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HAT 549 HAT 549

"There's the same very fast transference of signals. There's the very complex type of pattern action. There's the same mixture of improvisations and discipline. But the unknown is being unfolded at really fast rates. Which certainly holds true for this no-nonsense, cinema verite-live set from New York's Roulette performance space, recorded in March 1993. Matthew Shipp (piano); William Parker (double bass); and Whit Dickey (drums)." Previously issued by Brinkmann Records. Produced by Johan Kugelberg. From Peter Niklas Wilson's liner notes "...the most remarkable thing about Shipp's singular style is not his achievement of having developed an own voice in freely improvised piano playing next to the large-than-life presence of Mr. C.T., but his uncanny ability to recognize the improvisational potential of the pianistic textures and the melodic and harmonic vocabulary of early 20th century composer-performers such as Scriabin and Bartók (most pianists have opted for Chopin and Debussy, or, if more sympathetic to the avantgarde, Schönberg and Webern). The ambidextrous patterns and harmonically ambiguous chords Shipp uses as starting points of his extended improvisational explorations could have been lifted straight out of some European piano scores from, say, 1920, whereas Taylor's vocabulary has grown into a bold synthesis of abstracted blues motifs and high-velocity small-bandwidth clusters. The unmistakably 'unjazzy' source of many of Shipp's improvisations might lead some self-professed jazz guardians to question the pianist's jazz credentials: swing and blues, whither art thou? An accusation to which Shipp has replied: 'I'm not interested in fitting some moron definition of what jazz is.'"