New Concepts in Piano Trio Jazz is loved by critics

2024 was a very good year for the Matthew Shipp Trio and its album New Concepts in Piano Trio Jazz (ESP-Disk'). It did very well on the Francis Davis Jazz Critics poll, coming in at #7.
The 19th Annual Francis Davis Jazz Poll: The Shape of Jazz That Keeps Us Going - The Arts Fuse

Davis himself put it at #4 on his ballot:
The 19th Annual Francis Davis Jazz Poll: Now and Then and Then and Now -- A Top Ten List From Its Namesake - The Arts Fuse

freeformfreejazz has it at #9

TOP 10: Must-See Albums of 2024

It's on Eugene Holley's unnumbered list
https://substack.com/inbox/post/153592868

Piero Scaruffi has it at #3
History of Music: Best rock albums of 2024

At Stereogum, Phil Freeman named it the best piano trio album

https://www.stereogum.com/2290987/the-best-jazz-albums-of-2024/columns/ugly-beauty/

AllMusic.com's alphabetical list, covering all genres, includes it
AllMusic Best of 2024 | AllMusic 2024 in Review

Gene Seymour has it at #8

Gene Seymour’s Top Ten Jazz Albums for 2024 — That Gene Seymour

And there are many more critic's lists and ballots that mention it.

Press Quotes

“Shipp is a titan, the name in free piano improvisation now that Cecil Taylor is gone, and the speed and agility of his thinking is so great that what comes out of his hands is graceful, light-footed. The past few years, he sounds like he’s recreating his style anew every time he plays, mercurial while also purposeful, with a clear direction. He doesn’t follow gravity or the path of least resistance, he makes his own laws of musical physics as he goes along.”—George Grella, Star Revue
https://www.star-revue.com/jazz-vision-festival-2024-by-george-grella

“Shipp’s trio with bassist Michael Bisio and drummer Newman Taylor Baker delivers some of the most audacious free swing you’ll ever hear, and on this disc, they add elements of modern classical to create something that lives up to that brash title. Astonishing stuff.”—Phil Freeman, Burning Ambulance 
Half-Year Roundup - Burning Ambulance (substack.com)

“A glance at pianist Matthew Shipp’s discography reveals that one of the prime outlets for his artistry is his classic piano trio, which ranks among the pre-eminent units in modern jazz. That’s down to the principal and his choice of simpatico partners. Shipp in full flow is unmistakable—a unique stylist who propounds a memorable mix of infectious motifs, glittering runs and stomping bass register.”—John Sharpe, New York City Jazz Record

“Shipp knows his history, evidenced by the wink-and-nod title of his newest recording with Michael Bisio and Newman Taylor Baker, New Concepts in Piano Trio Jazz. After all, it was Bill Evans’ New Jazz Conceptions that established the template for the modern jazz piano trio, one reliant on pace and variety of materials to keep both newbies and old hands engaged. Shipp turns the formula on its head with a program of eight tracks, all but one of which are seven minutes or substantially less. Whereas Evans emphasized reengineered chestnuts, garnished with originals, Shipp dives deep, opening with the somber, succinct “Primal Poem” instead of a light-hearted swinger. It takes almost 30 seconds for Baker’s brushes to become audible on the succeeding “Sea Song,” another swim through subtly turned phrases, this time with a slowly rising tide of intensity. Almost ten minutes into the program, Bisio kicks off “The Function” with a sturdy walking line; however, Shipp counters with off-center phrasing, pugnacious jabs, and scampering lines, while Baker resourcefully fills in the margins, offsetting the impetus to swing conventionally. The remainder of the albums has a similar, muted contrarian tilt until the 11-minute “Coherent System,” which closes the proceedings with house-shaking intensity, tipping the listener to the nature of Shipp’s new concept: make a complete, album-length statement that is far afield from the quotidian.”—Bill Shoemaker, Point of Departure
https://pointofdeparture.org/PoD87/PoD87MoreMoments3.html

"’Non Circle’ and ‘Brain System’ sound like the Trio invented their own keys for Shipp’s sketches."—Michael Toland, The Big Takeover
Matthew Shipp Trio - New Concepts in Piano Trio Jazz (ESP-Disk') | The Big Takeover

“Matthew Shipp remains uncategorizable. He and his collaborators work almost entirely spontaneously, without written compositions, but his recordings also seem increasingly well-structured and beautiful. This trio, with bassist Michael Bisio and Newman Taylor Baker on drums, has been working together for some time, so their collective language is highly coordinated. They are fluent in quickly discovering a vibe, tonal center, and focus, even when there is no written theme. But this collection is exceptionally telepathic, even by Shipp’s elevated standards.”—Will Layman, Pop Matters
JazzMatters: The Best Jazz of March-May 2024 (popmatters.com)

“No one writes or plays like Matthew Shipp. His music has a mind of its own—and what a mind—and Shipp deserves to have the title Sui Generis precede his name or maybe follow it thusly: Matthew Shipp, S.G. New Concepts takes modern jazz to invigorating levels of excitement, intensity, and joy.”—Mel Minter, Musically Speaking
3 X 2 = Wow | Musically Speaking (melminter.com)

