Pianist and composer Matthew Shipp turns 60 years old in early December and remains one of the busiest, most creative musicians on the Black Music scene. His current Trio––bassist Michael Bisio and Newman Taylor Baker––is, arguably, his finest ensemble while his music continues to expand. The band's new album, "The Unidentifiable" (ESP Disk), captures one's ears and mind from the opening seconds of "Blue Transport System" and refuses to let go until the 10:31 "New Heaven and New Earth" fades to silence. Even then, moments return in snatches of melody, sounds, and beats. Upon first listening, you might think Newman Taylor Baker's splendid drumming is the reason to return. Perhaps it's Michael Bisio's powerful and often melodic bass work or the muscular piano, long flowing phrases, or thoughtful compositions that the leader supplies that turn your head. In fact, it's all three and more.
Photo Mark Lazarski
I've learned to listen to a new Matthew Shipp Trio all the way through each time. This is not music you "cherry-pick" your favorites and ignore the rest. Listen to how the rhythm section goes its own way on "Phantom Journey" or provides a gentle cushion of colors for the exploring piano lines on "Dark Sea Negative Charge". Baker's trance-like drums go alone on the short "Virgin Psych Space 1" serving as an intro to the trio's reading of "...Space 2". Note how each music builds on those drums, Bisio's bass weaving in and around while Shipp's piano travels above.
There is a quiet passion pulsing on the above-mentioned "Dark Sea...."; check out the fascinating hard drumming on "Trance Frame" (another short solo piece) and the powerful piano on "Phantom Journey." The sound of the album, engineered by Jim Clouse in Park West Studios in Brooklyn, NY, is clean and loud. Te lengthy final track will glue you to the chair, the thick bass tine, dancing snare work, and the ever-exploratory piano lines slowly build to a powerful climax–Bisio's bowed bass and overtones atop Shipp's gently piano melody become a contrast in light and darkness dropping out so the music can close on Baker's subtle brushwork.
"The Unidentifiable" is one more high point in the creative career of Matthew Shipp, not just for the music he composed for the Trio but also for his continued dialogue with Michael Bisio and Newman Taylor Baker. There is no compromise, no cliches, just a powerful message of creativity in uncertain times.
Pianist and composer Lafayette Gilchrist has created an amazing amount of music, relevant music, over the past three decades. A resident of Baltimore, MD, since 1987, his music covers a wide swath of territory, from House to Jazz to Hip Hop to Funk to Blues and beyond. His music has been featured on the HBO series "The Wire" "Treme", and "The Deuce", he's played with the David Murray Quartet as well as drummer Louis Moholo-Moholo, and bassist William Parker. The pianist gets compared to many keyboard masters, from McCoy Tyner to Willie :The Lion" Smith––his ability to play so any styles reminds this listener of the late Jaki Byard.
It's been 13 years and myriad experiences since his last Trio album ("3") was issued. "Now" (self-released) has arrived and it's an collection of amazing adventures. Two CDs, 16 songs (all originals), 150 minutes, and the great rhythm section of Herman Burnie (bass) and Eric Kennedy (drums), the music is an incredible journey. Opening with "Assume The Position" (first heard on David Simon's "The Wire"), the listener is bowled over by the thundering chords, the rapid-fire drums, and the pounding bass. Latter on Disk one, "BMore Careful" is a New Orleans-inspired blues that serves a warning and a spotlight for Burnie's handsome arco work. Kennedy's drums and Gilchrist's piano are mixed high and loud making the music jump from the speakers.
Dig into "On Your Belly Like a Snake", another hard-edged romp. Most of the longer pieces (seven of the 16 tracks are 10 minutes or longer) usually have stretches where the band eases off the intensity but here it's a short break before the drums push the leader to play harder. Disk one closes with "The Midnight Step Rag", a delightful dance with a touch of the Crescent City in Kennedy's drumming and a bouncy piano solo. You can just about pick out the deep notes of the bass but also listen to the pianist's active left hand.
Photo: Theresa Keil
Disk two opens with the 13:33 "Tomorrow Is Waiting Now (Sharon's Song)", a handsome medium tempo ballad that builds in intensity on the strength of Gilchrist's splendid piano playing. Burnie creates a fine solo as well and even though Kennedy does not solo, he plays an integral role throughout the piece. The following piece, "The Wonder of Being Here", is a true ballad, a handsome one at that. The bassist shows his melodic side, especially beneath the lovely piano solo. Later on the disk, "Can You Speak My Language" is a poignant ballad, the two-handed piano playing and Gilchrist's melodic runs seem to nod towards Keith Jarrett.
