Customer Reviews

Equilibrium

5 star:		(6)
4 star:		(3)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

I love jazz, although sadly, I often think of it as an historical art form. Shame on me, I suppose - I know there's a lot of vibrant, creative stuff out there! Matthew Shipp's new disc is certainly a fine testament to that. Recently, I've been throwing Equilibrium in the CD changer, along with The Shape of Jazz to Come, and Out to Lunch, and it stands up just fine amidst that esteemed company. If you enjoy that sort of challenging-yet-accessible jazz, I'm certain there are many things you will appreciate about this wonderful release.

The musicianship is uniformly excellent, the compositions really reward deep listening, but it is also melodic and rhythmic enough to listen to while driving about town on a beautiful spring day!

Are we on the verge of a jazz renaissance? Let's look at the evidence. One of the top albums of 2002, Come Away with Me by Norah Jones, was a jazz album (not to purists, perhaps, but to these ears it was). Jacky Terrasson's Smile, released in January of 2003, one of the finer statements by a neo-mainstreamer, is finding a wide audience. Bad Plus, the remarkable group comprising Ethan Iverson (piano), Reid Anderson (bass), and David King (drums) is radically reconfiguring the piano trio, with unexpected acceptance. John Scofield has cut perhaps his finest record to date, Oh. Amazingly, even the avant-garde seems to be flourishing. William Parker's Raining on the Moon was on many 2002 top ten jazz lists, as was David Ware's Freedom Suite, and both can be found at many retail record outlets..

That brings us to Matthew Shipp, he of the monster pianistic chops, proprietor of the heady Thirsty Ear Blue Series label, and purveyor of "ambient jazz," among other sly moves to drag the music into the 21st century. His latest, Equilibrium, strikes me as his most successful outing to date. It was a brilliant move recruiting Kahn Jamal, the grey-beard Philly vibes-meister, for this date. Enjoying an Indian Summer renaissance as player, bandleader, and elder-statesman/jazz-ambassador, Jamal brings a savvy understanding of jazz edginess combined with a deep-delved African sensibility to these proceedings, just as he did to Roy Campbell's outstanding recent release, It's Krunch Time. Combine these two with William Parker (does anyone get a weightier sound from acoustic bass?) and Gerald Cleaver, a name new to me, but a drummer who perfectly fits into these giddy surroundings, and you've got a breathtakingly lively outfit.

Highlights include "The Key," a seemingly straight-ahead number, but salted with tricky time signatures, unaccountably beguiling melodicism, and revelatory vibes-playing from Jamal. Significantly, the leader lays out on this cut, displaying a remarkable yet apt democracy in his approach. "Vamp to Vibe," a deceptively simple pianistic figure over which Kahn Jamal performs his mallet magic, sticks in the brain like a burr on a sock. "Cohesion" features an impossibly catchy melodic/rhythmic mélange, including, to these ears, Shipp's finest piano playing on record, some absolutely mesmeric vibes passages from Jamal, and way mysterioso percussive synth stylings. "The Root," another vehicle primarily for Kahn Jamal, with its insistent rhythmic pulse, also makes a deep impression.

It took me longer to warm up to the "ambient jazz" selections, "Nebula Theory" and "Nu Matrix," with their concern for sonic soundscapes over melody and rhythm, but once the vibe clarified, it all made sense. Perhaps a bridge into these numbers is "World of Blue Glass," with its faux-ambient sensibility melded to some serious soloing by Shipp.

The avant-garde generally, and Shipp in particular, haven't always made records that can be easily accessed by the general listening public. This record is the exception. Don't miss it.

According to the liner notes, this is the fourth CD of Shipp's Blue Series, a continuation of his experiment with jazz as a contemporary recording art, and its goal is to "take your mind on a trip." Whether this album meets that goal, given its intended experimental nature, is a very subjective matter, and while I personally think it does succeed at that, I also think -- experiments aside -- there's some very worthwhile, inventive music on this disc that should get more attention from jazz and other musicians than it'll probably get (I say that as a "jazz and other" musician myself).

