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Review- Matthew Shipp - nu bop (Thirsty Ear, 2002)

-by Christian B. Carey, Ph.D.

It is no secret that mainstream jazz has needed a kick in the tuckus since long before the 'Marsalification' of American jazz was solidified both by Wynton Marsalis's appointment as Director of 'Jazz at Lincoln Center' and his embarrassingly pervasive presence on Ken Burn's Jazz. However, thanks to coverage in indie journals like Magnet and Copper Press, and also to Phil Freeman's provocative and controversial 2001 book about free jazz in NYC entitled New York is Now, there is a growing awareness of the fertility of underground/experimental jazz in America. Without a doubt, one of the most significant younger figures of New York avant-jazz is pianist Matthew Shipp. Shipp is a member of the David S. Ware Quartet, and has also performed with a host of key players, including noteworthy collaborations with guitarist Joe Morris and bassist William Parker. He has recorded prolifically as a soloist, leader, and sideman. Shipp is equally famous for his no-holds barred criticism of the jazz establishment (Wynton included!) and its mistreatment by the recording industry. Perhaps he is just the man to render the necessary afore-mentioned tuckus-stomping.

Instead, taking a pro-active stance, Shipp has served as curator of Thirsty Ear's Blue Series recordings, a collection of the some of the best that avant-jazz has to offer. Shipp has also appeared on several releases in the series. Many of the recordings seem to take a special interest in pushing the boundaries of what is considered avant-jazz's territory, incorporating elements of electronica and hip hop. A notable example of this trend is the recent recording on Thirsty Ear by Spring Heel Jack, on which the group collaborated with many of NY's finest free-jazzers (Shipp among them). Drummer Guillermo Brown's new Blue Line record is also informed by both electronic grooves and R&B/Hip-Hop sensibilities.

Shipp's latest release in the Blue Series, nu bop, similarly tries to come to grips with some of the same elements. In this, it is a stark contrast to Shipp's last recording in the Blue Series, New Orbit, which featured Shipp's most straight-ahead playing in a traditional jazz context to date. Unlike his appearance on the latest David S. Ware Quartet recording, on which he played some synthesizer for the first time on CD, Shipp retains the grand piano as his instrument of choice on the nu bop. Synths and programmed beats are added by FLAM, who also engineers the recording. In addition to FLAM, Shipp is abetted by frequent collaborators: saxophonist Daniel Carter, bassist William Parker, and drummer Guillermo Brown.

The results are decidedly interesting, but nowhere near as ground-breaking as some of the press this CD has gotten might lead you to believe. Whereas on New Orbit, Matthew Shipp seemed to demonstrate his mastery of 60's hard bop and modal jazz, nu bop seems to be an effort to channel 70's fusion and acid jazz. Guillermo Brown's funky rhythms and powerful drumming, in particular, underscore this point. Daniel Carter's evocative and often textural playing on both sax and flute recall Bitches Brew and On the Corner era Miles Davis. William Parker, as usual, provides solid bass-lines underneath.

On the other hand, FLAM's contribution's are somewhat puzzling. While his beats undoubtedly work as a structural element for Shipp to play off of, the sounds he uses are quite dated, often cliche. As a result, several of the tracks on nu bop comes off like extended NYPD Blue-styled jams by Mike Post (not that there is anything inherently wrong with Mike Post), instead of the desired meeting of jazz and the 'nu.' And only on 'ZX-1' does Matthew Shipp allow himself to sound like himself - the rest is ably played but lacking originality. Even the more deliberately spacey tracks like 'Nu Bop' and 'Nu Abstract' still sound no more adventurous than '70's Miles Davis or Weather Report. One wonders if, given a less stale palette of synth sounds and stock beats, the result might have been more ground-breaking. The idea is a good one, and the players are stellar, but the end result falls short of expectations. Still, nu bop leaves us with several catchy tunes, 'Space Shipp,' 'D's Choice,' and 'Rocket Shipp' among them. These three alone make the disc worth picking up and grooving to, especially for Shipp fans.

In New York is Now, Shipp proclaimed that he was retiring from the recording studio. While it is certainly preferable to see him trying new styles and approaches in order to refresh himself and stay in the recording game, it is to be hoped that Matthew Shipp will forgo an '80's homage album before returning to his more experimental avant-jazz bent.

-Dr. Christian Carey. New Jersey. June 30, 2002.