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Matthew Shipp: To Duke

By Mark Corroto
February 15, 2015
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Unlocking the language of an avant-garde musician like

Matthew Shipp

piano
b.1960

" data-original-title="" title="">Matthew Shipp can be a tough task for those new to creative music, and also for those new to the pianist's approach. He has developed a method of music making that draws from classical music, free jazz, and the energies of electronic music. With a discography pushing into the hundreds, where to start and what to listen to is always the question. A musical detective might start with his early recordings with the saxophonists

David S. Ware

saxophone, tenor
1949 - 2012

" data-original-title="" title="">David S. Ware,

Rob Brown

saxophone, alto
b.1962

" data-original-title="" title="">Rob Brown, and

Ivo Perelman

saxophone, tenor
b.1961

" data-original-title="" title="">Ivo Perelman, or maybe his two attention grabbing trio records Circular Temple (Infinite Zero, 1994) and Critical Mass (213 Music, 1995).

Perhaps the better way to step into the river that is Shipp's music is to listen to him playing standards. It is a listening approach that works with other artists, like

Thelonious Monk

piano
1917 - 1982

" data-original-title="" title="">Thelonious Monk playing "Just A Gigolo" or

Anthony Braxton

woodwinds
b.1945

" data-original-title="" title="">Anthony Braxton's Charlie Parker Project. Shipp's tribute to the music of

Duke Ellington

piano
1899 - 1974

" data-original-title="" title="">Duke Ellington is a fine introduction to the pianist's vocabulary.

The disc opens with the very brief piano solo "Prelude To Duke," before a storm cell breaks free with "In A Sentimental Mood." Bassist

Michael Bisio

bass, acoustic

" data-original-title="" title="">Michael Bisio and drummer

Whit Dickey

drums

" data-original-title="" title="">Whit Dickey, two frequent collaborators, deliver a maelstrom of sound and energy behind the calm of Shipp's rendition of the melody. The push-and-pull between piano and rhythm section spotlights a favored technique that juxtaposes the discordant with the harmonious. Listening to the melody imbedded into the storm gives the ear sanctuary, but also the ability for expansion. Shipp is keen to enlarge the music, his own and here, that of Ellington and

Billy Strayhorn

piano
1915 - 1967

" data-original-title="" title="">Billy Strayhorn. "Satin Doll" begins innocently enough with piano and bass, then the music is deconstructed into Shipp-speak. The melody is dissected into chopped pieces that flair into new directions, only to come back together throughout the piece.

"Take The A Train" is played almost as if Shipp were a DJ pulling musical samples from a burning building and "Mood Indigo" conjures images of black-and-white news reels with its ragtime take. Shipp's version of "Prelude To A Kiss," played solo, is a well crafted and sentimental take on the

Johnny Hodges

saxophone, alto
1907 - 1970

" data-original-title="" title="">Johnny Hodges signature piece.

What you can gather here is that Shipp is a connoisseur of melody. The trio suggests that if you want to listen to Duke, then buy Ellington records. But if you want to magnify the experience, then try some new music.

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Track Listing

Prelude To Duke; In A Sentimental Mood; Satin Doll; I Got It Bad And That Ain��t Good; Take The A Train; Mood Indigo; Dickey Duke; Tone Poem For Duke; Prelude To A Kiss; Sparks; Solitude.

Personnel

Matthew Shipp

piano

Matthew Shipp: piano; Michael Bisio: double bass; Whit Dickey: drums.

Album information

Title: To Duke | Year Released: 2015 | Record Label: Rogue Art

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