"On this new CD...Shipp and his longtime bandmates, bassist Michael Bisio and drummer Newman Taylor Baker, really have come up with new approaches to their music. ...it has a relentless forward momentum with the intensity and repetitiveness of Steve Reich at some points, and the simmering intensity of Morton Feldman at others. ... It’s jazz, but jazz of a uniquely pugnacious and forceful type that acknowledges tradition without any loyalty or subservience."—Phil Freeman (again!), Stereogum
https://www.stereogum.com/2260606/kenny-garrett-vs-ai/columns/ugly-beauty/

“Matthew Shipp Trio further elevate their group communication and collective vision on the surprisingly un-hyperbolically titled New Concepts in Piano Trio Jazz.” 4-1/2 stars—Fred Thomas, All Music Guide
New Concepts in Piano Trio Jazz - Matthew Ship... | AllMusic

“New Concepts in Piano Trio Jazz, by Matthew Shipp with Michael Bisio and Newman Taylor Baker, lives up to its title, holding concert-music poise with improvisatory liberty and interpersonal chemistry in a balance that extends and expands the leader’s signature conception. Shipp’s prolificacy can be daunting; consider this one essential.”—Steve Smith, Night After Night
https://nightafternight.substack.com/p/for-the-record-april-5-2024

“In the accompanying notes to the CD, Matthew Shipp makes the claim that this album is ‘one of the greatest trio albums.' Is he justified? I think he is, certainly in the area of jazz piano trios: this is a really fine album of piano trio music that stands comparison with the best. … I don't think it is an exaggeration to say that this is an album of great beauty that is state of the art in terms of the possibilities of the jazz piano trio.”—Tony Dudley-Evans, London Jazz News
https://londonjazznews.com/2024/04/08/matthew-shipp-new-concepts-in-piano-trio-jazz

“...signs and symbols (in the form of phrases and clusters) are restated, sometimes refracted, and often echoed through Bisio’s bass and Baker’s percussive drumming. It’s a bold and emotionally riveting piano trio album, surely one of the finest you’ll hear all year.”—Lee Rice Epstein, The Free Jazz Collective
freejazzblog.org/2024/04/matthew-shipp-trio-new-concepts-in.html

“This trio has clearly swapped some of the most traditional roles. Thunder comes more often from the piano than the drums. The bassist is just as likely to command the melody as the pianist.   Democracy reigns supreme throughout. It’s not two supporting the leader, it’s each one supporting the other in a heady listen that leaves us guessing practically the whole way through. It’s free, yet conceptual and eminently purposeful as well.”—Jim Hynes, Making a Scene
makingascene.org/matthew-shipp-trio-new-concepts-in-piano-trio-jazz

"Shipp's New Concepts in Piano Trio Jazz is approaching a revelation and may just be the best starting place for those who have never had the opportunity to hear this trio."
https://www.allaboutjazz.com/new-concepts-in-piano-trio-jazz-matthew-shipp-esp-disk

"...it’s the occult alignment of the trio’s sensibilities that truly elevates this set into a gem of the improviser’s art."
Mr. Stu's Record Room: Matthew Shipp Trio: New Concepts In Piano Trio Jazz (mrstusrecordroom.blogspot.com)

“the Matthew Shipp Trio has sought — and succeeded — in taking a conventional setting to unconventional heights, and New Concepts in Piano Trio Jazz has attained a new height in this long-running quest.”—S. Victor Aaron, Something Else! 
Matthew Shipp Trio - 'New Concepts in Piano Trio Jazz' (2024) - Something Else! (somethingelsereviews.com)

“New Concepts in Piano Trio Jazz allows Shipp to move his personal linguistic discipline from its origins through classical influences and into his ever-expanding universe.”—Karl Ackerman, All About Jazz
Matthew Shipp Trio: New Concepts in Piano Trio Jazz album review @ All About Jazz

“Clearly, this is an avant-garde jazz album that has across-the spectrum appeal. The music sounds through-composed, almost like some modern classical music, yet every bit of it was improvised on the spot.”—Lynn Rene Bayley, The Art Music Lounge
Matthew Shipp’s “New Concepts” Album | THE ART MUSIC LOUNGE (wordpress.com)

from JazzDaily blog "Matthew Shipp: Redefining Jazz’s Boundaries"

 

Matthew Shipp: Redefining Jazz’s Boundaries

Introduction:

Few musicians have shaped contemporary jazz’s avant-garde landscape as profoundly as Matthew Shipp. As a pianist, composer, and visionary, Shipp has spent his career pushing the limits of jazz’s structure and redefining the genre’s possibilities. From his explorations of free improvisation to his grounding in jazz’s rich traditions, Shipp’s body of work is as diverse as it is transformative. This blog post delves into Shipp’s life, music, and enduring influence on the modern jazz world.

Early Life and Influences:

Matthew Shipp was born sixty-four years ago today on December 7, 1960, in Wilmington, Delaware, into a family that valued music and creativity. His mother, a close friend of legendary trumpeter Clifford Brown, played a pivotal role in fostering his early interest in music. Shipp began playing the piano at the age of five, laying the foundation for his future as a groundbreaking jazz pianist.

