Matthew Shipp's updated press releases
april - december
''matthew shipp's spikey lines and sophisticated touch make him the outstanding through-improvising pianist of his generation. Shipp's abstract
smears and clumps draw on a deep wellspring of tradition and come with a delicate touch and appreciation of space.''
New york times
''what sets the album apart is focus-the band brings a dynamic flair to its execution''
"What the members of this trio do remarkably well is play on their own in such a way as to be a strong unit." "It is also truly moving music, full of emotion, passion, spirituality, and tenderness."
William Carey AAJ http://www.allaboutjazz.com/php/article.php?id=41312
"The brilliant relationship of these three musicians to his own instrument and to each other is an incredible harmonious feat."
"The combination of the intellectual and the emotional is seamless and creates a transcendent whole that goes beyond jazz to evoke a universe of distinctive musical possibility."
Matthew Shipp says: " Interesting interview about trio in timesquare magazine as preview for jazz standard gig with trio.She was typing and did not use a tape recorder so she nesses up my syntax a little a few times but towards the end it gets really good " :
symphony of Birmingham http://www.cbso.co.uk/?page=concerts/viewConcert.html&cid=2282&m=02&y=2011
All About Jazz http://www.allaboutjazz.com/php/news.php?id=71337
All About Jazz http://www.allaboutjazz.com/php/article.php?id=38193
augustin polish language Polish gigs sept.2010 duo w/Joe Morris
http://www.boston.com/ae/specials/culturedesk/2010/08/newport_jazz_festival_a_study.htmlShipp's uncharted waters.
Pianist Matthew Shipp, alto saxophonist Marshall Allen, and bassist Joe Morris performed a set of atonal free jazz with few preconceived notions of where it should go. Shipp rummaged around in the lower register, Morris plucked quickly and nimbly, and Allen engaged in cyclonic squawking through a half-hour opening number. Each part might have sounded like so much rumbling, but if anything the individualism of each player wound up complementing the others. Together it all coalesced and made perfect sense. You might say it was a microcosm of the Newport Jazz Festival ethos.
jazz-iz ''shipp's 4d provides further evidence of his idiosyncratic genius''
the new face of jazz ''well on his way to becoming one of the timeless giants of jazz''
Downtown Music Gallery MATTHEW SHIPP - Creation Out Of Nothing: Live In Moscow [2 CD set] (United/SoLyd 401/2; Russia) For the past few years, Matt Shipp has been concentrating on mostly solo, duo or trio performances & recordings. This is Matt's first double CD set and it was recorded live in Moscow in February of 2009. What is different from most of Matt's previous solo recordings is that Matt covers five standards, "Angel Eyes", "Summertime", "Someday My Prince Will Come", "Yesterdays" and "On Green Dolphin Street". Matt approaches each of these standards in his own distinctive way and shows how much he cares about the essence of each. "Angles Eyes" balances between somber and explosive moments with some of those haunting chords that Matt accentuates by holding the sustain pedal down and let those chords resonate richly. Matt's originals are often more intense, probing and explore different themes - some charted and some free yet always seem connected by an underlying logic or development. These discs are recorded superbly so that when Matt hits certain chords, a powerful current erupts and sweeps us along with it. I love the way Matt works his way through a handful of inter-related themes while keeping his eye on the subliminal current that holds each entire set together. Every chapter in Matt's ongoing novel reveals a different mood or scene. Matt plucks the strings inside the piano throughout the pensive "Blue in Orion" which gives the piece a most mysterious vibe. It seems like a perfect introduction to what comes next, Gershwin's classic "Summertime". This version is perhaps the most nightmarish one I've heard yet Matt knows just when to let the light poke through the dark clouds that hover over the piece. The balance between the originals and standards is perfect as they blend into one another with a fine sense of connected extremes. It sounds to me that Matt Shipp had spent a good deal of time planning this concert as both sets reveal a mature vision of what it is that makes Matt a master of the solo piano offering. - Bruce Lee Gallanter
All About Jazz Italia http://italia.allaboutjazz.com/php/article.php?id=5137
All About Jazz http://www.allaboutjazz.com/php/article.php?id=35818
Matthew Shipp ,
Thirsty Ear THI 57192.2
His own comments in Signal to Noise notwithstanding, characterizing Matthew Shipp's newest solo recording as an assessment of his music to date, and linking it to the dissolution of the pianist's trio with Joe Morris and Whit Dickey, seems overwrought. 4D has neither an extraordinary angst nor a conceptual breakthroughto support the idea of Shipp throwing himself inward in a fundamentally more profound way than he has in the past. Granted, substantial new interpretations of previously recorded standards and originals like “Equilibrium” are included; but it's a bit like saying a mid-career album like Thelonious Himself (1957; Riverside) was a culminating statement. And, it distorts the overall shape of the album, which is just as, if not more attributable to new Shipp originals like “Stairs,” which is built upon the type of open-voiced chords Abdullah Ibrahim often uses to summon the spirits of Ellington and Africa. Sure; this is a solid addition to Shipp's catalog of solo piano recordings. His contrarian cred remains high by atomizing “Frere Jacques,” shoveling the schmaltz on “Autumn Leaves,” and pummeling an initially stately reading of “Greensleeves.” To further shake things up, and dispel any generalization that he dips into old songs simply to deconstruct them, Shipp gives “Prelude to a Kiss” the type of well-mannered caress pianists have given the Ellington composition for decades. Shipp's provocative commentary is as sharp as ever on pieces like “Jazz Paradox,” which swerves through several stylistic zones. As is the case with the vast majority of Shipp's albums, the take-away from 4D is that Shipp remains one of the more reliable lightning rods in jazz, an artist who clearly has already said much, but just as obviously has more to say in the future. Give him another 20 years before expecting anything even resembling a summation. –Bill Shoemaker
matthew shipp has become one of the most vital figures in modern jazz-how
powerful his musical vision is---reworked in a sonic space that's far beyond
the original contexts but also outside of jazz as we know it-entering a
strange but satisfying new amalgam the is simply shipp.