For the casual listener accustomed to music geared to a commercial market, I suspect this album would seem inconsistent at best. But for those willing to be taken on Shipp's idea of a head trip, there's more reward than first hinted at. First of all, Shipp is in control of his game here. This CD's blending of jazz and electronic/ambient forms is the beneficiary of previous experimentation and Shipp has learned well how to use both jazz and electronica elements as he sees fit rather than being at their mercy. Being in control of one's tools rather than being control by the tools is the difference between good music (acoustic, electronic or anything in between) and soulless dribble. This refinement of his craft puts Shipp in a leading position in the "jazztronica" field at the present, and because of the all too often mediocre and sometimes downright fraudulent attempts at jazztronica by other jazz artists (Dave Douglas' overhyped, contemptible Freak In is a good, recent example), other musicians currently exploring electronica could certainly learn something from his example.

Compositionally, Shipp is working within a context rather than collecting individual pieces (this explains why there's only nine tracks of music totaling slightly more than 40 minutes). When listened to in context, the music spirals along in a stream evoking a diversity of shifting moods and depths, from ambiance setting title track to the darkly groovin' "Vamp to Vibe" to the spacey music caverns of "Nebula Theory" to the jazzy trip-hop meld "Cohesion" to the subtly askew "World of Blue Glass." A midpoint is marked by the unsettlingly incomplete "Portal," and three more tracks -- "The Roots," an edgy trip-hop piece featuring vibist Khan Jamal, the swinging and slightly creepy "The Key "(also featuring Jamal) and the free-formed, FX'd "Nu Matrix" -- take this exploratory music adventure to its trippy, ambient finish.

I suspect the contextual aspect will keep this album from being very accessible for some. Also, I'm sure some "purists" will be immediately turned off by its experimental quality and electronica elements. Such people I doubt will not give this album a beneficial second (or further) listening that it really deserves. I found repeated listening helped get past the contextual and experimental aspects to discover some rather impressive qualities of Shipp's musicianship. One strength Shipp clearly possesses is the ability to bring mood and depth to his music despite its experimental nature. In addition to being obviously cerebral, the music as a haunting, mistakably spiritual quality not unlike someone like John Coltrane. Even though I wouldn't yet call Shipp a genius as I would Coltrane, he definitely carries that spiritual depth throughout his diverse compositions, evidence that Shipp's craft is as passionate and personal as it is cerebral and inventive. Also to his credit, as this project's captain, Shipp takes up leadership and makes his presence known without crowding the other members of his ensemble, a mark of a mature and attentive musician. Each member is thus able to give their own distinctive voice to the creative whole and help make Shipp's compositions that much richer. Once these strengths of this recording are recognized, then most of the tracks no longer seem as dependent on their context and can stand alone better as individual pieces. All in all, these positive aspects of this album, combined with its explorations of further possibilities in bringing jazz into the 21th century, make this album very meaningful, relevant and enjoyable.

Equilibrium is pianist Matthew Shipp's newest synthesis of modern jazz and electronics. Integrating the rigid rhythmic structures of electronic music with the loose-limbed improvisational approach of jazz is tricky business, but fortunately Shipp and crew are adept players. While there are programmed beats, ambient synths and samples aplenty to be found here, the overall vibe of this recording is one of a classic swinging session.

2002's Nu Bop, with its funky beats and electronics, was Shipp's most conscious effort yet at genre cross-over, at least until his recent collaboration with experimental rappers Antipop Consortium. This latest release, while being plugged as Nu Bop's slightly more accessible follow up, is actually more reminiscent of the Modern Jazz Quartet or a 1960s-era Blue Note session from Bobby Hutcherson or Andrew Hill, albeit with an updated rhythmic sensibility.

While the album is tonally adventurous, it relies even more on a contemplative atmosphere and subtle grooves. Shipp's piano playing is exploratory and unfettered, but not as wild and wooly as that of his frequent employer David S. Ware. The rhythm section of bassist William Parker and drummer Gerald Cleaver manages to integrate a sense of swing into even the most rigid breakbeat rhythms. Khan Jamal's sprightly vibes provide a wonderful foil for the bandleader's excursions.

And subtle is the word to describe the electronic component of this disc. FLAM might be the resident programmer and synth operator, but you won't find him taking centerstage here. Acoustic piano, vibes, upright bass and a drum kit, that's primarily what you'll hear, with some very, very subtle electronic accompaniment. Perhaps as a result, the integration of synths and programmed beats with live acoustic instruments works marvelously well. Improvisation is pushed to the forefront, and places this album more squarely in the jazz camp than among the groove collective.

Shipp has been charting an interesting course for himself over the past few years, and if this album is any indication, all bets are off as to where his next foray might take him. As long as that voyage continues to place improvisation above slavish marketability, I'll be right there behind him.