Matthew Shipp initially attended the University of Delaware but left after a couple of years to focus on honing his craft. Returning to live with his parents, he dedicated himself to intensive practice while traveling frequently to Philadelphia, where he worked as a cocktail pianist and studied with renowned music educator Dennis Sandole, whom Shipp credits as a pivotal influence on his development. He later enrolled at the New England Conservatory of Music for a year, studying with avant-garde saxophonist and composer Joe Maneri, but left before completing his degree, choosing instead to carve out his own path in music.

Shipp moved to New York City in the mid-1980s, where he became immersed in the city’s vibrant jazz community. It was here that he connected with saxophonist David S. Ware, forming a lasting collaboration that significantly elevated Shipp’s profile. As a member of the David S. Ware Quartet, Shipp played on several groundbreaking albums, including “Flight of I” (1992) and “Third Ear Recitation” (1993).

While his work with Ware showcased his skills as a sideman, Shipp quickly established himself as a bandleader. His album “Points” (1992) revealed a bold new voice in jazz, combining free improvisation with an inherent sense of structure and lyricism. This balance of freedom and form became a hallmark of Shipp’s style.

Musical Philosophy and Style:

Shipp’s music defies easy categorization. His approach to the piano blends elements of classical, bebop, and free jazz, often characterized by dense harmonies, unpredictable rhythms, and a penchant for exploring extremes—both subtlety and intensity.

One of Shipp’s most defining traits is his commitment to improvisation as a central tenet of his artistry. This ethos is evident in his solo performances, where he often builds entire compositions in real-time, drawing from a vast well of musical ideas.

Despite his avant-garde leanings, Shipp’s work remains deeply rooted in jazz’s history. He frequently references the music of jazz pioneers, reinterpreting their ideas through his distinctive lens. His 2011 album “Art of the Improviser” is a testament to this synthesis, showcasing both his technical prowess and his deep respect for tradition.

Key Collaborations:

Throughout his career, Shipp has worked with a wide range of musicians, spanning various genres and styles. His collaborations with bassist William Parker, a fellow pioneer of free jazz, have been particularly significant. The two have recorded numerous albums together, forming a creative partnership that has produced some of the most compelling jazz of the past three decades.

Shipp has also collaborated with a diverse array of artists, including violinist Mat Maneri, saxophonist Roscoe Mitchell, and electronic musician DJ Spooky. These partnerships reflect Shipp’s openness to experimentation and his belief in music as a universal language that transcends boundaries.

Prolific Output:

Shipp’s discography is remarkably extensive, encompassing solo piano works, trio recordings, and collaborations with other avant-garde luminaries. Some of his most notable albums include:

• “Pastoral Composure” (2000): A quartet recording that blends lyricism with avant-garde sensibilities.
• “Equilibrium” (2003): A genre-defying work incorporating elements of jazz, classical, and electronic music.
• “Piano Vortex” (2007): A trio album showcasing Shipp’s interplay with bassist Joe Morris and drummer Whit Dickey.
• “Zero” (2018): A solo piano album that captures the essence of Shipp’s improvisational genius.

In addition to his work as a performer, Shipp has contributed to the jazz world as a producer and curator. His tenure as a consultant for Thirsty Ear Records resulted in groundbreaking albums that brought jazz into dialogue with hip-hop, electronic, and other contemporary genres.

Critical Reception:

Shipp’s music has garnered widespread acclaim from critics and fans alike. While his avant-garde approach has occasionally polarized audiences, his technical mastery and artistic vision are universally recognized. Publications such as DownBeat and The New York Times have praised his ability to balance complexity with accessibility, highlighting his role as one of modern jazz’s most innovative figures.

Legacy and Influence:

Matthew Shipp’s impact on jazz extends far beyond his recordings. As an artist, he has continually challenged the conventions of the genre, inspiring a new generation of musicians to embrace risk and innovation. His work has opened doors for more experimental forms of jazz while keeping the genre firmly grounded in its roots.

Shipp’s influence can be heard in the music of contemporary pianists such as Vijay Iyer, Craig Taborn, and Jason Moran, who have cited his boundary-pushing approach as a source of inspiration.

Matthew Shipp’s career is a testament to the enduring power of jazz as a medium for artistic expression and exploration. By combining tradition with innovation, he has carved out a unique space in the jazz world, earning his place among the greats. For listeners willing to embark on a journey into the unknown, Shipp’s music offers a rewarding and transformative experience—one that continues to redefine what jazz can be.

References:

1. Litweiler, J. (1990). The Freedom Principle: Jazz After 1958. Da Capo Press.
2. Cook, R. & Morton, B. (2008). The Penguin Guide to Jazz Recordings. Penguin Books.
3. Matthew Shipp picture. Retrieved from https://en.wikipedia.org/wiki/File:Matthew_Shipp.jpg (By Wendy Harman)

Matthew Shipp: Redefining Jazz’s Boundaries – Jazz Daily