MATTHEW SHIPP — Piano Sutras (review)

MATTHEW SHIPP — Piano Sutras album cover Album · 2013 · Avant-Garde Jazz Buy this album from MMA partners
4/5 ·
js
In a world over laden with talented jazz pianists, Matthew Shipp is able to stand out, not just for his technique, but more for his unique musical vision that combines the history of avant-garde jazz piano with modern abstract post bop and 20th-21st century concert hall music. “Piano Sutras”, released in 2013, makes for a great introduction to Shipp and the variety of styles he can employ. Although the jazz elements are here, much of this album sounds like a modern concert hall recital, which is no big surprise given the extant to which jazz has influenced the typical modern composer. In fact, it would not be surprising if someone thought this was a recital featuring a sampling of modern composers as each of these pieces seems to have its own distinct personality.

Album opener and title track, “Piano Sutras”, kicks things off in concert hall mode, sounding at times like a modernized version of Scriabin. Follow up track, “Cosmic Shuffle”, gets us back on a jazz joint as Shipp visit’s the early days of stride and boogie and runs them through the abstract de-constructionist blender. Later track, “Blues to a Point”, also uses older jazz styles, reworked for the new century. Its not uncommon for reviewers to compare Shipp to Cecil Taylor, and the similarities do exist, but the difference being that Shipp’s approach to Taylor’s jagged expressionism is more subdued and refined as would fit today’s jazz sound. “Uncreated Light” is one track that carries the Taylor mark with its heavy noisy low end rumbles and harsh blues based riffs.

There are two well-known standards on here. “Giant Steps’ is given a brief spin with Shipp just letting the chords float on their own without too much embellishment, possibly a nice contrast to those who always try to cram as many notes onto “Giant Steps” as they can. “Nefertiti” is the other familiar number, which Shipp plays with considerable low end murkiness, possibly in contrast to other’s overly pretty versions of the same tune. Both songs are used more for their harmonic colors, rather than an excuse to solo.

This is an excellent CD, especially if you enjoy that esoteric place where modern jazz meets modern classical music. You can listen to “Piano Sutras” many times and still always hear something new. This is music that rewards close listening.
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