Disk two and the album closes with "Specials Revealed", a rich melody wrapped in a soulful rhythm. Gilchrist's solo is built off the repeating chords in his left hand and he gracefully moves up the keyboard while Burnie hugs the bass line and Kennedy pushes the rhythm forward. I understand the title of the song is also the name the leader has given the Trio–that make sense as this is special music. Yes, "Now" is a lot of music to take in all at once, really three good sets of music on two CDs. But, take your time and do take it all in. One can hear so much in the music that Lafayette Gilchrist, Herman Burnie, and Eric Kennedy have created for this album. Gilchrist's collection of songs plumb his own experiences as well as those of his community, reminding us that music not only tells stories but moves us emotionally. "Now" moves, oh yes it moves!
The trio of Geof Bradfield (tenor and soprano saxophones), Ben Goldberg (clarinet and contra-alto clarinet), and Dana Hall (drums, percussion) first met in 2017 at The Hyde Park Jazz Festival in Chicago, IL. That chance encounter led to "General Semantics" (Delmark Records), recorded a year later. All three musicians have years of experiences behind them as leaders, co-leaders, or group members (Bradfield and Hall have worked together over two decades)––one can tell from the music that recorded how comfortable they are with each other, willing to push and be pushed into many different musical areas.
What a splendid sonic journey this is. Opening with the quiet rush of "Air" (Bradfield on tenor, Goldberg on contra alto, and Hall using brushes), the music dances forward delightfully as the two reed players carry on quite a conversation. Composed by the late pianist Cecil Taylor and recorded in 1961 by Steve Lacy, the "swinging" track has a timeless feel. "Tioga Street Zenith" is a three-way conversation, a bit more frenzied yet Hall sticks with brushes as the reeds spar and parry. "Last Important Heartbreak of the Year" may sound like the title of a Country ballad but is really a rollicking tune with New Orleans drumming goosing the reeds right along. A bit later in the program, "Hit Flip Switch" (from Goldberg's prolific pen) also is a delightful romp, hearkening back to the raucous music of Louis Armstrong and Johnny Dodds. Bradfield's laughing soprano and Goldberg's playful clarinet should tickle one's fancy!
The soprano sax and clarinet combo returns to dance together yet again on Hermeto Pascoal's happy "8 de Agosto"––again, the two reeds weave around each other as Hall kicks and sticks away with glee. Bradfield's tenor sax introduces the title song which soon drops into a funky beat, Goldberg's contra alto clarinet producing the bass line. The tenor solo is built off that bass line while Hall keeps the tune close to the ground. "Half The Fun" opens with a "deep" solo from Goldberg over quiet hand-held percussion. Several minutes later, Hall drops into a modified "jungle" rhythm a la 1920's Duke Ellington, Goldberg plays a slinky bass line, and Bradfield creates a sweet soprano sax melody.
The album comes to a close with "Under and Over" which has a "freer" feel as the tenor sax and drums open the piece in a fiery conversation. After they stop, Hall drops into a slow, bluesy, beat, Goldberg's clarinet gets the melody while Bradfield acts as the bass line. There's a feel of Julius Hemphill's "Hard Blues" in the sound of the music, in the way the sax and clarinet move together. The piece closes with a classically-inspired clarinet and tenor saxophone duet.
The trio of Geof Bradfield, Ben Goldberg, and Dana Hall reminds us that when like-minded musicians get together, magic can happen. Magic does happen on "General Semantics"––this delightful and musical recording is well worth your attention!
Pianist and composer Lafayette Gilchrist has lived in the Baltimore-Washington D.C.-area all his life. He was raised listening to to rhythm 'n' blues and "go-go" music, both styles which inform his playing to this day. He has toured and recorded with saxophonst David Murray plus has worked alongside Oliver Lake, Cassandra Wilson, bassist Michael Formanek, and many others. Several of his compositions have been used on the soundtracks of HBO's "TheWire" and "Treme", both shows created by David Simon. Currently, Gilchrist leads several ensembles including The New Volcanoes and the Sonic Trip Masters All Stars.
"Dark Matter" is his second solo piano album, the first being 2013's "The View From Here"; both released on the pianist's Creative Differences label. The new album, recorded live in September of 2016 on the stage of Wright Theater/University of Baltimore, is a joy from the opening cut, "For The Go-Go", a rollicking celebration of this attractive dance music, to the blues-soaked refections of "Greetings", which brings the album to a close. Throughout the album, the pianist shows his sense of humor as well as the dramatic side of the stories he weaves. "Happy Birthday Sucka" could easily have been played at a Harlem "rent party" (in the part of New York City that bears the name or the Harlem Park section of Baltimore) – the piece dances forward on the power of Gilchrist's left hand and the short melodic phrases and rolling lines flowing from the right (dig the touch of New Orleans that comes in 2/3rds of the way through).
