Matthew Shipp

The Intrinsic Nature of Shipp

Mahakala

There well may not be a more prolific musician than pianist and composer Matthew Shipp, who since arriving in New York in the ‘90s has over one hundred releases under his name no fewer than eight since the inception of 2022.  He is now regarded as one of the elder statesman of “free Jazz.” Many of his albums are solo piano efforts, including this one, The Intrinsic Nature of Shipp. Shipp has an immediately recognizable style, in itself a major attribute considering how many play the instrument. His view of the piano is holistic – it is a melody, percussion, and harmonizing instrument. Shipp is known for his command of the middle registers, his use of the sustain pedal, and his own, often unpredictable, transportive, and evocative language. His clusters leave the listener guessing on just how he’ll resolve the passage. Even then, although he mostly does so, not necessarily as expected but sometimes in a teasing way that segues to his next piece.

On his recent solo outing Codebreaker, he began to move away slightly from his trademark density, using space to great effect. The Intrinsic Nature of Shipp builds on that notion. The textures, tones, and drama that he creates is totally engaging and compelling. And, unlike some of his earlier period works, we have time to catch our collective breadths which helps, as his music remains challenging, demanding, and ultimately rewarding. The fact that he continues to issue these solo albums is a vital testament to his creativity as each is different and expresses new ideas.

The title track exemplifies his gift for mood inducing melodies, this one graceful as if he’s nostalgic, ruminating on his salient qualities.  As it unfolds, his dense chords contrast with a minimalist approach to notes, the use of space and the sustain pedal, allowing both to just linger before he moves into his next idea. “Crystal Structures” is harsher, as he takes a more rapid-fire approach, spraying out all kinds of notes, with a dominant left hand producing robust chords, that are just shy of violent until he gets to the repetitive sequences, another of his hallmarks.

“That Vibration” welcomes us with very different sonics at a slower tempo, moving again into more introspective territory with gorgeous lines until it ends, not with a demonstrative chord, but a low-end room rattling trill. “The” begins deliberately, with space letting his single notes resonate as if suspended before momentum builds behind a series of repetitive phrases with the final section sounding like chiming church bells. “Jazz Emotion” is filled with dense chords, fluid runs, and complex patterns while “Jazz Frequency” ups the ante further, as Shipp is unbounded in expression. In between “The Essence” reflects his classical background as quiet passages spar with darker, heavier ones.

The last three pieces are much shorter, cohesive statements with “Tune Into It” revealing again his delicate side while “The Bulldozer Poetics,” as you’d expect offers the kind of dark, thunderous mayhem, like the piano is crashing down a stairwell, also a Shipp hallmark. If you’re curious about his reputation on the sustain pedal, this is prime example. In an album that regularly alternates the sonic landscape, the mysterious, contemplative “Essence of Silence,” closes in a bit of symmetry, recalling the opener.

Ultimately this album has an inexplicable intimacy. One can grow very comfortable and listen to it repeatedly as nothing seems wasted. It’s not always clear where Shipp is headed but that’s the appeal. You’ll likely find yourself headed to different places with each listen.

Jim Hynes

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