Right Hemisphere (Shipp / Brown / Morris / Dickey)
Shipp's Right Hemisphere project is a powerful and expressive quartet of improvisers in abstract compositions based on intuitive, right brain processes.
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Catalog ID: 13
Squidco Product Code: 9715
Recorded on January 5, 2006 by Leon Lee Dorsey at Leon Lee Dorsey Studio, NY.
Rob Brown-alto saxophone
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1. Right Hemisphere 3:22
2. You Rang 4:31
3. Bubbles 3:33
4. Ice 3:39
5. Hyperspace 2:12
6. Dice 5:14
7. Incremental 5:45
8. Falling In 5:59
9. The Sweet Science 1:44
10. Lava 8:41
11. Red in Gray 9:06
Related Categories of Interest:
NY Downtown & Jazz/Improv
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descriptions, reviews, &c.
"[...] Shipp explains in the liner notes that the right hemisphere is "the intuitive side of the brain, the god part of the brain, the part that processes in wholes not in linear sequences, the part that is out of time and rooted in eternity". Now, saying that, and claiming that as the underlying process for the album is very much a left hemisphere thing to do, rooted in the rational, part of the conceptual. Hence the paradox. And the music reflects that paradox.
The concept for the 11 tracks are pre-discussed, abstractly without rehearsal, yet the performance results from the musicians' improvisation on it, interacting and creating the concept together. In most of the tracks, Shipp is one of the most decisive factors in the overall direction of the piece, setting the tone and the atmosphere, yet without taking leadership, easily offering the lead voice to Brown, whose unbelievably strong emotional playing is a pleasure to hear.
Shipp is a true master in getting the best out of his band-mates, and not only on this album, even to the extent that he is absent on two tracks. And that works well too : Brown, Morris and Dickey unleash all their skills on "Falling In", and then you think you've heard some strong emotional playing, until you hear the short piano solo ballad on which Shipp demonstrates his sensitivity. But the quartet goes way beyond pure emotions, creating art for the sake of art, searching novelty and pattern-breaking approaches in order to get this new expressiveness, this new sound. It's avant-garde in that sense, but with a high emotional component, as can be heard on "Hyperspace", but especially on "Lava".
The last track "Red In Gray" is an absolute beauty, a mid-tempo improvisation, still agitated, but less nervous, more coherent, more soulful too, than some of the other more abstract tracks on the CD. "Pent-up pensiveness erupting like into volcanic tides of overflowing Lava smothering breathing swinging hot drum solo deep within the core where always this earth is alive slipping ever so gently "Red In Gray" elegantly reuniting us with the flesh where one barely feels the blood as it flows thru the ashes back into our hearts warming our bones", that's how Steve Dalachinsky describes those two tracks, and that's pretty close to what I thought, yet a little more right hemisphere."-freejazz-stef
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• Show Bio for Joe Morris
"Joe Morris was born in New Haven, Connecticut on September 13, 1955. At the age of 12 he took lessons on the trumpet for one year. He started on guitar in 1969 at the age of 14. He played his first professional gig later that year. With the exception of a few lessons he is self-taught. The influence of Jimi Hendrix and other guitarists of that period led him to concentrate on learning to play the blues. Soon thereafter his sister gave him a copy of John Coltrane's OM, which inspired him to learn about Jazz and New Music. From age 15 to 17 he attended The Unschool, a student-run alternative high school near the campus of Yale University in downtown New Haven. Taking advantage of the open learning style of the school he spent most of his time day and night playing music with other students, listening to ethnic folk, blues, jazz, and classical music on record at the public library and attending the various concerts and recitals on the Yale campus. He worked to establish his own voice on guitar in a free jazz context from the age of 17. Drawing on the influence of Coltrane, Miles Davis, Cecil Taylor,Thelonius Monk, Ornette Coleman as well as the AACM, BAG, and the many European improvisers of the '70s. Later he would draw influence from traditional West African string music, Messian, Ives, Eric Dolphy, Jimmy Lyons, Steve McCall and Fred Hopkins. After high school he performed in rock bands, rehearsed in jazz bands and played totally improvised music with friends until 1975 when he moved to Boston.