There are moments when the music has the feel of the work of "Jelly Roll" Morton, especially the "Spanish tinge" that often colored his songs. The earthiness of the title track cries out for lyrics (a previous recording with the New Volcanoes does have a vocal) – in fact, a number of these songs have been recorded by Gilchrist's large ensembles. "Spontaneous Combustion" originally appeared on 2013's "Inside Out" with its insistent drive assisted by the propulsive bass lines and the "popping" conga drums. On the newer solo version, the piece has an introspective opening with hints of the dancing bass line that once it takes over, the song goes into overdrive.
There is a poignant and urgent nature to "Blues for Our Marches to End" that is breath-taking as well as emotionally shattering. Put into perspective, there have been numerous marches since the Black movement towards equality in the United States began long ago. While the marches have raised consciousness around the world, they remain dangerous (most recent example is Charlottesville but, recently, the fear of violence hangs over each demonstration). The instrumental does not preach but it certainly teaches. Other pieces, such as "Childs Play", "Black Flight", and "Old Whale Bones", are contemplative and quite melodic though there is a solid dancing rhythm (and that hints of "Spanish tinge) to the first track listed.
Lafayette Gilchrist keeps the listener engrossed all the way through "Dark Matter", reminding one of the power of one piano, of melodies built to be sung as well as to let soak into your soul. Hard to put down, played with a sense of joy and desire, this music will take you out of the ordinary and into a space that is quite open and hopeful.
There is an immediacy in a live performance – even if the musician is in deep concentration, he or she is usually aware of those who are looking, coughing, applauding, and asleep. Even if the musician never looks, there should be the awareness that someone else is in the room. But, when it's a solo or a duo performance in a large auditorium, there can be the feeling of intimacy.
The recording studio is a different animal. The musician or musicians are there for the sound, can dive deeper inside one's self with the knowledge that there usually is a second, third, or fourth take (more, if need be). The feedback is often subtler and there can an intimacy and, hopefully, a trust that allows the musician(s) today as deeply as they choose. Unlike the applause at a live concert, the feedback comes later in the form of reviews, online critiques, letters, and more.
Photo: Jordan Kleinman
The duo of pianist/ vocalist Kevin Hays and guitarist/ vocalist Lionel Loueke went into the studios in 2016 for the vinyl-only Newvelle Records, producing "Hope", an album that surpassed even the artists in its intimacy and acoustic splendor. Loueke, who often records with electric guitars and numerous pedals, eschewed all of his equipment save for the acoustic guitar. Each armed with a collection of compositions, the duo chose four pieces each and the subsequent album was issued in July of 2017 as part of the label's 2017 "editions." Critical response was quite positive but, due to the cost of the vinyl subscription as well as the first-class artwork, the album did not reach many listeners. There is a video online from the sessions that is certainly worth watching – go to www.youtube.com/watch?time_continue=3&v=bkNGtwlQHI8 to do just that.
On August 30, 2019, Edition Records is releasing "Hope" on CD and digital platforms. Not only has the CD been remastered but there are also three additional tracks. Plus, the duo is going on a two-week European tour to celebrate the re-release. Now we all can hear the glorious interactions, the intelligent playing, the heartfelt vocals, the intimacy of the music. Highlights include the opening "Violeta", a piece the pianist wrote to honor Chilean singer Violeta Parra(1917-1967). The bounce in the rhythm guitar, the wordless vocal (complete with "clicking" sounds), and the wide-ranging piano melody is so attractive, so rhythmical. "Feuilles-O" is a traditional Haitian melody that the pianist sings in its original patois. The piece has a lovely, classical, feel plus a melody line that is so evocative and emotional.
Photo: Jordan Kleinman
Loueke's "Aziza Dance" has its roots in the myths of the composer's native Benin – the music is alluring with its propulsive forward motion, catchy melody, and fine solos from both musicians. The guitarist also composed "Twins" which opens with such a fine melody line before dropping into such an alluring rhythm. The piano ripples along above the percussive guitar, suggesting Keith Jarrett.
Of the three "added" tracks, Loueke's "Ghana Boy" not only feels like an African dance piece but also suggests the Caribbean in its percussion. Not certain who composed the final track "Sweet Caroline" but Hays handles the vocal (the lyrics do not sound like the Neil Diamond song of the same name) so it's a good bet that the pianist is the writer). There's quite a pleasant blues feel to the track and, of course, the musicianship is top-notch.
"Hope" is an appropriate title for this excellent album from Kevin Hays & Lionel Loueke. The two musicians travel the world performing music with various ensembles, speaking to many musicians and audience members. And, to get by in an increasingly insane world, one needs hope more than ever. Peace often looks unattainable but there is always the hope that we will pay attention to our "better intentions", sitting down to talk, to eat, and perhaps, make music. At least, we should take the time to listen to those voices crying for attention. Also, take the time to listen to this music – you cannot help but smile, tap your feet, and enjoy the journey.
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