Once dismissed as an imitator of Cecil Taylor because its serrated attack, percussion, pianist Matthew Shipp went to distinguish itself as a true original, incorporating not only the history of jazz piano, but also the hypnotic repetition of minimalism. It is an "idea man", but not simply an intellectual music - music offers challenges fail any evidence of wit and passion.
This double disc of live recordings has a date of trio at The Arts Center of the capital region in Troy, New York and a program of solo piano at the fish red in the city of New York recital. On disc one, Shipp is joined by Whit Dickey on drums and bassist Michael Bisio, given generous solo space on several tracks. The new fact begins with a modal vamp shuddering reminiscent of McCoy Tyner, which develops into a nice display of improvisational virtuosity, synthesizing the harmonic language of Tyner and Taylor, and Herbie Hancock. Rights and pitch-perfect Bisio fleet ends the piece with a solo absolutely jaw dropping.
Circular Temple, the longest piece in the program, begins with some thoughtful AVOIDING of Shipp and some nice low arco Bisio. Finally, Shipp focuses on another hypnotic vamp and accelerates in a prolonged impressive solo which demonstrates the total mastery of his instrument. This piece slides right into a standard here, take Billy Strayhorn on Train a - in the hands of Shipp, a tower of force unleashed, percussion. Once more, pianist did not adopt the practice of the abandonment of the melody after 30 seconds or - instead, he dissects, reviews, and rebuilt the melody to excellent effect.
The six solo piano tracks on the second disk also run in the other without respite, forming a single body of improvisation to Shipp transport patterns and dynamics of a room to another. A fun deconstruction and reconstruction of chestnut lounge-jazz old Fly Me to the Moon is the only non-original, which also provides illustration of magic Shipp improvisation. Unsurprisingly, it's a demanding program that trio and Shipp disk is not adverse to the occasional rhythmic groove, solo music is often closer to classic and modern jazz. Not that this is a bad thing, but be warned: you're not going to hear much blues standard amended or easily assimilable Broadway show tunes here.