To Duke
| To Duke | ||||
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| Studio album by the Matthew Shipp Trio | ||||
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Publication |
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| Label (s) | RogueArt | |||
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Format (s) |
CD |
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Title (number) |
11 |
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running time |
56:00 |
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Studio (s) |
Lowfish Studio, New York City |
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To Duke is a jazz album by the Matthew Shipp Trio. Recorded on June 10, 2014 at Lowfish Studio, New York City, released on January 23, 2015 on RogueArt .
background
The pianist Matthew Shipp played with Michael Bisio (double bass) and Whit Dickey (drums) in addition to three original compositions from Duke Ellington's repertoire . John Sharpe noted that pop songs and jazz standards (such as " Summertime " on Zo , (1994) or " Autumn Leaves " on The Multiplication Table , 1998) were a regular part of Shipp's repertoire. In 2001 he recorded the solo album Songs for Splas (c) h , with cover versions of well-known standards such as "There Will Never Be Another You", " Con Alma ", " Angel Eyes ", " On Green Dolphin Street ", " Bags' Groove " and " Yesterdays ". What is unusual here, however, according to the author, "is the focus on several from the same songbook in the same set." Ellington's "I Got It Bad and That Ain't Good" is a five-minute bass solo that focuses more on Charles Mingus when going back to Ellington, Steve Greenlee noted - it actually contained an extended quote from " Haitian Fight Song ". Shipp plays " Prelude to a Kiss " as a soloist . Drummer Whit Dickey is featured in "Dickey Duke" composed by Shipp.
Track list
- Matthew Shipp Trio: To Duke (Rogueart ROG-0060)
- Prelude to Duke (Matthew Shipp) 0:44
- In a Sentimental Mood (Duke Ellington) 6:19
- Satin Doll ( Billy Strayhorn , Duke Ellington) 8:48
- I Got It Bad and That Ain't Good (Duke Ellington) 5:03
- Take the "A" Train (Billy Strayhorn) 9:04
- Mood Indigo ( Barney Bigard , Duke Ellington) 5:47
- Dickey Duke (Matthew Shipp) 4:44
- Tone Poem for Duke (Matthew Shipp) 5:02
- Prelude to a Kiss (Duke Ellington) 3:54
- Sparks (Matthew Shipp) 3:26
- Solitude (Duke Ellington) 3:22
reception
According to John Sharpe, who reviewed the album in All About Jazz , there could be no question of special treatment for the Ellington Marerial; they usually sound little different from other trio inventions by the pianist. Typically, Shipp uses the written material to create a mood and act as reference points amid the tangle of tangential interplay. Shipp's rendition of well-known song material creates an easier access overall than is usually the case with his typical mixture of haunting motifs, sparkling runs and hammered chords, whereby the usual crashing charges in the lower registers are largely avoided. Shipp's approach, according to Sharpe, is reminiscent of "the renovation of a classic building in which the facade remains largely intact, but hides an ultra-modern complex behind it."
Also in All About Jazz , Mark Corroto wrote that Matthew Shipp developed a method of making music that relied on classical music , free jazz and the energies of electronic music . Shipp's approach to playing standards. the author compared with Thelonious Monk's interpretation of “ Just a Gigolo ” or Anthony Braxton's Charlie Parker Project from 1993. Shipp's homage to the music of Duke Ellington is “a good introduction to the vocabulary of the pianist.” Corroto sums it up that Shipp is a connoisseur of the melody. You can understand the album as a suggestion that you should buy Ellington records if you want to hear Duke; but if you want to expand your experience, try new music.
Steve Greenlee said in JazzTimes that in Shipp's restless hands these songs are just as recognizable as his own. Matthew Shipp has one of the most distinctive styles of any pianist who has ever touched a keyboard - from his phrases and harmonic ideas to his fondness for thick low register chords - and all of that get through here. "Satin Doll" is one of the most beautiful melodies by Ellington / Strayhorn, but Shipp interprets it spiky and brutal, with circular, contrapuntal chords that could serve as a refutation of the happy melody. “Take the A Train” begins like Ellington played it - with that familiar, crystalline phrase - but Bisio's frantic plucking and Dickey's nervous drumming against the rhythm quickly take control. “In My Solitude” also alternates between melodic passages and threatening tangents. In contrast, the trio play "Mood Indigo" in an almost awe-inspiring manner - "Shipp and Bisio are in ballad mode - but Dickey is intentionally at odds with them and plays much faster and without regard to time."
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According to Tom Burris ( Free Jazz Blog ), the pianist plays with every aspect of these standards, including the melodies themselves. “The purity Ellington intended still shines through; and I'm sure that is Shipp's intention too. He wouldn't bother to play around with this music if it had withered before the modern world. ”One standout track is“ In a Sentimental Mood, ”where Shipp introduces the song in a very unsentimental way, simply by the melody plays as directly as possible, forcing the melody to carry itself without undue emotion. The melody is continuously chopped up and put back together until it is played back directly at the end. Also in the solo round with “Prelude to a Kiss” Shipp initially acted reverently, but freely, before the song is torn apart and carefully put back together, but this time it reminds of Monk's approach to the Ellington songbook ( Thelonious Monk Plays the Music of Duke Ellington ). Shipp's composition “Sparks”, on the other hand, is an intense trio number, relaxed and intense at the same time, expressing collective self-confidence. Bisio and Dickey would be amazingly cohesive if they supported Shipp and toasted him while he was hovering over the keyboard.
S. Victor Aaron said in Something Else! It was certainly a daunting task to pay proper tribute to one of the two or three main characters in this great African American form of music , but Matthew Shipp and the other members of his trio never made it feel like they were approaching the subject with awe or were planning one careful investigation. Instead, they immersed themselves in Ellington's songs with the same carefree zeal that Shipp's own melodies inherited. Apart from "Dickey Duke", Shipp's original compositions bore more of the character of his composer than the Ellington numbers; For example, "Tone Poem for Duke" is "a mysterious, dark, evolving melody." "Sparks" has a big-band swing, which it associates with Ellington's music, but Dickey's tumultuous drums add the subversive element which he also incorporated into many of the Ellington songs. “To be honest,” says Aaron, “there is a subversive tendency all over To Duke that is a little bit against the elegance of these Duke-Ellington strains, but that elegance always wins. But in the struggles between two of these sides, which the Matthew Shipp Trio has cleverly organized, lies all the charm and skill of To Duke ”.
Web links
- Listing of the album on Allmusic (English). Accessed January 1, 2020.
Individual evidence
- ↑ a b John Sharpe: Matthew Shipp Trio: To Duke. All About Jazz, April 30, 2015, accessed July 24, 2020 .
- ↑ a b Steve Greenlee: Matthew Shipp Trio: To Duke. JazzTimes, May 13, 2015, accessed July 24, 2020 .
- ^ A b S. Victor Aaron: Matthew Shipp Trio: To Duke. Somthing Else, February 13, 2015, accessed July 24, 2020 .
- ↑ Matthew Shipp Trio: To Duke at Discogs
- ↑ Mark Corroto: Matthew Shipp Trio: To Duke. All About Jazz, February 15, 2020, accessed on July 24, 2020 .
- ↑ Tom Burris: Matthew Shipp Trio: To Duke. Free Jazz Blog, August 13, 2015, accessed July 24, 2020 .