Jazz and blues.blogspot
elegant and probing-its very interesting to watch shipp's music evolve
over time,he is developing a very unique and individual style that hints at
the piano masters of the past while facing forward at all times
why does matthew shipp want to hurt me
stomping jazz that's to big for its surroundings,causing earth shaking and
property damage when all its doing is having a good time
jazz:the music of unemployment
consider the gorgeously thunderous version of''frere jacques'' which
reminded me of cinematic technique of employing slightly discordant
childern's songs in order to create high anxiety during a climactic
moment---though there is a lot of full on piano pounding here-there is also
an amazing lightness of touch throughout
review for pat metheny-orchestrion
on the same day that orchestrion was released,controversial experimental
pianist matthew shipp released a great new recording of solo piano titled
4d.that amazing collection of music appeared near the bottom of my weekly
new music releases email-so I would have missed it if I wasn't all ready
looking-anyway back to orchestrion
Brilliant corners a boston jazz blogspot
mr shipp is essentially the anti jarrett which is a good thing.matthew
manners to cram more engagement and stimulation into several short minutes
of a piece than jarrett wrings from an hour of sporific minor melody cliché
fests and postures.in fact,if you are stuck in some situation where jarrett
drool is close to inducing narcolepsy a few minutes of mr shipp works like
an ear opener.
shipp's originality,which is bolstered by his redoubtable technique-yes
shipp proves that it is possible to operate out there on the edge without
losing sights of the fundamentals
Where'd all my friends go
his solo work of the past decade sits almost uneasy,shoulder to shoulder
with the heated opinions he so ostentatiously cultivates concerning the
institution of jazz yet it serves as a powerful reassurance of his essential
status in the jazz world
there is a lot of stuff going in throughout 4d.its very difficult to get
to the truth of why matthew shipp's music can move a person. especially
since there are so many flavors of out
a very david lynch quality
matthew shipp's records are like letters,describing through his piano
whatever emotions,obsessions and encounters he's gone through lately.
shipp's soft touch and lazy rhythmn often serve more intellectual
explorations,are well suited to expressing the conflicted shivers of
electricity that pass through the hopeless bags of meat that we are.so when
cole porter asks what love is-well shipp's got some kind of answer.
shipp is a one man force of nature in the modern jazz world.
there are few contemporary pianists like matthew shipp.he displays no
fear,no worry about his place in the jazz continuum, no making it palatable
for gentle ears-drop your expectations when you come to 4d,get into shipp's
flow and the rewards are great
All Music Guide http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:0ifyxz9sldae
Marvelous program- shipp nods to history with depth perception and
articulates his new direction gracefully
This album finds him synthesizing all his various approaches into one masterful
demonstration of musical thought.
Chicago Tribune http://www.chicagotribune.com/entertainment/ct-live-0126-jazz-20100125,0,4678273.column
Shipp shatters stylistic barriers-in all a tour de force
Detroit Free Press
Inventive and remarkably concentrated set-there is a special majesty and
clarity in the synthesis here
All About Jazz http://www.allaboutjazz.com/php/article.php?id=35316
A gripping disc
New York Times http://www.nytimes.com/2010/01/24/arts/music/24play.html
The album refutes hierarchy - Mr Shipp is finding success on his own terms
Time out new york
a magisterial solo recital 4d
Step tempest blog
there are few contemporary pianists like matthew shipp-he displays no
fear,no worries about his place in the jazz continuum-drop your expectations
when you come to 4d
shipp proves that it is possible to operate out there on the edge without
losing sight of fundamentals.
there is a lot of stuff going on through out 4d-its very difficult to get
to the truth of why matthew shipp's music can move people-this is a shipp
solo piano record that puts his wide range of ideas on display
Limewire music blog
even when he takes a well worn jazz standard he makes it sound like the
product of an extraterrestrial being press 2009: *Listen/Watch on NPR.org* Matthew Shipp On Piano Jazz
Festival Sant'Anna Arresi, Sardegna Italy, 2.september 2009 http://www.jazzreview.com/article/review-7391.html
il seguente articolo è stato pubblicato su All About Jazz Italia: Un Piano Puoi leggerlo qui: http://italia.allaboutjazz.com/php/article.php?id=4319 http://brilliantcornersabostonjazzblog.blogspot.com/2009/10/shipp-sets-sail-on-solo-voyage.html
contact for booking: firstname.lastname@example.org