js The most difficult artists to write about are those whose artistic vision is so unique and personal that it is hard to come up with comparisons and references, and such is the case with pianist Matthew Shipp and his latest trio outing, “Root of Things”. Early in his career Shipp displayed much influence from the high speed jagged and aggressive piano assaults of Cecil Taylor, and you can still hear some of the Taylor influence, but Shipp has distilled and reduced the Taylor approach, taking out much of the extravagance and leaving a more refined core. Is Shipp’s playing a ‘lounge’ version of Cecil Taylor’s pyrotechnics, that would be an odd way of putting things, but it could almost suffice as a layman’s description, but its also a bit shallow because Shipp is much more than just that. If Matthew has a possible reference in today’s world of pianists, Craig Taborn might be as good as any. Both Shipp and Taborn are drawn to thick busy contrapuntal textures that owe much to serial composers, and both favor a tonality that deceptively slips from extended harmonies to atonality and in-between areas that are not clearly one or the other. Apologies are due if this all sounds too technical, but Shipp’s music is not exactly easy listening.

On this CD you get two tracks with busy, but introspective piano work; “Root of Things” and “Code J”, while “Path” centers around bassist Michael Bisio, and “Pulse Code” is for drummer Whit Dickey. The more energetic work-out tracks are “Jazz It” and album closer “Solid Circuit”. “Jazz It” is probably the CD’s top cut. As the title implies, this is the ‘jazz number’ and the only cut that ‘swings’. It opens with a bluesy Monk like groove, but as Shipp goes into quadruple time while soloing, the rhythm section feels compelled to follow and keeps slipping into chaotic high speed romps. Overall, “Jazz It” has more humor and good times slap bang chaos than most of the rest of this CD, which often sounds more like concert hall music than post bop. Dickey’s solo on “Pulse Code” is nice because he goes more for interesting layered poly-rhythms ala Billy Higgins, rather than boring displays of flash. Closing number “Solid Circuit” is probably closest to the old days of free jazz blowouts, but even on this one, the trio shows much care and restraint in their interactions.

This is one of the better jazz CDs to come out so far this year and it should hold up well to many close listens for modern post bop fans, avant-garde listeners and even concert hall devotees who like the jazz as well. If every cut on here would have been as strong and imaginitive as “Jazz It”, this would have been close to album of the year.