Invisible Touch at Taktlos Zurich
| Invisible Touch at Taktlos Zurich | ||||
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| Live album by Matthew Shipp | ||||
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Publication |
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| Label (s) | hatology | |||
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Format (s) |
CD, download |
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Title (number) |
11 |
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running time |
49:33 |
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Fredi Bosshard, Christian C. Dalucas, Mario DaRugna, Bernhard "Benne" Vischer, Werner X. Uehlinger |
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Studio (s) |
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Invisible Touch at Taktlos Zürich is a solo album by jazz pianist Matthew Shipp . The music on the album was recorded at the Taktlos Festival , which took place in the Rote Fabrik cultural center in Zurich on May 19, 2016. The recordings were published by hatology on April 28, 2017 .
background
The pianist's performance in Zurich came at the end of a week-long European tour. The set played by Shipp is continuous for 45 minutes without a break; After the applause at the end of the track “It”, a four-minute encore followed (“Fairplay”). With this style of "stream of consciousness" Shipp follows the tradition of Cecil Taylor on albums such as Olim ( Soul Note , 1987). Regarding his style of play, Matthew Shipp puts it this way:
- I did feel very good about the flow that I felt I got .
Track list
- Matthew Shipp: Invisible Touch at Taktlos Zürich (hatOLOGY 743)
- Light Beam - 0:43
- Intro Z - 4:56
- Instinctive Touch - 5:46
- Pocket - 1:32
- Gamma Ray - 5:50
- Piece Within Piece - 5:43
- Tenderly (Jack Laurence, Walter Gross ) - 4:07
- Monk's Nightmare - 7:00 am
- Blue in Orion - 4:39
- It - 5:14
- Fair play - 3:58
- With the exception of Tenderly , all compositions are by Matthew Shipp.
reception
For Dan McClenaghan (2017) Invisible Touch is one of Matthew Shipp's best and most fascinating recordings; "Shipp approaches the piano with a fist-fighting mentality." The sound is "full of vehemence that sometimes develops into a frenzy". Compared to Cecil Taylor's playing, Shipp is “more instinctive, with more feeling for interludes with a fresh lyricism. His sound is more subdued. ”His playing would include“ elaborate, even winding phrasing , interrupted by powerful chords and endlessly creative - even beautiful - tangents. ”The Thelonious Monk- related piece“ Monk's Nightmare ”is a“ thunderstorm ”; "Instinctive Touch" wander frenetically and spit out notes in rapid-fire gifts. "Blue in Orion" injects a sense of solemnity into the process; “Gamma Ray” on the other hand pulsates wonderfully and powerfully. And the standard " Tenderly " in the middle of the set doesn't sound so tender (as the title suggests), "but rather ominous."
According to S. Victor Aaron (2017), this recording at the end of the tour “captured the essence of Matthew Shipp”. On his first live solo piano album, he “opened a window to his inner self with a continuously flowing stream of ten improvisations and a standard”. Shipp's game is nothing more than contemplative, emotional and (in the best sense) calculating, but these qualities become more apparent when he plays alone; Shipp let itself flow as if through a stream of consciousness marked by block chords , lovely arpeggios , stacked arrangements and occasionally energetic moments. These facets of his playing come to fruition in the warm-up phase with the first titles "Light Beam" and "Intro Z", which lead to "Instinctive Touch", which begins with a recognizable theme and soon moves away from it. In "Pocket," a more subdued game creates an inevitable slowdown that paves the way for "a moment of beauty," where the track begins, "Gamma Ray." This is followed by the episodic, pointed “Piece Within Piece” and the only third-party composition “Tenderly”, whereby Shipp intelligently plays the melody of the song with one hand while simultaneously with the other he invents a darker, countering melody, with the occasional free one Breaking out of forms. In the further course of the program, Shipp continued to explore moods, tempos and directions, but always maintained his dynamic in a linear course.
Jason Bivins states in his review (2017) on the blog Dusted that Invisible Touch is material of the extra class, "a dense, focused set". Each of the pieces has its own logic, which together reveals a lot about Shipp's musical thinking. He makes this clear with the example of the short entrance motif “Light Beam”, which sounds like an overture and develops from contemplative sections over intricate cosmic Tristano- like lines to a dark hammering. During the course of the concert, Shipp revisited each of these ideas, individually or in combination. From “Intro Z” to the end, the pianist's ideas would change incredibly quickly. So Shipp enjoys changing from almost swing-like sections to motifs that are reminiscent of Bach's interpolations . “But he never gets caught in the pull of his own ideas. He is more interested in connections, associations and contrasts, to see what colliding elements contribute to the sound and for the moment; and that is the reason why the speed is so violent. ”Among the familiar motifs that are familiar to connoisseurs Shipp, the author counts those in“ Instinctive Touch ”; the piece comes to life through a song-like repetition , turns into a more muted passage and then interprets a rhapsody to end with an ending reminiscent of Béla Bartók .
According to the author, the recording is also interesting in terms of its technical aspects; He emphasizes the diverse motifs in “Gamma Ray” and chord passages at the beginning of “Piece Within Piece”. Also worth mentioning are the highly abstract interpretation of “Tenderly” and his idiomatic composition “Monk's Nightmare”, which has only a hint of monastic harmony and propulsion. The set ends with the lyrical “Blue Orion”, the brusque “It” and the massive encore “Fairplay”. “If all solo performances had this balance of clarity, inventiveness and scarcity,” the author sums up.
Individual evidence
- ↑ Invisible Touch at Taktlos Zurich. Static, accessed January 17, 2018 . (pdf)
- ^ A b S. Victor Aaron: Matthew Shipp - Invisible Touch At Taktlos Zürich (2017). Something Else !, May 27, 2017, accessed January 17, 2018 .
- ^ A b Dan McClenaghan: Matthew Shipp: Invisible Touch At Taktlos Zurich. All About Jazz , May 7, 2017, accessed January 17, 2018 .
- ↑ Quoted from Derek Taylor, Liner Notes of the album.
- ↑ Jason Bivins: Matthew Shipp - Invisible Touch At Taktlos Zürich (2017). Dusted, August 2, 2017, accessed January 17, 2018 .