Troy Collins
Junkmedia.org Review

For a Label that is largely known by word of mouth, and people willing to look a little further afield for their Jazz, rather than just relying on the "Blue Note" label, the avant-Jazz label "Thirsty Ear" has had its fair share of outstanding releases. Matthew Shipp has released one of his most fully realised albums with this album of experimenting Jazz, Nu-Jazz, Post-bop. This is a album that is (reasonalby) accessible for those relatively new to the genre, without completely alienating them with unlistenable passages of instrumentation that is unfocused and literally all over the place. And yet remains experimental, unique and leftfield enough, to still find an audience that regularly cut their teeth with this expressive form of music.

The first track "Equilibrium" is a sparse, spacious and enchanting opener, Instead of deafening with instruments suddenly popping in and out of the composition, it's using of basic melodic lines with mood textured perfromances, work aptly with hushed and restrained playing, that somehow comes together as a seamless whole.

"Vamp To Vibe", is a significant change of pace, replacing the icy cool of the first track, with a fusion of breakbeat, coupled with free-Jazz. Although the splicing of beats with jazz is nothing new, it's in its implementation here, that makes it so invigorating. Compelling drums, a memorable piano riff arrangement with innovative electronic beats underpinning the whole thing, Matthew works so well when he shifts into these sorts electronic fusions (as evidenced by his sublime contribution on the "Good and Evil Sessions, album).

"The Root", again works this template of using electronic music to forward the music, or at the very least present it in new and interesting ways. but this time instead of using lurching breakbeat, the mood here is more akin to downtempo music, and more exploratory and sophisticated, even elements of Hip-Hop are subtly introduced, but never taking away from the importance of the Jazz element here, which is wonderfully incorporated to complement the electronic elements, rather than suffocate them. Think a more cerebral Jazz/Electronic fusion, thats works more on mood than propelling movement.

"Portal" is a very short piece that is Conservative in comparsion to the previous track, and possibly acts more as a exquisitely arranged interlude to the following track, such is it brevity. No less accomplished however, than what went before, with subtle piano and stately vibes of an almost instrument introspection that contribute to the conservatory feel.

The album closer "Nu Matrix", gives the lions share of the performance to Matthew Shipp, with his exceptional performance (him, being one of the finest avant-garde pianist helps too). Matthew is an exceptional pianist of that there is no doubt, but here he's given more free reign to express his piano arrangements in a truly affecting manner, with the rest of the perfromaces restrained in an effort to give Matthew, the perfect synthesis of the directions he's been taking lately; free-floating, complex, intricate & electrified.

So there you have it....an album that looks to push the confinements of its genre, yet being melodic and multi-faceted & well perfromed enough, to not sound like an unlistenable mess of instruments all fighting each other for recording time. An album that feels very slight on the first couple of listens, yet its complexity is revealed on multiple plays.

But before you all see my 5-Star rating for it, and run out and consider buying a copy, this isn't something that I'd recommend to everyone, as its painfully subdued in comparsion to some of the other offerings on "The Blue Series" label. It's a far more considered album, and the album generally follows every modernist upbeat electronic/Jazz track with the next track being a far more contemplative, gentlee, and introspective piece, that is at odds with what went before. It's an album that doesn't really make many allowances for the people new to the whole 'Experimentive' ethos that the 'Blue Series' trades in. It's an album that assumes that you've previously sampled the labels work, and can get straight down to the business of pushing boundaries. And there's a worry that first timers will struggle to some degree. But if you are willing to persevere, it will (given time) eventually win you over, not immediately, but every listen will unearth something new, or ignite a new found respect for the album. And its here that it's true 5-Star appeal begins to shine thorough.

If, you are new to the label (like I am), then I strongly recommend that you do what I did, and try one of the more accessible, electronic minded albums in the series. (Like the tremendous "Blue Series Continuum - Good & Evil Session"), and after you've completely digested, that album and are looking for something a bit more challenging to cut your teeth on, then I'd gladly point you towards this underrated little gem, as it's not as instantly accessible or indeed likable (It took me a 3-4 listens, to truly appreciate what's going on here), but (hopefully) like me, It's grab your attention fully, and start you on the road of starting to seek out, the many other artists on this extraordinary label.

This is seriously my favorite Matthew Shipp album to date. It melds the lyrical playing on New Orbit with the rhythmic experimentalism on Nu Bop to form a wholly unique and astoundingly complete sound. Many have said that the Blue Series is the future of jazz, and this release does nothing but point to the affirmative.

