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Matthew Shipp, "Equilibrium"
Thirsty Ear
This entry in Thirsty Ear's ambitious Blue Series finds the series'headmaster stepping out once again to explore the realms of both thefamiliar and the unfamiliar. Shipp's reputation as a complex composerin avant and free jazz make him a prime choice to lead the Blue Seriesendeavor, and not content to simply orchestrate the undertaking, he hasseen fit to step up to the plate with his own solo and guest spots. On Equilibrium,he touches on traditional jazz structures as well as free-jazzexplorations, often augmented with accents of the urban and electronicmodern. "Vamp to Vibe" does just as it says, with Khan Jamal's vibestrickling over Shipp's vamping, seesaw chords with a confidence andfluidity that is astonishing. Jamal is given free reign to work hiswonders all over Equilibrium and his addition to Shipp'scoterie of distinguished and talented musicians is a masterstroke."Nebula Theory" is a free jazz excursion with the band members slowlydrifting apart, tenuously held together by strands of notes that breakand reform lending the track an amorphous quality that uses silence aseffectively as sound. "Cohesion," like "Vamp to Vibe," relies heavilyon a deep groove provided by Shipp's left hand and bassist WilliamParker. The ensemble digs deeply here, and the funky feel of the piecebenefits from the contributions of the programmed breakbeats ofelectronic producer FLAM. His additions are subtle, never seeking tosteal the spotlight from the ensemble, but they give the pieces adistinct energy, flirting with urban and club beats that breathe newsoul into the already lively jazz compositions. He and livepercussionist Gerald Cleaver work to act as a propulsive force, neverletting the potential for conflict or excess disappoint the potential.Shipp leaves his mark all over "The Root," with FLAM sitting out onthis more spacious piece. It is a virtuoso moment on Equilibriumwith Shipp conjuring a flowing melody from his piano that captures theattention, unbound yet never meandering. "The Key" bounces, lettingParker's bass, Jamal's vibes, and FLAM's synths and breaks all shineout, each of them seizing a portion of the piece and making them oozewith ingenuity and makes this a particular highlight on the disc. Thefinal track, "Nu Matrix," is another composition of sound and silence;patience and satisfaction. It stretches the ensembles interplay, eachcomponent loosely bonded and nearly independent. Equilibriumfinds strength throughout its duration, effectively trying its hand ata variety of sounds and ideas, and convincingly making them feelnatural together. The mix of traditional, free avant, modern, andexperimental fusion results in a remarkably compelling whole that won'tfrighten off new listeners, but rather draw them deeper into the idealsthat have come to comprise the Blue Series.
This entry in Thirsty Ear's ambitious Blue Series finds the series'headmaster stepping out once again to explore the realms of both thefamiliar and the unfamiliar. Shipp's reputation as a complex composerin avant and free jazz make him a prime choice to lead the Blue Seriesendeavor, and not content to simply orchestrate the undertaking, he hasseen fit to step up to the plate with his own solo and guest spots. On Equilibrium,he touches on traditional jazz structures as well as free-jazzexplorations, often augmented with accents of the urban and electronicmodern. "Vamp to Vibe" does just as it says, with Khan Jamal's vibestrickling over Shipp's vamping, seesaw chords with a confidence andfluidity that is astonishing. Jamal is given free reign to work hiswonders all over Equilibrium and his addition to Shipp'scoterie of distinguished and talented musicians is a masterstroke."Nebula Theory" is a free jazz excursion with the band members slowlydrifting apart, tenuously held together by strands of notes that breakand reform lending the track an amorphous quality that uses silence aseffectively as sound. "Cohesion," like "Vamp to Vibe," relies heavilyon a deep groove provided by Shipp's left hand and bassist WilliamParker. The ensemble digs deeply here, and the funky feel of the piecebenefits from the contributions of the programmed breakbeats ofelectronic producer FLAM. His additions are subtle, never seeking tosteal the spotlight from the ensemble, but they give the pieces adistinct energy, flirting with urban and club beats that breathe newsoul into the already lively jazz compositions. He and livepercussionist Gerald Cleaver work to act as a propulsive force, neverletting the potential for conflict or excess disappoint the potential.Shipp leaves his mark all over "The Root," with FLAM sitting out onthis more spacious piece. It is a virtuoso moment on Equilibriumwith Shipp conjuring a flowing melody from his piano that captures theattention, unbound yet never meandering. "The Key" bounces, lettingParker's bass, Jamal's vibes, and FLAM's synths and breaks all shineout, each of them seizing a portion of the piece and making them oozewith ingenuity and makes this a particular highlight on the disc. Thefinal track, "Nu Matrix," is another composition of sound and silence;patience and satisfaction. It stretches the ensembles interplay, eachcomponent loosely bonded and nearly independent. Equilibriumfinds strength throughout its duration, effectively trying its hand ata variety of sounds and ideas, and convincingly making them feelnatural together. The mix of traditional, free avant, modern, andexperimental fusion results in a remarkably compelling whole that won'tfrighten off new listeners, but rather draw them deeper into the idealsthat have come to comprise the Blue Series.
