A fluid and freely improvised solo set from New York pianist Matthew Shipp performing live at the Taktlos Festival in Zurich, Switzerland, 2016, presenting profoundly virtuosic playing skills and remarkable instincts in a continuous 45 minute set that maintains interest and strong bearing as he takes his audience on a commanding and coherent journey.
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Catalog ID: hatOLOGY743
Squidco Product Code: 24152
Packaging: Cardboard Gatefold 3 Panels
Recorded at Taktlos Festival, held at Roet Fabrik, in Zurich, Switzerland, on May 19th, 2016, Jeroen Visser.
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• Show Bio for Matthew Shipp
"Matthew Shipp was born December 7, 1960 in Wilmington, Delaware. He started piano at 5 years old with the regular piano lessons most kids have experienced. He fell in love with jazz at 12 years old. After moving to New York in 1984 he quickly became one of the leading lights in the New York jazz scene. He was a sideman in the David S. Ware quartet and also for Roscoe Mitchell's Note Factory before making the decision to concentrate on his own music.
Mr Shipp has reached the holy grail of jazz in that he possesses a unique style on his instrument that is all of his own- and he's one of the few in jazz that can say so. Mr. Shipp has recorded a lot of albums with many labels but his 2 most enduring relationships have been with two labels. In the 1990s he recorded a number of chamber jazz cds with Hatology, a group of cds that charted a new course for jazz that, to this day, the jazz world has not realized. In the 2000s Mr Shipp has been curator and director of the label Thirsty Ear's "Blue Series" and has also recorded for them. In this collection of recordings he has generated a whole body of work that is visionary, far reaching and many faceted."-Matthew Shipp Website (http://www.matthewshipp.com/bio.html)
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1. Light Beam 0:44
2. Intro Z 4:56
3. Instinctive Touch 5:46
4. Pocket 1:33
5. Gamma Ray 5:50
6. Piece Within Piece 5:43
7. Tenderly 4:07
8. Monk's Nightmare 7:00
9. Blue In Orion 4:39
10. It 5:15
11. Fairplay 3:58
sample the album:
"Shipp's stated aim is that rarefied realm where verbal and written descriptors fail, subsumed by the primacy of organized sound, spontaneous and of the moment. Whether he reaches that space is always arguable both on the part of artist and audience, but this compact and intensely contemplative set suggests an exemplar of success in that regard. In Shipp's typically succinct and germane summation: "I did feel very good about the flow that I felt I got."-Derek Taylor, liner notes
"Under his own name and in collaboration with with numerous other free-thinking jazzers-saxophonist Ivo Perlman in the forefront of these-CD releases seem to pour out of him. His best under his own name comes in the trio/duo/solo format. Piano Sutras (Thirsty Ear, 2013); The Conduct Of Jazz (Thirsty Ear, 2013); Piano Song (Thirsty Ear, 2017); and a duo set with drummer Bobby Kapp, Cactus, (Northern Spy Records, 2016) attest to his artistic focus and excellence.
Cruise the internet for profiles of and interviews with Shipp and he comes off as a prickly personality, a man assured of his own talents and unsympathetic to pigeon-holers, pretentious critics and label prospectors mining for a bunch of words aimed at pinning down his music.
His music just is.
So here comes a bunch of words concerning Invisible Touch At Taktlos Zurich, a solo piano outing by Shipp.
Shipp approaches the piano with a pugilistic mindset. Think of a boxer, throwing hard flurries at the speed bag, then shuffling over to deliver a series of thunderous body shots into the gut of the heavy bag. It's a sound full of vehemence that rises at times to a fury. It's an approach he continues with on Invisible Touch At Taktlos. The set is a continuous, forty-five plus minutes without a pause, until the applause at the end of tune number 11, "It," that leads into a four minute encore. This stream of consciousness style suits Shipp, as it did Cecil Taylor on Olim (Soul Note, 1987). But Shipp is more visceral than Taylor, with more of a feel for interludes of crisp lyricism. His sound is denser.
Elaborate, even serpentine phrasings abound, punctuated by muscular chords and endlessly creative-even beautiful-tangents. "Monk's Nightmare" is a thunderstorm. "Instinctive Touch" wanders frenetically, spewing notes in rapid fire fashion. "Blue In Orion" injects a feeling of solemnity into the proceedings; "Gamma Ray" pulses, pretty and powerful. And in the middle of it all the standard "Tenderly" rises, sounding not all that tender, but rather ominous.
Matthew Shipps seems like a guy-musically a personally-who walks through the world with a chip on his shoulder. On Invisible Touch At Taktlos Zurich the chip is still there, but it sounds as if he sat down at the piano one night with that big, flat, flagstone shard balanced perfectly, and all things-life and art-were well with his world. The result is one of Matthew Shipp's finest and most riveting recordings."-Dan McClenaghan, All About Jazz
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