Between 1975 and 1978 he was active on the Boston creative music scene as a soloist as well as in various groups from duos to large ensembles. He composed music for his first trio in 1977. In 1980 he traveled to Europe where he performed in Belgium and Holland. When he returned to Boston he helped to organize the Boston Improvisers Group (BIG) with other musicians. Over the next few years through various configurations BIG produced two festivals and many concerts. In 1981 he formed his own record company, Riti, and recorded his first LpWraparound with a trio featuring Sebastian Steinberg on bass and Laurence Cook on drums. Riti records released four more LPs and CDs before 1991. Also in 1981 he began what would be a six year collaboration with the multi-instrumentalist Lowell Davidson, performing with him in a trio and a duo. During the next few years in Boston he performed in groups which featured among others; Billy Bang, Andrew Cyrille, Peter Kowald, Joe McPhee, Malcolm Goldstein, Samm Bennett, Lawrence "Butch" Morris and Thurman Barker. Between 1987 and 1989 he lived in New York City where he performed at the Shuttle Theater, Club Chandelier, Visiones, Inroads, Greenwich House, etc. as well as performing with his trio at the first festival Tea and Comprovisation held at the Knitting Factory.
In 1989 he returned to Boston. Between 1989 and 1993 he performed and recorded with his electric trio Sweatshop and electric quartet Racket Club. In 1994 he became the first guitarist to lead his own session in the twenty year history of Black Saint/Soulnote Records with the trio recording Symbolic Gesture. Since 1994 he has recorded for the labels ECM, Hat Hut, Leo, Incus, Okka Disc, Homestead, About Time, Knitting Factory Works, No More Records, AUM Fidelity and OmniTone and Avant. He has toured throughout the U.S., Canada and Europe as a solo and as a leader of a trio and a quartet. Since 1993 he has recorded and/or performed with among others; Matthew Shipp, William Parker, Joe and Mat Maneri, Rob Brown, Raphe Malik, Ivo Pearlman, Borah Bergman, Andrea Parkins, Whit Dickey, Ken Vandermark, DKV Trio, Karen Borca, Eugene Chadborne, Susie Ibarra, Hession/Wilkinson/Fell, Roy Campbell Jr., John Butcher, Aaly Trio, Hamid Drake, Fully Celebrated Orchestra and others.
He began playing acoustic bass in 2000 and has since performed with cellist Daniel Levin, Whit Dickey and recorded with pianist Steve Lantner.
He has lectured and conducted workshops trroughout the US and Europe. He is a former member of the faculty of Tufts University Extension College and is currently on the faculty at New England Conservatory in the jazz and improvisation department. He was nominated as Best Guitarist of the year 1998 and 2002 at the New York Jazz Awards."-Joe Morris Website (http://www.joe-morris.com/biography.html)
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• Show Bio for Whit Dickey
"Whit Dickey (born May 28, 1954, New York City) is a free jazz drummer. He has recorded albums as a bandleader, with David S. Ware, Matthew Shipp and others.
Free jazz drummer Whit Dickey first stepped into the spotlight as a leader with the release of his Transonic album from Aum Fidelity in 1998. Two years later, Wobbly Rail issued his Big Top release. Previously, he was best known for his solid work with Matthew Shipp and David S. Ware, with whom Dickey split in 1996. Early the following year, the drummer began composing the works that would be included on Transonic. Dickey penned all but two songs, "Kinesis" and "Second Skin," on the collection, and he even had a hand in those with the help of his fellow musicians on the album. The original compositions give a nod to the influence of "Criss Cross" and "Off Minor" from the legendary Thelonious Monk. Dickey recorded the album with the aid of Rob Brown on flute and alto saxophone, and Chris Lightcap on bass. In 2001, Dickey recorded half a dozen of his compositions with Mat Maneri, Shipp, and Brown under the name Nommonsemble, and put out Life Cycle through Aum Fidelity.
Whit Dickey made a name for himself as the former drummer of David S. Ware's famous quartet. Since then Dickey's musical contributions have gone well beyond his work as Ware's drummer. He is capable of tremendous power and yet has the ability for subtle gesture. Dickey is a composer as well as a drummer and his music has reached new heights in his recent small group work, with a coterie of great musicians including alto saxophonist Rob Brown. He has been performing with Matthew Shipp since 1991 and continues to play and record with Roy Campbell Jr., Mat Maneri, Chris Lightcap and many others. Since 2007 Dickey has been focussing on developing an integrative improvisational style while working with Shipp's Trio.
Daniel Carter and Dickey recorded an album pianist Eri Yamamoto in 2008.
The album Art of the Improvisor from The Matthew Shipp Trio received much critical acclaim and was listed as one of the year's best of 2011. Dickey has started a cooperative unit with Sabir Mateen & Michael Bisio, which is another example of post- Coltrane integral unity, and is call Blood Trio.
Shipp, Bisio and Dickey have also been working with Ivo Perelman in various configurations."-Wikipedia (https://en.wikipedia.org/wiki/Whit_Dickey)
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