June 14, 2010 – LSR – 8PM – Trio Matthew Shipp avec Whit Dickey & Mike Bisio
MATTHEW SHIPP
Matthew Shipp was born December 7, 1960 in Wilmington, Delaware. He started piano at 5 years old with the regular piano lessons most kids have experienced. He fell in love with jazz at 12 years old. After moving to New York in 1984 he quickly became one of the leading lights in the New York jazz scene. He was a sideman in the David S. Ware quartet and also for Roscoe Mitchell’s Note Factory before making the decision to concentrate on his own music.
Matthew Shipp has reached the holy grail of jazz in that he possesses a unique style on his instrument that is all of his own- and he’s one of the few in jazz that can say so. Mr. Shipp has recorded a lot of albums with many labels but his 2 most enduring relationships have been with two labels. In the 1990s he recorded a number of chamber jazz cds with Hatology, a group of cds that charted a new course for jazz that, to this day, the jazz world has not realized. In the 2000s Mr Shipp has been curator and director of the label Thirsty Ear’s “Blue Series” and has also recorded for them. In this collection of recordings he has generated a whole body of work that is visionary, far reaching and many faceted.
Matthew Shipp is truly one of the leading lights of a new generation of jazz giants.
Matthew Ship 4D
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WHIT DICKEY
Legend says that drummer Whit Dickey has four arms, and more than one jazz critic wanted to prove it. His brain must have independent centers of control to run what he does with all the parts of his drumset, and his body seems to clone itself. We can’t believe in the simultaneity of so focused events, but this is it. He really does it, with no tricks or overdubs. Until we begin to understand some things. When we know that Thelonious Monk is an important reference for Dickey, we finally see what’s happening. The late genius of the jazz piano proposed the complete autonomy of both arms, like if there was two pianists and not just one, and that’s what this inspired improviser does, adding his legs to the process. Once the stickman in the David S. Ware Quartet, soon he became the leader of his own groups, inviting other virtuosos like Chris Lightcap and Rob Brown to play with him. Considered a heir of drums masters Tony Williams and Elvin Jones, hear him during a solo convinces us definitely that jazz has a present and is going to have a future. And considering that Whit Dickey composes with a percussionist point of view, is to expect a very energetic following of this music continuum. Maybe we can dance it again…
http://www.aumfidelity.com/dicky.html
http://www.cleanfeed-records.com/artista.asp?intID=129b
MICHAEL BISIO
“…he is a marvelously inventive bassist that seemingly has burst forth over the years as a musical trunk rather than a branch. His technique is formidable, both pizzicato and arco, and he taps into a virtually inexhaustible wellspring of musical ideas when he plays.”
Grego Applegate Edwards, Gapplegate Music Review
Michael Bisio invariably astounds audiences with the beauty of his tone and the intensity of his very personal musical language. His music has received 4 stars from DownBeat, Jazz Times states his music “resonates with intelligence, emotional depth and probing virtuosity.” Journalist Paul DeBarros in Signal to Noise notes; “For years free improvisers have explored the tactile aspect of performance, in which the nature of the encounter between the player and the instrument becomes the subject of the music itself. Bisio is one of the few musicians that has managed to meld this high-concept sense of physicality with the soulful charge of jazz. His fiddle-high, scraped overtones create a tangled choir that is impossible to resist; his expressiveness with the bow is unmatched. Having whirled the listener into a transportive state, he gently shows them the way out…”
“His expressive touch is distinctive.” The New York Times
As a recording artist Michael appears on over 50 cds, he is leader on 10 cds and co-leads 7 duet recordings. His recorded output has consistently met with critical praise. Michael’s first international release, In Seattle, (Silkheart), was chosen as one of the “Best Jazz Records of the 1980′s” in the Village Voice. Connections, (CIMP), 2005, as reviewed in Cadence Magazine. “…this is another important disc from Bisio and company that highlights Bisio’s talents as a musician, composer and bandleader.” Fourteen new releases in 2009 included two MBQ cds for CIMP and Not Two, two cds by Tomas Ulrich’s Cargo Cult, and Old Dog, By Any Other Name, (Porter Records). The very beginning of 2010 saw the release of Session at 475 Kent, duets with the highly acclaimed pianist Connie Crothers on MutableMusic.
As a composer Michael has been recognized with nine project grants from various arts organizations, in 2003 he was awarded an Artist Trust Fellowship.
Seminal studies in creative music processes were with Bill (William O.) Smith and Stuart Dempster.Early tenure with trumpeter Barbara Donald and saxophonist Carter Jefferson left an indelible mark on Michael’s music and spirit. Another major influence is Joe McPhee. Joe and Michael have created a body of work that includes two duo cds, Finger Wigglers and Zebulon, (CIMP) in addition to over a dozen other releases including: Port of Saints, (CJR), Joe Giardullo’s Shadow and Light, (Drimala), and Angels, Devils and Haints, Joe Mcphee and the World Bass Quartet, (CJR).
Other artists Michael has collaborated with include: Wayne Horvitz, Charles Gayle, Bob Nell, Sunny Murray, Louie Belogenis, John Tchai, Pauline Oliveros, Vinny Golia, Julian Priester, Eyvind Kang, Diedre Murray, Rashied Ali, Jim Nolet, Saadet Turkoz, Dominic Duval, Tomas Ulrich, Oluyemi Thomas, Matthew Shipp, Karl Berger, Warren Smith, Connie Crothers, Sonny Simmons, Jay Rosen, Avram Fefer and Stephen Gauci.
“Bisio’s ability to project such a diverse array of timbre and technical skill mark him as one of the leading bassist of his time.” Steven Loewy, www.allmusic.com
http://michaelbisio.com/
http://cdbaby.com/cd/mbgmds
