Darius Jones & Matthew Shipp - Cosmic Lieder

The duo piano-sax visu Alchemy capital gains on this fine cooperation. Kevin son-in-law 2011-04-11

Of many saxophone-piano duos inevitably invite comparison with the singer-piano collaborations if the keyboard is used as a harmonic bed for reeds or voice. The piano underpins the melodic line of the Horn with strings and sometimes broke out with a solo. The Horn rarely plays a role of "compilation" support. Of course there are exceptions to the rule, and more recently a few duets adventurous by Jason Yarde and Andrew McCormack and Rudresh Mahanthappa, Vijay Iyer showed how successful a subversion of the usual model may well be.

This captivating union of pianist Matthew Shipp and alto saxophonist Darius Jones is an important addition to the foregoing and fascinates for its emotional and conceptual richness. Fifty years Shipp, a vital presence on the stage in New York for 30 years, who had long associations with saxophonist David Ware and bassist William Parker, is a visibly potent player. He often encourages chords resembling boulder, bassy sometimes contain so many notes that they become large, real sound Himalayas. These contrast dense low assaults of range effectively with the talented 32 years Jones fortissimos piercing, a player impresses women little ironically named, a band probe loaded noise thrash jazz. Therefore several pieces on this 13-track program to engage to their wide dynamic range, with keyboard disintegrated in territory of baritone, while the Horn explodes in the soprano.

But there is much more to this type of tonal bi-polarite collaboration. A gripping and majestic composition as Nix Utoan opens with stark Pharoah Sanders-like harmonic which then transparently wheel in a short bumpy ride, stab lines Shipp and Jones; and it is the tension paving between the different expressions of three or four notes, falling on and off one implied beat bites the ear. These rhythmic clashes marked the jazz for decades, but the impact is compounded by their clarity in this bare parameter, drummer-less and the bold lines of each man percussion. They have two locks in a set of convergence and divergence that succeeds for their energetic individuality and Alchemy not forced.

Matthew Shipp - Art of the improviser

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.