Just listen to the sound samples... Need I say more? I enjoy Shipp's simplicity approach. Less is more. He's one of the few (relatively) new piano players that has a sound all there own. Thru the simple passages comes Shipp's signature sound. This is one of Shipp's better albums too. William Parker is always a pleasure and one hopes that Shipp starts playing more with Drummer Guillermo E. Brown again, as well. Brown's latest recording "Soul at the hands of the machine" is facinating, articulate, modern, unique and powerful. I'd recommend that CD to anyone who even remotely finds this album appealing.

the song, "cohesion", is alone worth the 15 dollars spent on this album. nothing else needs to be said. have a respectable day.

Equilibrium is pianist Matthew Shipp's newest synthesis of modern jazz and electronics. Integrating the rigid rhythmic structures of electronic music with the loose-limbed improvisational approach of jazz is tricky business, but fortunately Shipp and crew are adept players. While there are programmed beats, ambient synths and samples aplenty to be found here, the overall vibe of this recording is one of a classic swinging session.

2002's Nu Bop, with its funky beats and electronics, was Shipp's most conscious effort yet at genre cross-over, at least until his recent collaboration with experimental rappers Antipop Consortium. This latest release, while being plugged as Nu Bop's slightly more accessible follow up, is actually more reminiscent of the Modern Jazz Quartet or a 1960s-era Blue Note session from Bobby Hutcherson or Andrew Hill, albeit with an updated rhythmic sensibility.

While the album is tonally adventurous, it relies even more on a contemplative atmosphere and subtle grooves. Shipp's piano playing is exploratory and unfettered, but not as wild and wooly as that of his frequent employer David S. Ware. The rhythm section of bassist William Parker and drummer Gerald Cleaver manages to integrate a sense of swing into even the most rigid breakbeat rhythms. Khan Jamal's sprightly vibes provide a wonderful foil for the bandleader's excursions.

And subtle is the word to describe the electronic component of this disc. FLAM might be the resident programmer and synth operator, but you won't find him taking centerstage here. Acoustic piano, vibes, upright bass and a drum kit, that's primarily what you'll hear, with some very, very subtle electronic accompaniment. Perhaps as a result, the integration of synths and programmed beats with live acoustic instruments works marvelously well. Improvisation is pushed to the forefront, and places this album more squarely in the jazz camp than among the groove collective.

Shipp has been charting an interesting course for himself over the past few years, and if this album is any indication, all bets are off as to where his next foray might take him. As long as that voyage continues to place improvisation above slavish marketability, I'll be right there behind him.

(This review was originally written for the online webzine: junkmedia.org, and was published there April 29, 2003)

This is only my second exposure to matthew shipp (my first being on spring heel jacks "masses", where he appears only on a few tracks and tends to play quite sparingly), and I have to say that I don't understand the comparisons that people draw between shipp and other great pianists such as cecil taylor or (according to amazons reviewer) mccoy tyner.

To my ears, shipp (at least on this album) has close to no rhythmic creativity, his improvised melodies are dececnt but unimaginative, and his playing seems too heavy-handed, so he can't seem to create much variety in his tone. On the other hand, I do find some of the themes interesting, as well as some of his harmonies. However, "adventurous" he is not.

I have immense respect for william parker, and i think that of all the present-day upright bassists, he achieves the best balance of cerebral and intuitively enjoyable playing. However, we rarely glimpse his real talent on this album. He sounds mostly uninspired, though he always holds down a solid groove.

I don't know the guy on vibes, but he suffers similarly to Shipp. His improvisations are only slightly more interesting than shipps, but again, lack in rhythmic ideas.

But my worst complaint is the electronics guy, Flam. Aside from the fact that he is barely perceptible, when you DO pay attention, even his seemingly unintrusive ornamentations seem superfluous or awkward (the last track is maybe the exception). This may not detract from the album depending on what you are hoping for. I was looking for a new approach to the combination of jazz and electronica. If that is what you are looking for you will be disappointed.

I'm not interested in the question of whether or not this is "jazz", because it is just as valid a musical expression as any traditional jazz. But the fact remains that this is really nothing more "adventurous" than anything miles was doing in the 70's, but a whole lot less interesting.

If you want an interesting experiment in jazz and electronica with a beat, try the spring heel jack stuff on thirsty ear instead. If you're feeling particularly adventurous, get the evan parker electro-acoustic ensembles "drawn inward". This cd is not bad, but it doesn't provide many reasons in the positive sense to warrant much attention.