difficult to fight the urge to join them uninvited. Steve and I had already been planning a couple of studio dates later that year in Brooklyn at Jim Clouse’s Park West Studios. After hearing this music, I wanted to recreate the feeling I got from listening to it. The visceral experience. Not the sound. I can’t remember what it sounded like. That wasn’t the point. So as Steve and I started planning for our upcoming session, we set out to put together a group to generate that same kind of energy: The group: ZA (who had played on William’s Vision set), Ivo Perelman (who we asked at the last minute to come by for a day and he ended up on both days of the recording), Matthew Shipp, William, Steve, and me. This was the first and probably last time this group of musicians will have ever come together in this configuration. As is our custom, we didn’t discuss much about what the music would be before Jim Clouse started recording. This record documents our second full day together, presented in order. From soulful balladry to demented rock music to an otherworldly march, the musical tension is palpable throughout. As is, I think, the pure joy of creation that animated our time together. - Chad Fowler Chad Fowler - stritch, saxello ZA - tenor saxophone, flute Ivo Perelman - tenor saxophone Matthew Shipp - piano William Parker - bass Steve Hirsh - drums

#ivo perelman #chad fowler #zoh amba #matthew shipp #william parker #steve hirsh #jazz #improvised music #free jazz #2022 #mahakala music

[redshift-13]

#matthew shipp #jazz #piano #jazz piano #post-bop

[culturedarm]

Following the delicate harmonies and swinging melodies of Mesmerism, the drummer Tyshawn Sorey returns to the repertoire alongside Aaron Diehl, Russell Hall, and Greg Osby on a freewheeling three-and-a-half hour live performance from The Jazz Gallery in New York City. As Touch celebrates forty years of fierce resistance to the status and trappings of 'record label', the multi-instrumentalist Patrick Shiroishi takes a novel approach to field recording, emanating from within the dotted landscape of Evergreen Cemetery in Los Angeles for a stirring treatise on stillness and presence. The sound sculptor Sawako returns with her first solo album since 2014, Yves Tumor sees the spectre of God in life's same old circle, and Gloria de Oliveira embarks on a celestial Brazilian island for the video to 'Eyes Within', as tracks by Klein, Tomu DJ, Rat Heart, Tom Skinner, and Yo La Tengo also feature in the latest roundup of best new music. https://culturedarm.com/tracks-of-the-week-05-11-22/

#music #new music #best new music #culture #tracks of the week #tom skinner #eden samara #ivo perelman #chad fowler #steve hirsh #matthew shipp #william parker #zoh amba #yves tumor #backxwash #klein #sawako #dezron douglas #tomu dj #yo la tengo #gloria de oliveira #dean hurley #jazz #avant-garde #field recording #ambient #electronic #alternative #soul #no wave

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 4]

premierowa emisja 31 stycznia 2024 – 18:00 Graliśmy: Viktor Orri Árnason & Álfheiður Erla Guðmundsdóttir „Líkaminn er þaninn fiðlustrengur” z albumu „Poems” – Deutsche Grammophon NoSax NoClar “Cox” z albumu “No Dåhïss” – Yolk Records Sullivan Fortner  “Cute” oraz  “King’s Table” – oba z albumu “Solo Game” – Artwork Records Rich Halley “Through Still Air” z albumu  “Fire Within”    Ben…

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#Anaïs Tuerlinckx #Artwork Records #Álfheiður Erla Guðmundsdóttir #Ben Richter #Burkhard Beins #Co w jazzie piszczy #Confront Recordings #David Kollar #Derek Bailey #Dominic Lash #Erik Truffaz #Frequency Distasters #Hevhetia #Jonas Gerigk #Klaus Kugel #Marthe Lea Band #Matthew Shipp #Michael Bisio #Morricone Youth #Motvind Records #Naaljos Ljom #Newman Taylor Baker #Nosax Noclar #Paolo Raineri #Pavel Hruby #Peter Traunmueller #Renato Diz #Rich Halley #Rick Cox #Simon H. Fell

[guardianreadersofthegalaxy]

Day #158: Today I Listened to ‘Vamp To Vibe’ by Matthew Shipp. Oo, it’s what I like to call Steven Soderbergh jazz. Heavy on groove, light on melody. I know the vibraphone player is soloing but it’s a bit too soft a timbre to be heard over the intense rhythm section. As a jazz track it’s a bit weak, but as a heist-planning montage jam it’s fantastic.

Wtf happens at 3:25?! I wasn’t expecting that and it’s cool! This really sounds like a live session, so it’s brazen to do something a ‘studio-y’ as fading out most of the tracks and bringing them back in again. And though I mostly didn’t enjoy the vibes, once the other parts fade out at the end they do a great job of taking the track in a new, softer direction.

#my post #today i listened #matthew shipp #jazz #music

[maquina-semiotica]

Matthew Shipp, "Piano Equation"

#Matthew Shipp #Spotify

[soundgrammar]

Listen to: Spiderweb by Matthew Shipp

#Matthew Shipp #piano #Bandcamp

[ardl0]

#tunes #matthew shipp #william parker #beans #hprizm #Youtube #rap

[prettypleasewillgraham]

couldn't represent frank and matt better

#matt murdock #matthew murdock #daredevil #fratt #frank castle #the punisher #punisher #charlie cox #jon bernthal #daredevil born again #fratt shipp #fratt ship #matt murdock + frank castle

[dustedmagazine]

Frode Gjerstad with Matthew Shipp — We Speak (Relative Pitch)

We Speak by Frode Gjerstad with Matthew Shipp

A quarter of a century ago, Norwegian reeds player Frode Gjerstad told a Wire interviewer that his music was not intellectual. “It’s all about feelings and emotions.” But here he is, in the company of Matthew Shipp, proposing a list of eight other subjects on We Speak. They invoke states, actions and ideas, perhaps indicating that even a veteran improviser may find that there is more to being than is dreamt of in their philosophy.

But then, Gjerstad has always been a seeker. He has had to be, since when he was first forming as a free improviser in Stavanger, Norway during the middle 1970s, there weren’t many others around who shared his commitment to spontaneously generated intensity. So, he had to connect likeminded players from abroad while cultivating future collaborators among younger musicians. In a way, this recording fits into that paradigm; Gjerstad has to cross the Atlantic to play with Shipp, and this session took place at Shipp’s preferred recording location, Park West Studio in Brooklyn.

Shipp has had a lot to say about his music’s about over the years, but if you had to cut to the chase, he sits down at the keyboard hoping that the angels will use him as a conduit for cosmic communion. With this understanding, music is about everything, even mankind’s worst ideas; the album’s longest piece is a winding, emphatic exchange between the piano’s lowest-pitched sounds and the clarinet’s highest entitled “About Conspiracies.” But it can also be an expression of beatific mystery. Considering the complications inherent in using sound to express anything about the absence of sound, what might any music have to say “About Silence?” If you tune into the vibe instead of the absurdity of the circumstance, Shipp and Gjerstad seem to be suggesting that it’s a majestic thing.  

But a title’s function might also be more, well, functional. Consider the pithy, abrupt performance called “About Hearing.” Gjerstad’s alto sax issues short, coarse barks that leap over and spin back around the bold black lines drawn by Shipp’s abrupt chords. Listen close, and you will hear a master class in mutual support in which two musicians make it possible for each to express himself in his respective, very personal musical language without compromising their own.

Bill Meyer

#Frode Gjerstad #Matthew Shipp #We Speak #Relative Pitch #Bill Meyer #albumreview #dusted magazine #piano #jazz #reeds #free jazz