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"Matthew Shipp has this cinematic drama because of the way he keeps crunching and jarring the melody."
- Herbie Hancock
For more than a decade, Shipp has broken barriers and genre with his original
style. In Nu Bop, he continues to challenge the limits and preconceptions of
jazz with this explosive, beats-driven modern jazz recording.
Bassist William Parker takes on the unusual role as funk meister. Reedman Daniel Carter turns in soaring performances that seem to defy gravity. And Guillermo E. Brown emerges by driving electronic beats with the best of modern drumming, thereby defining of new era
of percussion. Interwoven into the fabric is Chris
Flam's (DJ Spooky, A Guy Called Gerald) programming insights and deft editing
skills. Throughout it all Shipp is still Shipp.
Top Customer Reviews
Chris Flam (listed as FLAM) joins Shipp's quartet (Parker on bass, Guillermo Brown on drums and Daniel Carter on saxophones and flute) on synths and programming for half the tracks. His production is integrated like another instrument, not simply dropping boom-bops for the musicians to blow jazzy solos over. FLAM's beats are programmed, but the musicians react to them in a similar fashion to Bill Evans reacting to his own recorded piano in Conversations With Myself. There are however, some problems in the mix: while the musicians flow well with FLAM's beats, sometimes they sound constricted. His production skills are also in question, occasionally sounding primitive, even amateurish. The beats you hear on "Space Shipp," while decent enough carry no emotional wallop so that when they are resurrected on "Rocket Shipp," you're left feeling flat.Read more ›
Born in the 1960's and raised in Wilmington, Delaware, Matthew Shipp grew up listening to 1950's jazz recordings as well as Jimi Hendrix. Putting on "Nu Bop" for the first time may be a shock. Is this a Chemical Brothers track? What is it? Shipp has left jazz behind and entered into a new field. It seems as if the presence of Guillermo E. Brown is a major factor here. It's like taking LSD as a teenager: the world view has changed and all of sudden films like 2001 are now documentaries. Also Chris Flam seems to figure in somewhere. Flam is a wild card in the deck. He is the feldspar in the mine. He is the boxer punching at infinite space. Shipp is opening up the jazz world to the DJ culture and making interesting bridges. He is naked in the in mental space of one thousand plateaus.
Shipp once said: "I am a product of a certain tradition. Obviously so. I come out of a 1960s avant garde jazz tradition. That whole spectrum of McCoy Tyner, Cecil
Taylor, Andrew Hill, Paul Blake...Read more ›
Most Recent Customer Reviews
There are no liner notes for this CD,so let's listen to the mind of Mr. Matthew Shipp----"Even somebody like Albert Ayler, if you listen to his playing, it's very well... Read morePublished on July 4, 2013 by Conal Bashiri Rose
I've given myself the difficult task of reviewing this album. Just listen to the sound sample of the leadoff track "Space Shipp." It's funky, but not James Brown funky. Read morePublished on September 10, 2009 by J. GARRATT
The problem with labels that are "artist run" is that often the artists are tempted to release material that just isn't ready for public consumption. Read morePublished on April 22, 2004 by Christopher Forbes
This is a good CD but the ideas are just a bit under-developed. It's a short album and the songs are short. Just when things get cookin', the song ends. Read morePublished on June 17, 2003 by T. Klaase
After years of not getting into Shipps playing too much (a little to much banging for me) I have changed my opinion since Ware's Surrendered and Shipp's work for Thirsty Ear both... Read morePublished on January 28, 2002 by Stephen